Arizona : Overture on an Indian Folk Melody Op. 46

Arizona is written in a typical three-part overture form. The composition is not strictly descriptive as such, but rather conveys moods and emotions, inspired by impressions of the American desert state of Arizona: the endless, cactus-studded desert landscape, a lone Indian on horseback, the legendary Grand Canyon Railroad, the Petrified Forest and the famous Monument Valley.

Arizona : Overture on an Indian Folk Melody Op. 46

Arizona is written in a typical three-part overture form. The composition is not strictly descriptive as such, but rather conveys moods and emotions, inspired by impressions of the American desert state of Arizona: the endless, cactus-studded desert landscape, a lone Indian on horseback, the legendary Grand Canyon Railroad, the Petrified Forest and the famous Monument Valley.

Arizona Sun

Arizona Sun

Gerard Schurmann: Quartet No.2 For Piano and Strings (Score/Parts)

This work was commissioned by the Arizona Friends of Chamber Music for their 50th Music season, and 5th Tucson Winter Chamber Music Festival. The first performance was given by the Los Angeles Piano Quartet in Tucson, Arizona in March 1998.

Pakketilbud på klaverbog serien Black and White 1, 2 og 3

Super godt tilbud på alle 3 bind i Black and White serien - en virkelig fantastisk Klaverskole fra Henrik Birk Aaboe.

In the Valley of the Sun

Commissioned by the Sun City, Arizona Concert Band, In the Valley of the Sun is composed in a three-part overture format opening with a rollicking and rhythmic Western-style theme. The slow middle theme musically depictsthe beauty of the Arizona desert with a flowing, yet angular melody. The Western flavor returns drawing this work to an exciting and driving conclusion. (Grade 3.5) Dur: 5:50

Arizona : Overture on an Indian Folk Melody Op. 46

Arizona : Overture on an Indian Folk Melody Op. 46

Jimmy Eat World: Futures

All 11 tracks from the 2004 follow-up album to this Arizona band's massive hit 'The Middle.' Transcribed by Steve Gorenberg, this Play It Like It Is book features the complete guitar tab, note-for-note.

Joan Tower: For Daniel

First performed by The Kalichstein-Laredo-Robinson Trio on March 2, 2004 at the Tucson Winter Festival, For Daniel was commissioned by the Arizona Friends of Chamber Music. The work was written in memory of Daniel MacArthur, nephew of the composer, who passed away in 2003 after a long illness.

Fuzzette, the Tarantula

In 1962, the 33-year-old Robert Muczynski had already composed his flute sonata and other mature works, and recently had joined the faculty of University of Arizona, where he remained for the rest of his life. During that year, Muczynski held a Ford Foundation grant to bring his music to the public schools in the Tucson area. The charming-yet-profound result was a narrated work along the lines of Andersen’s The Ugly Duckling. Set in Arizona, Fuzzette is a hairless tarantula who assumes no one likes her for being different – until the handsome and charismatic Pancho falls in love with her for her individualism. Muczynski’s musical setting has all the charm, elegance, and jazzunderpinnings of his best-loved works for flute and for saxophone. In 1962, the 33-year-old Robert Muczynski had already composed his flute sonata and other mature works, and recently had joined the faculty of University of Arizona, where he remained for the rest of his life. During that year, Muczynski held a Ford Foundation grant to bring his music to the public schools in the Tucson area. The charming-yet-profound result was a narrated work along the lines of Andersen’s The Ugly Duckling. Set in Arizona, Fuzzette is a hairless tarantula who assumes no one likes her for being different – until the handsome and charismatic Pancho falls in love with her for her individualism. Muczynski’s musical setting has all the charm, elegance, andjazzunderpinnings of his best-loved works for flute and for saxophone.

LEGESTUESALMESANG

Legestuesalmesang - for de 1-3-årige er både tænkt som en naturlig fortsættelse af et babysalmesangsforløb Af Lene Bordorff Legestuesalmesang - for de 1-3-årige er både tænkt som en naturlig fortsættelse af et babysalmesangsforløb men også som et generelt tilbud til forældre med børn i aldersgruppen 1-3 år. Materialet kan også anvendes til lidt større børn. Legestuesalmesangen kan foregå lørdag eller søndag formiddag/eftermiddag i den lokale kirke, hvor forældre vil have mulighed for at deltage eller på hverdage, hvor det så enten kan være børnenes forældre eller dagplejemødrene, der følges med børnene. Materialet henvender sig til præsten, organisten, kirketjeneren, sognemedhjælperen, musikskolelæreren, dagplejemoderen og forældrene.

