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Making The Bed
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The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
Play in Harmony in 12 Major Keys: Folk Songs and Singing Games from Around the World Book One
Play in Harmony in 12 Major Keys: Folk Songs and Singing Games from Around the World Book One
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Piano Facile
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DÉBUTANT
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Jolea Jensen
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Arr
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Play in Harmony in 12 Major Ke
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Jolea Jensen
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.517906 Composed by Jolea Jensen. Arranged by Arr. Jolea Jensen. Children,Folk,Instructional,Multicultural,Traditional,Wor...
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Easy Piano - Level 1 - SKU: A0.517906 Composed by Jolea Jensen. Arranged by Arr. Jolea Jensen. Children,Folk,Instructional,Multicultural,Traditional,World. Score. 106 pages. Jolea Jensen #128632. Published by Jolea Jensen (A0.517906). Learn folk songs and singing games from around the world in this early elementary book. This series features a solo melody line accompanied by I, IV, and V7 chords, making it perfect for a general classroom setting or for private lessons. Level One (Book 1, Part 1) begins with basic rhythms (quarter, half, dotted half, and whole) in the keys of C, G, D. Each key begins with several songs in the basic five-finger position, then adds either one note above or one note below, then adds 3/4 time, then adds songs in which the hand is not in the basic five-finger position for that key. Level One (Book 1, Part 2) continues with the keys of A, E, B. Eighth notes are introduced in the key of E. Level One (Book 1, Part 3) contains the keys of F#, Db, and Ab. Level One (Book 1, Part 4) contains the keys of Eb, Bb, and F. I have been teaching several of my students with this book, and they are often eager to begin their lessons by playing their assignment out of this book. The feedback I've received from parents is that their child loves the songs because they are fun and easy to understand. Children often love coloring in the black and white pictures on each page. I hope your students also enjoy these songs. Scope and Sequence for Level One songs: Introduction to I and V Simple with LH thumb melody note I and V More leaps I and V I and IV and V extend pinky I IV V extend thumb I IV V three four time simple move hand Alphabetical Song Index with Key and Pg Number: A Ram Sam Sam Ab 67 AijÄ, Žūžū, LÄÄa BÄ“rni E 32 Ainsi Font Bb 82 Alle Meine Entchen C 5 Ambos a Dos B 37 Ang Pato Ko Eb 70 Arroz con Leche F# 47-48 Au Clair de la Lune E 34 Bells in the Steeple Bb 83 Bill Grogan's Goat Bb 84 Björnen Sover Bb 81 Boil Them Cabbage Down C 4 Brinca la Tablita F 88 Buttercup G 8 Button, You Must Wander Ab 64 Chase the Squirrel C 1 Chopsticks C 6 Clap, Clap, Clap Your Hands D 15 Closet Key F# 42 Cobbler, Cobbler F 85 Cradle Hymn Db 52 Down by the Station F 86 Down in the Valley G 12 Five Fat Turkeys F# 45 Five Little Chickadees G 11 Frog in the Meadow Ab 59 Frogs in the Pond C 2 Go Tell Aunt Rhody D 14 Goodbye, Old Paint F 91 Grandma Grunts F 87 Ha' Sukkah Mah Yafah Ab 60 Hob Ich a Por Oksn Ab 61-62 Hop, Old Squirrel B 35 Hush-A-Bye G 10 Hush, Little Baby G 9 I'm a Nut Eb 75 Johnny's Hammer E 30 Journey of the Leaves E 33 Juan Pirulero B 40 Kangaroo Skippy Roo Bb 76 King's Land Eb 73 Kolyada A 24 Kuckuck Db 57 Lady Come A 22 Lavender's Blue Eb 74 Lightly Row C 3 Limerick Song D 19 Long-Legged Sailor F# 43 Love Somebody G 10 Mmm, Ahh, Went the Little Green Frog Bb 77-78 Mon Petit Lapin a Bien du Chagrin Ab 63 My Horses Ain't Hungry G 13 Naughty Kitty Cat F# 46 O wie wohl ist mir am Abend Db 58 Old King Cole B 38 On Top of Old Smokey D 20 One, Two, Three, Aleerie F 92 Over in the Meadow F 89-90 Pak Pak Ka-ak A 21 Passa, Passa, Gavião Db 51 Pease Porridge Hot A 25 Piva, Piva l'oli d'uliva Ab 65-66 Promenons-nous dans les Bois Eb 71-72 Sandy McNab A 26 Sasara ang Bulaklak Bb 79-80 Scotland's Burning B 36 Seashell Eb 68 Sleep, Baby, Sleep D 16 Tallis' Canon A 27 Ten in the Bed Eb 69 The Deaf Woman's Courtship A 23 The Elfin Knight Db 55-56 The Frog in the Bog D 17 The Noble Duke of York E 31 The Old Sow Took the Measles Db 53-54 The Sandman Comes D 18 Three Jolly Fishermen E 29 There's a Hole in the Bucket F# 49 Twinkle, Twinkle, Little Star B 41 Ulo Abaga B 39 Vamos a la Mar F# 44 Who's That Tapping at the Window Db 50 Yoo Hoo! E 28 Zhao Peng You C 7.
