Essential Elements for Band - Bassoon Book 2 with EEi

SKU: HL.870068

ISBN 9781705150061. UPC: 196288016779. 9.0x12.0x0.07 inches.

30 popular melodies at an easy level in solo books for all the instruments in the Essential Elements Band Method. Perfect motivational music for students to play and practice featuring songs by Billie Eilish, Queen, Shawn Mendes, Taylor Swift, Star Wars, The Avengers, and more! Titles include: Believer � Blinding Lights � Don't Stop Believin' � Dynamite � Hallelujah � The Imperial March (Darth Vader's Theme) � Let It Go � Señorita � Seven Nation Army � Sucker � This Is Me � We Are the Champions � Wildest Dreams � You Will Be Found � and more.

SKU: HL.870263

ISBN 9798350121728. UPC: 196288200864. 9.0x12.0x0.09 inches.

There's no better way to motivate your band than with some popular Disney music! This new collection from Essential Elements works with all ensembles, regardless of what method you're using, and features great songs your band members are sure to know. The arrangements work for the whole ensemble to play together, but also as solo works for each instrumentalist! The songs are carefully correlated to correspond with instruction in the Essential Elements method books 1 and 2 so you'll know exactly when your group is ready to take on another song. A handy chart is provided in the table of contents so you can see the progress requirements. Songs include: Beauty and the Beast • Colors of the Wind • He's a Pirate • Let It Go • Remember Me (Ernesto de la Cruz) • Under the Sea • We Don't Talk About Bruno • We're All in This Together • and more! Each student book includes parts for the full band arrangement as well as separate pages for solo use.

SKU: BT.AMP-307-400

ISBN 9789043138154. 9x12 inches. English-German-French-Dut ch.

Part of the Anglo Music Play-along Series, Philip Sparkeâ??s 15 Easy Classical Solos is aimed at the young instrumentalist who can play just over an octave. Specifically tailored to suit the individual instrument, this book introduces the beginning player to the world of the classics by using simple yet attractive melodies that fit their limited range. The carefully selected pieces include music from the 16th to the 20th century and cover a wide variety of styles, from Bach to Grieg and from Purcell to Satie. This book will provide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.

Philip Sparkeâ??s 15 Easy Classical Solos, onderdeel van de Anglo Music Play-Along Series, is bedoeld voor de jonge instrumentalist die iets meer dan een octaaf kan spelen. Het boek sluit qua instrumentaal bereik en gebruikte toonsoortenaan bij het Artist Level van Hal Leonards Essential Elements ®, maar kan ook los daarvan worden gebruikt.De zorgvuldig geselecteerde melodieën, die specifiek zijn toegesneden op elk instrument, beslaan een breed scala van klassieke stijlen:van Bach tot Grieg en van Purcell tot Satie.Het boek bevat waardevol materiaal ter aanvulling op elke lesmethode en wordt geleverd met pianobegeleiding en een cd met demo- en meespeeltracks.

15 Easy Classical Solos ist als Ergänzung zur bewährten Anglo Music Play-Along Reihe gedacht und richtet sich an Schüler, die ungefähr einen Tonumfang von einer Oktave beherrschen. Das Niveau entspricht dem des Artist Levels der Essential Elements ® Methode von Hal Leonard, kann aber auch unabhängig davon verwendet werden. Genau auf jedes Instrument zugeschnitten, ermöglicht die wohlüberlegte Stückeauswahl ein erstes Kennenlernen von Melodien aus verschiedenen Epochen der Klassik von Grieg über Purcell bis Satie. Jeder Band bietet wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschule passt und enthält sowohl Klavier- als auch CD-Begleitungen.

< I>15 Easy Classical Solos, de Philip Sparke, est un ouvrage qui sâ??adresse aux jeunes musiciens, maîtrisant un peu plus dâ??une octave. 15 Easy Classical Solos a été conçu pour être joué en corrélation avec les séries Artist et/ou Master Level de la collection Essential Elements ®, publiée par les éditions Hal Leonard. Mais il peut également être utilisé indépendamment.Spéc ifiquement adapté chaque instrument, ce volume rassemble quinze mélodies écrites par des compositeurs aussi variés que Bach, Purcell, Grieg et Satie.Comprenant les parties dâ??accompagnement de piano et une version dâ??accompagnement sur compact disc, ces ouvrages représentent une sourcecomplémentaire inestimable toute méthode pédagogique.