White Christmas

White Christmas is a 1942 Irving Berlin song reminiscing about an old-fashioned Christmas setting. The version sung by Bing Crosby is the world's best-selling single with estimated sales in excess of 100 million copies worldwide. Accounts vary as to when and where Berlin wrote the song. One story is that he wrote it in 1940, in warm La Quinta, California, while staying at the La Quinta Hotel, a frequent Hollywood retreat also favored by writer-director-producer Frank Capra, although the Arizona Biltmore also claims the song was written there. He often stayed up all night writing—he told his secretary, "Grab your pen and take down this song. I just wrote the best song I've ever written—heck, I just wrote the best song that anybody's ever written!"

Bitten Hylleqvist Weile og Lene Bordorff: Musikalsk Legestue Kirkeåret Rundt

Musikalsk legestue kirkeåret rundt af Bitten Hylleqvist Weile og Lene Bordorff (2017). Musikalsk legestue kirkeåret rundt er en praktisk håndbog til alle, der beskæftiger sig med børn og musik i kirken. Materialet knytter sig til fire årlige familiegudstjenester – fastelavn, påske, høst og 1. søndag i advent – så hvert kvartal peger frem imod en familiegudstjeneste. Det har erfaringsmæssigt vist sig at være en rigtig god måde at strukturere året på.   Derfor indeholder materialet også, efter hvert kvartal, en fyldestgørende idé til en familiegudstjeneste med en prædiken i børnehøjde. Børnene får en fortrolighed med kirkerummet – det bliver noget særligt at komme i kirke og de forbinder hver kirkegang med noget højtideligt og nærværende. Musikalsk legestue kirkeåret rundt er opstået ud fra et kreativt samarbejde mellem sognepræst Bitten Hylleqvist Weile og organist Lene Bordorff.   Det har i sig selv været en inspirationskilde, at kunne skabe et musikalsk tilbud indenfor kirkens rammer. De mange lektioner er nu endt i dette samlede materiale, som vi håber, vil kunne inspirere organister, musikalske medarbejdere og præster til at påbegynde musikalske legestuer i kirker rundt om i landet.  

Welcome To My Nightmare: The Alice Cooper Story

Alice Cooper is an American rock singer, songwriter and musician whose career spans more than four decades. With a stage show that features guillotines, electric chairs, fake blood, boa constrictors and baby dolls, Cooper has pioneered a grandly theatrical and violent brand of hard rock designed to shock. Drawing from exclusive and unpublished interviews with a variety of names and faces from throughout Alice?s career, the book follows Cooper?s tale from his life growing up as a preacher?s son in Arizona, through the early years of struggle in Phoenix and then Los Angeles, and then on to the rollercoaster ride that has been the years since then.Includes interviews with original bandmates Michael Bruce and the late Glenn Buxton, drummer Neal Smith, the late Frank Zappa, manager Shep Gordon and producer Bob Ezrin. Includes tributes and recollections from many of the artists who call Alice an influence - from the Damned and the Cramps, to White Zombie and Gwar. Session players and songwriters who have made their own contributions to the Alice story recall their days spent with this Prince of Hell-raisers.The result is a story that alternately thrills, shocks, surprises and delights.Includes full discography and bibliography.

Songs from a Silent Land : Soprano and Symphonic Winds (Full Score)

One of Daugherty's most soulful and expressive works, Songs from a Silent Land (2019) for soprano and symphonic winds is inspired by the poetry of Emily Dickinson (1830-1866) and Christina Rossetti (1830-1894). Comprised of threesongs reflecting on this world and the possibility of a next world, Songs from a Silent Land caused a sensation when it was premiered by the Louisiana State University Wind Ensemble (conducted by Damon Talley, with soprano HilaPlitmann) at the College Band Directors National Association Convention (CBDNA) at Arizona State University on February 20, 2019. The music reflects on our experiences of life and nature in the world around us (Water is Taught byThirst [1859], Dickinson) and laments upon the impossibility of reaching heaven during one's lifetime (De Profundis, [1876], Rossetti), concluding with a bittersweet musical rendering of Rossetti's sonnet, Remember [1862]. If youare looking to program a poignant and meaningful work for your next concert, Songs from a Silent Land is an excellent choice that your audience will long remember. Instrumentation (one player per part) Soprano solo Piccolo/AltoFlute Flute Oboe English Horn Bb Clarinet Bb Bass Clarinet Bassoon Contrabassoon 2 F Horns 2 C Trumpets (mutes: straight metal, cup mute, harmon mute/stem out) Harp Percussion (two players) 1. Vibraphone, Glockenspiel, Xylophone2. Triangle (mounted), Vibraslap (mounted), Claves, Chimes, Castanets (mounted), Kick Drum, Wind Chimes, Crotales (one octave, lower octave), Tambourine (small), Glockenspiel (shared with Percussion 1) Contrabass