$20.00
Making The Bed
Making The Bed
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Piano Facile
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DÉBUTANT
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Pop musique
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Olivia Rodrigo
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Bruna T
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Making The Bed
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Bruna T.
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SheetMusicPlus
C Instrument - Level 1 - SKU: A0.1293881 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. Lead Sheet /...
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C Instrument - Level 1 - SKU: A0.1293881 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. Lead Sheet / Fake Book. 3 pages. Bruna T. #884337. Published by Bruna T. (A0.1293881). Making the bed sheet music. Learn how to play making the bed by Olivia Rodrigo with this simple lead sheet. Start today!
$3.99
Making The Bed
Making The Bed
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Piano Facile
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DÉBUTANT
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Pop musique
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Olivia Rodrigo
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Bruna T
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Making The Bed
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Bruna T.
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.1292217 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. Score. 3 pages...
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Easy Piano - Level 1 - SKU: A0.1292217 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. Score. 3 pages. Bruna T. #882824. Published by Bruna T. (A0.1292217). Making the bed sheet music. Learn how to play making the bed, from Olivia Rodrigos newst album Guts, with this simple and easy piano arrangement. Start today!
$4.99
Making The Bed
Making The Bed
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Flûte traversière et Piano
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FACILE
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Pop musique
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Olivia Rodrigo
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Bruna T
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Making The Bed
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Bruna T.
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SheetMusicPlus
Piano,Soprano Flute - Level 2 - SKU: A0.1300270 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. Score...
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Piano,Soprano Flute - Level 2 - SKU: A0.1300270 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. Score and part. 6 pages. Bruna T. #890015. Published by Bruna T. (A0.1300270). Making the bed sheet music. Learn how to play making the bed by Olivia Rodrigo with this beautiful and easy piano and flute arrangement. Start today!
$6.99
Making The Bed
Making The Bed
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Piano, Voix
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FACILE
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Pop musique
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Olivia Rodrigo
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Bruna T
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Making The Bed
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Bruna T.
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SheetMusicPlus
Piano,Vocal,Voice - Level 2 - SKU: A0.1296525 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. Score. ...
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Piano,Vocal,Voice - Level 2 - SKU: A0.1296525 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. Score. 7 pages. Bruna T. #886701. Published by Bruna T. (A0.1296525). Making the bed sheet music. Learn how play making the bed by Olivia Rodrigo with this beautiful and easy piano and voice arrangement. Start playing today by yourself or with your favorite musician!
$5.99
Making The Bed
Making The Bed
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Piano, Voix et Guitare
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FACILE
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Pop musique
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Olivia Rodrigo
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Bruna T
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Making The Bed
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Bruna T.
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SheetMusicPlus
Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1297534 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. ...
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Guitar,Piano,Vocal,Voice - Level 2 - SKU: A0.1297534 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Pop,Singer/Songwriter. Score. 7 pages. Bruna T. #887577. Published by Bruna T. (A0.1297534). Making the bed sheet music. Learn how to play making the bed by Olivia Rodrigo with this beautiful and easy piano, voice and guitar arrangement. Start today!
$5.99
Making The Bed
Making The Bed
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Violon et Piano
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FACILE
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Pop musique
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Olivia Rodrigo
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Bruna T
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Making The Bed
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Bruna T.
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SheetMusicPlus
Piano,Violin - Level 2 - SKU: A0.1298647 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Classical,Pop,Singer/Songwriter. 6 ...
