Titles
Showing 1,381-1,400 of 17,576 items.
| # | ID | Titlecode | Title Name | Marketing Copy | Instrumentation | |
|---|---|---|---|---|---|---|
| 1381 | 12E4D478-38DA-482E-8D49-13CF03BBB979 | ST582 | Flam City | As the title suggests, this advanced snare drum solo is based on flam technique, also incorporating dynamic rolls, rim shots and backsticking to create an exciting showpiece with plenty of driving rhythmic flair. | Snare Drum Unaccompanied | |
| 1382 | 12E54634-FBC3-49A6-8E10-56A5F9E0FC77 | SC147 | Maiden's Song | U.I.L. Sight Reading Selection for Class C (SA) | Sa | |
| 1383 | 12E66A25-35C1-4798-97C5-01FB050D2033 | M409591 | Carnival of the Animals, The (Le Carnaval des Animaux), No. 13: The Swan (Le Cygne) | Following a disastrous concert tour of Germany in 1885-86, Camille Saint-Saëns (1835-1921) withdrew to a small Austrian village, where he composed THE CARNIVAL OF THE ANIMALS (LE CARNAVAL DES ANIMAUX) in February 1886. From the beginning, the composer regarded the work as a piece of fun. He wrote to his publishers Durand in Paris that he was composing a work for the coming Shrove Tuesday, and confessing that he knew he should be working on his Third Symphony, but that this work was "such fun" ("... mais c'est si amusant!"). He had apparently intended to write the work for his students at the École Niedermeyer, but it was first performed at a private concert given by the cellist Charles Lebouc on Shrove Tuesday, 9 March 1886. No. 13, THE SWAN (LE CYGNE) is the most popular movement from the suite, and is particularly well-known as a vehicle for cello soloists. A beautiful melody that will flow in the legato style, this solo is one that relies on tone quality. Originally arranged by the composer, this version was edited by famed cellist by Emilio Colón. | Violoncello and Piano | |
| 1384 | 12EB3CA2-B8A6-4F6C-904F-BAFE96A00A83 | S794CB | Songs Without Words for Saxophone Quartet and Concert Band | Sax Quartet With Concert Band | ||
| 1385 | 12F0FB0B-969D-45A4-B484-0CB788FBF59D | SC446 | The Mustang | Versions for TB and TTB chorus are available from the publisher. | Tb | |
| 1386 | 12FB3A2D-C9D7-4580-BC78-3E73B9EB2658 | SC719 | Oi, Tam Za Horoiu (Oh, There Beyond the Hill) | This choral setting is based on a carol from the Poltava region of the Ukraine, commissioned and premiered by Cantabile, performing with the St. Andrews Memorial Church Choir. | SATB, Piano | |
| 1387 | 12FC797F-A295-4D76-8433-1CD4A602F356 | W100291 | Pelleas et Melisande, CD 93/ L 88: Interludes | (not set) | Piano Solo | |
| 1388 | 12FC814C-122D-4B52-8A9C-B83A6583C7B7 | X503045 | Elegy and Meditation | This piano trio alternates between entirely independent parts, including many duple against triplet rhythms, and moments of more rhythmic homogeny between at least two of the instruments. It is dedicated to Haydn. | Piano, Violin, and Violoncello | |
| 1389 | 12FE4FD5-BEC8-42DA-9B44-E925FD111223 | 50250225 | Catawampus | The word “Catawampus” is often used to indicate something out of alignment or askew. Bud Woodruff’s CATAWAMPUS, attempts to capture both meanings, with each variation quite opposite the ones closest to it; the theme being like an Indian lady doomed to live as a mountain lion, the first variation like a large, ferocious cat on the prowl, and then your own imagination can take over for the next two. | String Orchestra with optional Harp | |