Buck 'Em! : The Autobiography of Buck Owens

Born in Texas and raised in Arizona, Buck Owens eventually found his way to Bakersfield, California. Unlike the vast majority of country singers, songwriters, and musicians who made their fortunes working and living in Nashville, the often rebellious and always independent Owens chose to create his own brand of country music some 2,000 miles away from Music City - racking up a remarkable 21 number-one hits along the way. In the process he helped give birth to a new country sound and did more than any other individual to establish Bakersfield as a country music center. In the latter half of the 1990s, Buck began working on his autobiography. Over the next few years, he talked intothe microphone of a cassette tape machine for nearly one hundred hours, recording the story of his life. With his near-photographic memory, Buck recalled everything from his early days wearing hand-me-down clothes in Texas to his glory years as the biggest country star of the 1960s; from his legendary Carnegie Hall concert to his multiple failed marriages; from his hilarious exploits on the road to the tragic loss of his musical partner and best friend, Don Rich; from his days as the host of a local TV show in Tacoma, Washington, to his co-hosting the network television show Hee Haw; and from his comeback hit, Streets of Bakersfield, to his induction into the Country Music Hall of Fame. In these pages, Buck also shows his astute business acumen, having been among the first country artists to create his own music publishing company. He also tells of negotiating the return of all of his Capitol master recordings, his acquisition of numerous radio stations, and of his conceiving and building the Crystal Palace, one of the most venerated musical venues in the country.

Autobiography For Pt2 Sc Band

The suggestion that I write my autobiography was made at a time when anyone who did not write one risked being called eccentric. It became, and still is, a major sport among the oldsters. Some of the contemporary books are good reading indeed. One of the best of them is the result of an enormous research job, as is brought out in the introduction to the work. Imagine spending long hours and traveling many miles to find out about oneself: I am sure I would be one of the first to be utterly bored by the subject. It was not so easy, however, to dismiss the whole idea as my friends presented it. The only answer I could think of with any degree of enthusiasm was this one, written purely for whatever pleasure it could give. My own part of the pleasure is mostly in utilizing the musical language of the concert band, with its apparently inexhaustible colors and its fabulous vitality. The form (if the term has any right being here) is seven short pictures, each about two minutes long, of my own personal seven ages. The two-minute idea may be the result of the loudspeakers spread all over the hotel in Arizona where the piece was composed. There was no getting out of ear-shot of those two-minute gems - in the dining rooms, around the swimming pools, by the putting green, everywhere-but I honestly do not believe any of them crept into what I was writing. I do not believe I paid much more than passing attention to them. Part Two : IV. 1916: Mo. to N.Y. V. 1919: The Merrill Miracle VI. 1926: A Parisian in Paris VII. 1935: What Was the Question? The three of my seven ages in Part One took us to the legal end of my youth. Gathering up my unspectacular belongings, including my entire fortune of less than two hundred dollars, I swooped down on New York for no more reason than that it was New York and had a street in it called Broadway. The music borrows two or three rhythms from the era, but the only note-for-note quote is what the bugler at Camp Funston played every morning while we put on our shoes. Later, when we get to Paris, some of the cute old French tunes that everybody knows come tripping by. This is the full extent of actual musical quotes, at least conscious ones. As I laid down the pen on this I wondered how many musicians had done the same kind of autobiography, and I remembered being in London with one of the editors of Chappell and Company when Bert Kalmar and Harry Ruby turned out "Three Little Words". I innocently said I wondered why that title had not been thought of before. My British friend said, "Funny you should ask that! I just looked it up in the index of songs copyrighted in the British Isles. There are fifty-three." - Robert Russell Bennett