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Piano,Violin - Level 2 - SKU: A0.1298647 By Olivia Rodrigo. By Daniel Nigro and Olivia Rodrigo. Arranged by Bruna T. Classical,Pop,Singer/Songwriter. 6 pages. Bruna T. #888525. Published by Bruna T. (A0.1298647). Making the bed sheet music. Learn how to play making the bed by Olivia Rodrigo with this beautiful and easy piano and violin arrangement. Start today!
$6.99
The Arban Manual (Pre 2013)
The Arban Manual (Pre 2013)
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Trompette
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
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The Arban Manual
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SheetMusicPlus
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Reper...
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 75 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the older Carl Fischer Arban Method.
Description
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
$16.95
The Arban Manual - Hooten Edition
The Arban Manual - Hooten Edition
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Trompette
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INTERMÉDIAIRE/AVANCÉ
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Methodes
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Eric Bolvin
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The Arban Manual - Hooten Edit
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SheetMusicPlus
Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire,...
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Trumpet, Trombone, Tuba, Horn in F, Euphonium - Advanced Intermediate - Digital Download Composed by Eric Bolvin. Method, Etudes and Exercises, Repertoire, General Instructional, Technique Training. 76 pages. Published by Faded Duck Music
The Arban Manual is a complete course that takes you through the Arban Method in 69 well organized lessons. You will need The Arban Method to use this course. Each lesson is a balanced day of practice. This version is for the newer, Hooten edition published by Fischer.
Why
Arban?s Complete Conservatory Method for Trumpet andArban?s Famous Method for Trombone have been two of the most widely used brass books for over 100 years. The Arban Manual is simply a guide in how to practice Arban. The Arban Manual will take you step by step through the entire Arban method. The Arban Manual is not a technique book and the practice advice should work well with most brass methodology.
How
A minimum of one week should be spent on each lesson, although many choose to spend longer. If you are having trouble with one part of a lesson, you may wish to spend more time on that part. Most lessons are divided into six parts that should be practiced in the prescribed order. It is recommended that you rest between each part and try to spread your practicing throughout the day as best you can.
Range Considerations
Students who are ready to play from Arban should have a ?usable range? up to A (concert G). Many of the easy studies do go this high. Although there are not many really high notes in Arbanby today?s standards, some of the studies can be quite taxing. An example of this is the interval studies on p. 126-129.
If you are not able to reach the highest keys at first, go as far you can comfortably, be sure to rest properly, and try to go further the next day. Remember, you will likely play from Arban in one way or another for most of your life, so don?t rush your progress.
Warming Up
One of the shortcomings of Arban is the lack of solid warm up material. Part I of each lesson is designed to be a warm up. Some teachers and students may find this inadequate for a warm up. Therefore, feel free to supplement the lesson plan with a warm up of your choosing. After your warm up, continue with Part I of the lesson.
Performance Etudes
I?ve designated some of the more melodic and well balanced etudes as ?performance etudes?. These can be used for auditions or recitals and should be prepared for that purpose. Some teachers or students may have other favorite etudes that they may choose to use for the purpose of performance.
All of the characteristic studies and celebrated fantaisies are considered performance pieces.
Models
Models are different ways of playing an exercise. Many modelsinvolve using different articulations on a given exercise. Arban?suse of models is not extensive so I have chosen to expand on it, giving the student even more practice material. All models must be practiced thoroughly as prescribed in the lessons.
The Hard Stuff
At some point in your study of Arban you may come across something that you just can?t play, or play at tempo. This often involves triple or double tonguing. Don?t let this discourage you. Practice it diligently and slowly. You may want to stay with it for more than one lesson. After practicing the difficult etude for at least a month, make a note of it and return to it later. Brass playing is a lifetime commitment and you should continue to grow throughout your playing career. Many of the world?s top players can?t play everything in the Arban book.
Multiple Tonguing
Selecting the best syllables for multiple tonguing is often a problem for brass players and teachers. Although Arbanrecommends ?tu ku?, many have had success using ?tuh kuh?, ?duh guh?, ?tee kee? and many others. Finding your best syllables may take some experimentation.
Extending Exercises
Beginning with Lesson 44, some of the exercises are reviewed and extended. This is to provide more upper range work, more key work and different models.
Transposition
Beginning with Lesson 47, exercises are suggested to be transposed for trumpets in different keys. These are the most common transpositions and are only to provide the trumpet player with some basic transposition skills. Bass clef instruments need to substitute other material here such as clef practice.