Il concetto della collana Anglo Music Play-Along Series è quello di integrare al più presto nel processo di apprendimento dei giovani strumentisti la possibilit di poter suonare accompagnati al piano o con lâ??ausilio di unâ??incisione su CD. Ilchiaro vantaggio di questo metodo è che gli allievi imparano da subito lâ??aspetto fondamentale del suonare insieme, vale a dire tenere il tempo in modo costante. 15 Easy Classical Solos consente agli allievi che hanno una conoscenza limitatadelle note di suonare brani di Bach, Schubert, Purcell, Grieg e altri, grazie alle versioni facilitate. Il livello di 15 Intermediate Classical Solos permette invece agli allievi che padroneggiano lâ??estensione superiore a unâ??ottava dicimentarsi nei â??primi concertiâ? con brani di Haendel, Clementi, Rameau, Glueck, Beethoven e altri. Il CD propone una traccia con lâ??incisione completa e una con il solo accompagnamento.

SKU: CF.CB138F

ISBN 9780825874505. UPC: 798408074500. 9x12 inches.

The Victorious First is one of Henry Fillmore's early marches, originally published in 1907. It has all of the essential elements that have made Fillmore's music so enduring. Robert Foster now makes this march available to all again in a modern edition, exactly as Fillmore intended. A brilliant new addition to the Authentic Fillmore Edition series.

SKU: PR.44641192L

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

SKU: CF.BPS143

ISBN 9781491161241. UPC: 680160919833.

Alche my is usually defined as the Medieval search for the means of transmuting base metals, such as lead into gold and silver. The alchemist hoped to find the mysterious combination of words or elements to attain the goal. Our scene begins with a dramatic invocation to the spirits of the metals, followed by a chant to empower the energy necessary for the change. A procession of the alchemist's apprentices is heard as they add their presence to the effort and a final surge as the transformation is realized. Or is it? Careful execution of the dynamic variations within the work is essential to realize the desired effect. A metal plate can be substituted for the break drum. The tap on stands instruction in mm. 46 - 52 should be performed with a metallic beater on a metal stand. Experiment with mechanical pencils, small screwdrivers, portions of coat hangers, etc. Additional metallic percussion instruments could be added to enhance the effect or in place of the music stands. Volume is not as important as timbre.
Alchemy is usually defined as the Medieval search for the means of transmuting base metals, such as lead into gold and silver. The alchemist hoped to find the mysterious combination of words or elements to attain the goal. Our scene begins with a dramatic invocation to the spirits of the metals, followed by a chant to empower the energy necessary for the change. A procession of the alchemist’s apprentices is heard as they add their presence to the effort and a final surge as the transformation is realized. Or is it?Careful execution of the dynamic variations within the work is essential to realize the desired effect. A metal plate can be substituted for the break drum. The “tap on stands” instruction in mm. 46 – 52 should be performed with a metallic beater on a metal stand. Experiment with mechanical pencils, small screwdrivers, portions of coat hangers, etc. Additional metallic percussion instruments could be added to enhance the effect or in place of the music stands. Volume is not as important as timbre.

SKU: CF.BPS143F

ISBN 9781491161623. UPC: 680160920303.

Alche my is usually defined as the Medieval search for the means of transmuting base metals, such as lead into gold and silver. The alchemist hoped to find the mysterious combination of words or elements to attain the goal. Our scene begins with a dramatic invocation to the spirits of the metals, followed by a chant to impower the energy necessary for the change. A procession of the alchemist's apprentices is heard as they add their presence to the effort and a final surge as the transformation is realized. Or is it? Careful execution of the dynamic variations within the work is essential to realize the desired effect. A metal plate can be substituted for the break drum. The tap on stands instruction in mm. 46 - 52 should be performed with a metallic beater on a metal stand. Experiment with mechanical pencils, small screwdrivers, portions of coat hangers, etc. Additional metallic percussion instruments could be added to enhance the effect or in place of the music stands. Volume is not as important as timbre.
Alchemy is usually defined as the Medieval search for the means of transmuting base metals, such as lead into gold and silver. The alchemist hoped to find the mysterious combination of words or elements to attain the goal. Our scene begins with a dramatic invocation to the spirits of the metals, followed by a chant to impower the energy necessary for the change. A procession of the alchemist’s apprentices is heard as they add their presence to the effort and a final surge as the transformation is realized. Or is it?Careful execution of the dynamic variations within the work is essential to realize the desired effect. A metal plate can be substituted for the break drum. The “tap on stands” instruction in mm. 46 – 52 should be performed with a metallic beater on a metal stand. Experiment with mechanical pencils, small screwdrivers, portions of coat hangers, etc. Additional metallic percussion instruments could be added to enhance the effect or in place of the music stands. Volume is not as important as timbre.