| 1390 | 130AC838-86D3-4C11-9CDF-41177504A639 | 52733004 | Twenty Folk Tunes for Cello Quartet (or Trio) | A useful resource for teachers who want to expose their young students to basic thumb position, in either treble or tenor clef. Performance notes explain cello thumb position. Arrangements are short and not too physically taxing for young players. Melody always in first position. | Cello Quartet (or Trio) | |
| 1391 | 130E35AA-3252-4B93-90CF-EDA7744EDCA8 | 10530159 | The Rosary for Trombone Solo and Piano | Ethelbert Nevin (1862-1901) wrote the Rosary for voice and piano in 1898, and it is one of the pieces for which he is best known. Floyd Harris has arranged the work here for a trombone trio with piano accompaniment. The work is a perfect selection for beginning brass players to take to contest or play at a recital. Versions exist for trumpet/cornet solo, duo, or trio, trombone solo, duo, or trio, and baritone solo or duo. Each version has piano accompaniment. | Trombone Solo and Piano | |
| 1392 | 13124F2A-3100-43E4-AEB3-4CC929C1B399 | ST54 | Tre Movimenti (3 Movements) | Trumpet Quartet | ||
| 1393 | 13127547-B6E5-46BA-A7D3-48B1B906B935 | 52702488 | Six Intermediate Trios | Subtitled "from the Classic Keyboard Repertoire," this collection of six trios arranged by Catherine McMichael for two violins and a viola (with an optional cello for the viola) includes works by the following composers: Ludwig van Beethoven, Frédéric Chopin, Albert Elmenreich, Joseph Haydn, Domenico Scarlatti, and Anton Schmoll. | Violin 1, Violin 2 and Viola (opt. Viola) | |
| 1394 | 1312F1F0-79D2-47C9-8844-01345DE97FB2 | DMAC2 | McBeth Conducts McBeth Vol. 2 | From the original albums recorded by the Texas Tech University Concert Band. Tracks: 1. Festive Centennial 2. To Be Fed by Ravens 3. Capriccio Concertante 4. Reflections Past 5. Kaddish 6. Mosaic | Cd | |
| 1395 | 13223A23-F480-415D-A7F0-DEC57C17DBE3 | SO175C | Triumphal March (Marche Triomphale, Op. 34) | This majestic MARCH is an arrangement for double string orchestra of a work originally composed for harmonium and piano in 1872 by the world-famous French organist, Alexandre Guilmant (1836–1911). This arrangement is transposed up a half-step; bowings, articulation and some dynamics are added; and repeats of the trio and the opening march are omitted. | Double String Orchestra | |
| 1396 | 1326B3C5-5F7B-4ECF-8C8F-329D99EF05F4 | M984690 | Ruslan and Ludmila Overture (also M0046?) | Full Orchestra | ||
| 1397 | 1327ED1A-FA80-4386-9F2B-5066CB01B3EB | M186691 | Deux Esquisses | "Two Sketches" written by French flautist, Philippe Gaubert. Movements: I. Night on the Plain II. Oriental. | Flute and Piano | |
| 1398 | 13290d77-9e3b-11f0-a418-0022482c9682 | M241691 | Three (3) Sonatas for Keyboard Four Hands | These four-hand keyboard sonatas by Johann Christian Bach (1735-1782), found in this collection edited by Wilhelm Weismann, was likely inspired by a 1765 visit to London by a 9-year-old W.A. Mozart and his sister Nannerl, where they played young Mozart's YOUTH SONATA in C Major, the likely first such four hand keyboard sonata to be composed. While the harpsichord would still be considered the primary keyboard instrument of the time, the first edition actually mentions the pianoforte first before the harpsichord in the title, proving the rising interest in the new instrument. The three sonatas included are: 1. Sonata in C Major, Op. 15, No. 6; 2. Sonata in A Major, Op. 18, No. 5; 3. Sonata in F Major, Op. 18, No. 6. Reprint edition. | Piano or Harpsichord Four Hands | |
| 1399 | 132E91F4-25E1-401B-8559-A615FCF81DD7 | ST907 | Someday | Tenor Sax | ||
| 1400 | 1331F200-B244-4D5D-A1B9-EB25883F982C | M365491 | Quartet In E Flat Op.19 | (not set) | Two Violins, Viola and Violoncello |