The first transposition is for C trumpet which is useful for reading music in concert pitch. The second transposition is for Ab trumpet which is useful if you play a C trumpet and want to read a Bb part.
Songs and duets
Some teachers love these and others don?t. I suggest you try them and if you?d like to supplement other pieces that you need to work on, please feel free to do so.
For bass clef instruments
Although the page numbering is different, the exercises in the bass clef edition are numbered the same as the trumpet edition, therefore making The Arban Manual viable for bass clef instruments.
The songs and duets have been left out of the early bass clef version of Arban, although there is now a new version that does include them. Feel free to supplement music of your choice. Some of the articulations and models may not be practical for slide trombone.
About SMP Press
$16.95
Polka from "The Bartered Bride" (Smetana) - Brass Band
Polka from "The Bartered Bride" (Smetana) - Brass Band
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Classique
#
Bedrich Smetana
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Rob Bushnell
#
Polka from "The Bartered
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RBMusic
#
SheetMusicPlus
Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Per...
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Mixed Percussion B-Flat Tuba,B-Flat trombone,Baritone Horn TC/Euphonium,Bass Trombone,E-Flat Cornet,E-Flat Tenor Horn,E-Flat Tuba TC,Flugelhorn,Percussion 1,Percussion 2,Tenor Trombone - Level 4 - SKU: A0.1372035 Composed by Bedrich Smetana. Arranged by Rob Bushnell. 19th Century,Classical,Folk,Opera,Traditional. Brass Band. 121 pages. RBMusic #956255. Published by RBMusic (A0.1372035). Considered a major contribution to the develop of Czech music, The Bartered Bride by BedÅ™ich Smetana is a comic opera in three acts that premiered, in its final version, in 1870; having not been a great success when the original two-act version premiered at the Provisional Theatre, Prague on 30 May 1866. The opera was part of Smetana’s aim to create a native Czech music after the conductor Johann von Herbeck commented that Czechs were incapable of making music of their own. Whilst he avoided the direct use of folksongs, Smetana did use numerous traditional Bohemian dance forms, such as the furiant and the polka, leading to music that was Czech in spirit.“Sold Brideâ€, a more accurate translation of the original Czech title (Prodaná nevÄ›sta), tells the story of two lovers (MaÅ™enka and Jenik) who want to marry despite MaÅ™enka’s father’s obligations for his daughter to marry the son of a wealthy landowner, Micha. Scheming, condition proposals and secret identities leads to a happy ending.The polka was not in the original 1866 version. A revision in October 1866 saw the addition of a gypsy dance near the start of act 2. But by the next performance in January 1869, this had been replaced by a polka. In June 1869, a new polka replaced the January version’s (as well as being moved to the end of act 1) and this is the one that we know and love today.This arrangement is for the UK-style brass band, with alternative parts for horns in F and bass-clef lower brass. A recording of the original composition can be found here on YouTube: https://www.youtube.com/watch?v=UE8B93XD8NM.
$44.99
The Moldau
The Moldau
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Bedrich Smetana
#
Bedrich Smetana
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The Moldau
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Frühling
#
SheetMusicPlus
Glockenspiel,Instrumental Duet - Level 3 - SKU: A0.1419476 Composed by Bedrich Smetana. Arranged by Bedrich Smetana. Classical,Romantic Period. 2 pages....
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Glockenspiel,Instrumental Duet - Level 3 - SKU: A0.1419476 Composed by Bedrich Smetana. Arranged by Bedrich Smetana. Classical,Romantic Period. 2 pages. Frühling #1000917. Published by Frühling (A0.1419476). The Moldau by Bedřich Smetana Theme and accompaniment as triadic melodies for glockenspiels with note names for making music in school.Themes: Music of different cultures, Romanticism, program music, instrument knowledge.
$5.00
The Moldau
The Moldau
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Bedrich Smetana
#
Bedrich Smetana
#
The Moldau
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Frühling
#
SheetMusicPlus
Boomwhackers,Instrumental Duet - Level 3 - SKU: A0.1419604 Composed by Bedrich Smetana. Arranged by Bedrich Smetana. Classical,Romantic Period. 2 pages....
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Boomwhackers,Instrumental Duet - Level 3 - SKU: A0.1419604 Composed by Bedrich Smetana. Arranged by Bedrich Smetana. Classical,Romantic Period. 2 pages. Frühling #1001023. Published by Frühling (A0.1419604). The Moldau by Bedřich Smetana Theme and accompaniment as triadic melodies for boomwhacker with note and colors names for making music in school.Themes: Music of different cultures, Romanticism, program music, instrument knowledge.
$4.00
The Moldau
The Moldau
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Bedrich Smetana
#
Bedrich Smetana
#
The Moldau
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Frühling
#
SheetMusicPlus
Bells Solo,Glockenspiel - Level 2 - SKU: A0.1419486 Composed by Bedrich Smetana. Arranged by Bedrich Smetana. Classical,Romantic Period. Individual part...
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Bells Solo,Glockenspiel - Level 2 - SKU: A0.1419486 Composed by Bedrich Smetana. Arranged by Bedrich Smetana. Classical,Romantic Period. Individual part. 1 pages. Frühling #1000928. Published by Frühling (A0.1419486). The Moldau by Bedřich Smetana Theme for glockenspiels with note names for making music in school.Themes: Music of different cultures, Romanticism, program music, instrument knowledge.
$3.00
Thema aus Die Moldau - B. Smetana
Thema aus Die Moldau - B. Smetana
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Mandoline
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FACILE
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Classique
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Bedrich Smetana
#
songbooks
#
Thema aus Die Moldau - B. Smet
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songbooks.info
#
SheetMusicPlus
Mandolin - Level 2 - SKU: A0.1347863 Composed by Bedrich Smetana. Arranged by songbooks.info. Baroque,Classical,Renaissance. Score. 4 pages. Songbooks.i...
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Mandolin - Level 2 - SKU: A0.1347863 Composed by Bedrich Smetana. Arranged by songbooks.info. Baroque,Classical,Renaissance. Score. 4 pages. Songbooks.info #932676. Published by songbooks.info (A0.1347863). Well-known and popular themes from classical music - notated for the Mandolin in classical musical notation as well as in the well-known tablature for string instruments. The song's recording was made at a slow tempo. We hope you enjoy making music...!Bekannte und beliebte Themen aus der klassischen Musik - notiert für die Mandoline in klassischer Notenschrift sowie in der bekannten Tabulatur für Saiteninstrumente. Die Aufnahme des Songs wurde in einem langsamen Tempo erstellt. Wir wünschen viel Spaß beim Musizieren...!
$2.22
The Wellerman
The Wellerman
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Nathan Evans
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Barry McCormick
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The Wellerman
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B. McCormick
#
SheetMusicPlus
C Instrument - Level 2 - SKU: A0.1406658 By Nathan Evans. By Trad. Sea Shanty. Arranged by Barry McCormick. Folk,Instructional,Multicultural,Traditional...
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C Instrument - Level 2 - SKU: A0.1406658 By Nathan Evans. By Trad. Sea Shanty. Arranged by Barry McCormick. Folk,Instructional,Multicultural,Traditional,World. Lead Sheet / Fake Book. 6 pages. B. McCormick #989416. Published by B. McCormick (A0.1406658). Embark on a musical journey with our comprehensive digital sheet music package for the traditional sea shanty, “The Wellermanâ€. This package is meticulously designed to cater to both learners and teachers, providing a holistic approach to mastering this timeless piece.Our package includes a Lead Sheet, a Tabbed Lead Sheet, and a Guitar Chord Sheet, each crafted with precision and clarity. These sheets serve as a roadmap, guiding you through the melodic contours of “The Wellermanâ€, making the learning process intuitive and enjoyable.What sets our product apart is the inclusion of exclusive tips and teaching ideas. These insights, derived from experienced music educators, provide innovative strategies for learning and teaching the song. Whether you’re a beginner picking up your first instrument or a music teacher seeking fresh pedagogical approaches, our product is tailored to meet your needs.“The Wellerman†has recently seen a resurgence in popularity, thanks to social media platforms like TikTok and influencers such as Nathan Evans.  So why wait? Join the thousands of people around the world singing and playing “The Wellerman†today!
$2.99
The Moldau
The Moldau
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Bedrich Smetana
#
D
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The Moldau
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Frühling
#
SheetMusicPlus
Boomwhackers,Instrumental Duet - SKU: A0.1419595 Composed by Bedrich Smetana. Arranged by D. Lenz. Classical,Romantic Period. 2 pages. Frühling #1001...
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Boomwhackers,Instrumental Duet - SKU: A0.1419595 Composed by Bedrich Smetana. Arranged by D. Lenz. Classical,Romantic Period. 2 pages. Frühling #1001014. Published by Frühling (A0.1419595). The Moldau by Bedřich Smetana Theme and bass voice for boomwhacker with note names and colors for making music in school.Themes: Music of different cultures, Romanticism, program music, instrument knowledge.
$4.00
The Moldau
The Moldau
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Bedrich Smetana
#
Darya Lenz
#
The Moldau
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Frühling
#
SheetMusicPlus
Glockenspiel,Instrumental Duet - SKU: A0.1419497 Composed by Bedrich Smetana. Arranged by Darya Lenz. Classical,Romantic Period. 2 pages. Frühling #1...
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Glockenspiel,Instrumental Duet - SKU: A0.1419497 Composed by Bedrich Smetana. Arranged by Darya Lenz. Classical,Romantic Period. 2 pages. Frühling #1000940. Published by Frühling (A0.1419497). The Moldau by Bedřich Smetana Theme and triad accompaniment as triadic melodies for glockenspiels with note names for making music in school.Themes: Music of different cultures, Romanticism, program music, instrument knowledge.
$5.00
The Moldau
The Moldau
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Bedrich Smetana
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Darya Lenz
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The Moldau
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Frühling
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SheetMusicPlus
Glockenspiel,Instrumental Duet - Level 3 - SKU: A0.1419514 Composed by Bedrich Smetana. Arranged by Darya Lenz. Classical,Romantic Period. 2 pages. FrÃ...
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Glockenspiel,Instrumental Duet - Level 3 - SKU: A0.1419514 Composed by Bedrich Smetana. Arranged by Darya Lenz. Classical,Romantic Period. 2 pages. Frühling #1000956. Published by Frühling (A0.1419514). The Moldau by Bedřich Smetana Theme and triad and inversions accompaniment for glockenspiels with note names for making music in school.Themes: Music of different cultures, Romanticism, program music, instrument knowledge.
$6.00
The Moldau
The Moldau
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Bedrich Smetana
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D
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The Moldau
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Frühling
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SheetMusicPlus
Boomwhackers,Instrumental Duet - Level 3 - SKU: A0.1419643 Composed by Bedrich Smetana. Arranged by D. Lenz. Classical,Romantic Period. 2 pages. Früh...
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Boomwhackers,Instrumental Duet - Level 3 - SKU: A0.1419643 Composed by Bedrich Smetana. Arranged by D. Lenz. Classical,Romantic Period. 2 pages. Frühling #1001064. Published by Frühling (A0.1419643). The Moldau by Bedřich Smetana Theme and triad accompaniment as inversion for boomwhacker with note names and colors for making music in school.Themes: Music of different cultures, Romanticism, program music, instrument knowledge.
$6.00
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
Spanish National Anthem for Symphony Orchestra (Kt Olympic Anthem Series)
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Orchestre
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INTERMÉDIAIRE
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Patriotique
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Manuel de Espinosa de los Mo
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Keith Terrett
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Spanish National Anthem for Sy
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Music for all Occasions
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SheetMusicPlus
Full Orchestra - Intermediate - Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, P...
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Full Orchestra - Intermediate - Composed by Manuel de Espinosa de los Monteros (1730-1810). Arranged by Keith Terrett. Classical Period, European, Patriotic. 30 pages. Published by Music for all Occasions
The Spanish National Anthem arranged for full Symphony Orchestra, there is a short version in my store in case you need it! Just need a sporting event now such as an Olympics!
The Marcha Real (Spanish pronunciation: [ˈmartʃa reˈal], "Royal March") is the national anthem of Spain. It is one of only three national anthems (along with that of Bosnia and Herzegovina and the Republic of Kosovo) in the world to have no official lyrics.
One of the oldest in the world, the anthem was first printed in a document dated 1761 and entitled Libro de la Ordenanza de los Toques de Pfanos y Tambores que se tocan nuevamente en la Ynfant Espaola (Book of the Ordenance of Newly Played Military Drum and Fife Calls by The Spanish Infantry ), by Manuel de Espinosa. Here it is entitled La Marcha Granadera ("March of the Grenadiers"). There is written its score on this book. According to this document, Manuel de Espinosa de los Monteros is the composer.
There is a false belief that Marcha Real?s author was Frederick II of Prussia, a great lover of music. This belief started in 1861 when it appears for the first time publied in La Espaa militar (The Militar Spain). In 1864, the colonel Antonio Vallecillo publishes the history in the diary El Espritu Pblico (The Public Spirit), making the supposed Prussian origin of Marcha Real popular. According to Vallecillo, the anthem was a gift from Frederick II to the soldier Juan Martn lvarez de Sotomayor, who was serving in the Prussian Court to learn the military tactics developed by Frederick II?s army, under orders of King Charles III. In 1868 the history is published in Los Sucesos, changing the destinatary of the gift with Pedro Pablo Abarca de Bolea, Count of Aranda. The myth was picked up like this in different publications of 1884 and 1903, until being included in 1908 in the Enciclopedia Espasa.
According to the tradition in 1770, Charles III declared the Marcha de Granaderos as the official Honor March, and with that formalized the habit of playing it in public and solemn acts. It became the official anthem during Isabel II?s reign.
After the 1868 Revolution, General Prim convoked a national contest to create an official anthem, but it was declared deserted, advising the jury that Marcha de Granaderos was considered as such. By Alfonso XIII?s time, it was established by a Royal Circular Order (27 August 1908) that interpreted the harmonization of the march done by Bartolom Prez Casas, Major Music of the Royal Corps of Halberdier Guards. During the Second Republic, Himno de Riego was adopted as official anthem, although after the Spanish Civil War, Marcha Real returned to be used as anthem, sometimes sung with the verses written by the poet Jos Mara Pemn in 1928.
The actual symphonic version of the Marcha Real that replaces the Prez Casas one, belongs to maestro Francisco Grau and is the official one after the Royal Decree of 10 October 1997, when the Kingdom of Spain bought the author rights of the Marcha Real, then belonging to Prez Casas? Heirs. According to the Royal Decree 1560/1997, the anthem should have a tone of B major and a tempo of 76 bpm (♩=76), with a form of AABB and a duration of 52 seconds.
Under the Trienio Liberal (1820-1823), the First Spanish Republic (1873?74) (when it enjoyed of a co-officiality) and the Second Spanish Republic (1931?1939), El Himno de Riego replaced La Marcha Real as the national anthem of Spain. At the conclusion of the Civil War, however, Francisco Franco restored La Marcha Real as the country?s national anthem, under its old title of La Marcha Granadera.
Interpretation and etiquette:
Military bands of the Spanish Armed Forces and the National Police Corps of Spain and civilian Marching bands and Concert bands play the B flat-major version of the anthem adapted for wind bands (as arranged by Francisco Grau), and playing the A Major version is optional.
The bugle call "To the Colors" in Spain is the version played by Bugle bands in Spanish churches in religious occasions and processions organized by civil groups and the parishes. Various versions adapted for the drum and the bugle are used, even though brass instruments play the anthem as well. But in some bugle bands, the A flat version of the anthem (the old official one, adapted for the bugle) is played. Only a bugle call is sounded when the B flat version is played.
Being the National Anthem, and in honor of the King and Queen of Spain, it?s a common practice for all to stand once it is played. Even though it is also played in church events, respect for the King and Queen (and the Royal Family as well) is required by everyone in attendance. As it happens civilians stand at attention while those in uniform salute when not in formation.
The current official version, as described in Royal Decree 1560/1997, is a sixteen-bar long phrase, divided in two sections, each one is made up of four repeated bars (AABB form). Tempo is set to ♩= 76 and key to B flat.
The long, complete version is the honors music for the King, while a shorter version without the repetitions is performed for the President of the Government of Spain, the Prince of Asturias, or during sporting events.
There are also three official arrangements: one for orchestra, another for military band, and a third for organ, written by Francisco Grau Vegara and requested by the Government of Spain. All in all, there are six different official adaptations, for each arrangement and length. They all were recorded by the Spanish National Orchestra and the Spanish Royal Guard Band as an official recording and released on compact disc for a limited period of time.
As the harmonization of the Marcha Real was written by Bartolom Prez Casas in the early 1900s, the copyright has not yet expired. The government bought it from Prez Casas? estate in 1997 for 130,000,000 pesetas (~ ? 781,316) to avoid future legal problems. Until it expires, the copyright belongs to the Ministry of Culture and collecting societies charge copyright fees, which has led to criticism.
As a result, many different harmonisations have been devised by performers to avoid paying. Nonetheless, the rights to the 1997 Francisco Grau revision were transferred to the government at no charge, although they were not placed in the public domain.
Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com
$39.00
The Moldau
The Moldau
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Bedrich Smetana
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Bedrich Smetana
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The Moldau
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Frühling
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SheetMusicPlus
Boomwhackers,Instrumental Solo - Level 2 - SKU: A0.1419596 Composed by Bedrich Smetana. Arranged by Bedrich Smetana. Classical,Romantic Period. Individu...
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Boomwhackers,Instrumental Solo - Level 2 - SKU: A0.1419596 Composed by Bedrich Smetana. Arranged by Bedrich Smetana. Classical,Romantic Period. Individual part. 1 pages. Frühling #1001015. Published by Frühling (A0.1419596). The Moldau by Bedřich Smetana, Melody for boomwhacker with note names and colors for making music in school.Themes: Music of different cultures, Romanticism, program music, instrument knowledge.
$3.00
The Moldau
The Moldau
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Bedrich Smetana
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Darya Lenz
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The Moldau
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Frühling
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SheetMusicPlus
Glockenspiel,Instrumental Duet - Level 2 - SKU: A0.1419519 Composed by Bedrich Smetana. Arranged by Darya Lenz. Classical,Romantic Period. 2 pages. FrÃ...
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Glockenspiel,Instrumental Duet - Level 2 - SKU: A0.1419519 Composed by Bedrich Smetana. Arranged by Darya Lenz. Classical,Romantic Period. 2 pages. Frühling #1000963. Published by Frühling (A0.1419519). The Moldau by Bedřich Smetana melody and bass voice for glockenspiels with note names for making music in school.Themes: Music of different cultures, Romanticism, program music, instrument knowledge.
$3.00
Mastering the Classical Guitar Book 1A
Mastering the Classical Guitar Book 1A
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Guitare
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Classique
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Wissam Abboud
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Mastering the Classical Guitar
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Guitar (classical and lute) - Beginning - Composed by Wissam Abboud. Mastering The Classical Guitar. Classical. E-book and online audio. 72 pages. Mel...
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Guitar (classical and lute) - Beginning - Composed by Wissam Abboud. Mastering The Classical Guitar. Classical. E-book and online audio. 72 pages. Mel Bay Publications - Digital Sheet Music #30683MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619118515.
Mastering the Classical Guitar, Book 1AA is the first in a progressive series using a wide variety of musical repertoire and educational material to provide a solid technical foundation for classical guitar students, exposing the full range of the instruments potential and repertoire.Book 1A is most appropriate for students with no prior knowledge of the guitar or music theory, or for those who simply want a fresh start with the classic guitar. It is written in three broad sections:A Progressive Studies and Pieces,A Technical ExercisesA andA Rhythmic Reading. Tips on how to integrate the three sections are provided throughout the book. Every chapter begins with exercises written specifically to improve a certain aspect of ones playing, followed by various examples from the classical music repertoire and traditional songs from various cultures.While every aspect of classical guitar technique is clearly described and illustrated, students using this book would still benefit from the advice and constructive feedback of a competent teacher. Consequently, teachers will find opportunities to assert their individual teaching perspectives within this method, making it a perfect road map for the instructor and students musical journey.Written in standard notation only,A Mastering the Classical Guitar, Book 1AA comes with extensive online audio examples. Fingering is kept to a minimum to encourage effective sight reading, allowing teachers and students to annotate their own ideas about digitation and contribute to their own learning process. Includes access to online audio.
$17.99
Christmas Lullaby (The Gift) (Downloadable Choral Score)
Christmas Lullaby (The Gift) (Downloadable Choral Score)
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Chorale 3 parties
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FACILE
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Noël
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George Stone
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Christmas Lullaby
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MorningStar Music Publishers - Digital Sheet Music
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SheetMusicPlus
SAB choir, solo or small treble ensemble, and harp, guitar, or piano - Moderately Easy - SKU: MQ.50-1555-E Composed by George Stone. Christmas. 8 pages....
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SAB choir, solo or small treble ensemble, and harp, guitar, or piano - Moderately Easy - SKU: MQ.50-1555-E Composed by George Stone. Christmas. 8 pages. MorningStar Music Publishers - Digital Sheet Music #50-1555-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.50-1555-E). This is not the typical lullaby about the baby Jesus sleeping in the manger. Instead, it is more about a mother singing this gentle song while tucking her child in bed on Christmas Eve, making it an excellent choice for a Christmas Eve service.
$1.70
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Making The Bed
