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Maurice Ravel composed Mother Goose (Ma mere l'oye) as a suite in five movements for piano four hands between 1908-10. He orchestrated the suite in 1911. 'The Enchanted Garden (Le Jardin féerique),' t...
Maurice Ravel composed Mother Goose (Ma mere l'oye) as a suite in five movements for piano four hands between 1908-10. He orchestrated the suite in 1911. 'The Enchanted Garden (Le Jardin féerique),' t...
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Maurice Ravel composed Mother Goose (Ma mere l'oye) as a suite in five movements for piano four hands between 1908-10. He orchestrated the suite in 1911. 'The Enchanted Garden (Le Jardin féerique),' t...
Maurice Ravel composed Mother Goose (Ma mere l'oye) as a suite in five movements for piano four hands between 1908-10. He orchestrated the suite in 1911. 'The Enchanted Garden (Le Jardin féerique),' t...
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Maurice Ravel composed Mother Goose (Ma mere l'oye) as a suite in five movements for piano four hands between 1908-10. He orchestrated the suite in 1911. 'The Enchanted Garden (Le Jardin féerique),' t...
Maurice Ravel composed Mother Goose (Ma mere l'oye) as a suite in five movements for piano four hands between 1908-10. He orchestrated the suite in 1911. 'The Enchanted Garden (Le Jardin féerique),' t...
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This arrangement features the main theme from the second movement of Tchaikovsky's Symphony No. 4 in F minor, Op. 36. Tchaikovsky composed this during a period of personal crisis, therefore the work a...
This arrangement features the main theme from the second movement of Tchaikovsky's Symphony No. 4 in F minor, Op. 36. Tchaikovsky composed this during a period of personal crisis, therefore the work a...
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This arrangement features the main theme from the second movement of Tchaikovsky's Symphony No. 4 in F minor, Op. 36. Tchaikovsky composed this during a period of personal crisis, therefore the work a...
This arrangement features the main theme from the second movement of Tchaikovsky's Symphony No. 4 in F minor, Op. 36. Tchaikovsky composed this during a period of personal crisis, therefore the work a...
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This arrangement features the main theme from the second movement of Tchaikovsky's Symphony No. 4 in F minor, Op. 36. Tchaikovsky composed this during a period of personal crisis, therefore the work a...
This arrangement features the main theme from the second movement of Tchaikovsky's Symphony No. 4 in F minor, Op. 36. Tchaikovsky composed this during a period of personal crisis, therefore the work a...
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This authentic arrangement of William Boyce's Symphony No. 1 preserves the original melodic and harmonic material along with the three-movement Italian sinfonia form; however, the original key of B-fl...
This authentic arrangement of William Boyce's Symphony No. 1 preserves the original melodic and harmonic material along with the three-movement Italian sinfonia form; however, the original key of B-fl...
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- Brian Folus
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This authentic arrangement of William Boyce's Symphony No. 1 preserves the original melodic and harmonic material along with the three-movement Italian sinfonia form; however, the original key of B-fl...
This authentic arrangement of William Boyce's Symphony No. 1 preserves the original melodic and harmonic material along with the three-movement Italian sinfonia form; however, the original key of B-fl...
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- Brian Folus
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This authentic arrangement of William Boyce's Symphony No. 1 preserves the original melodic and harmonic material along with the three-movement Italian sinfonia form; however, the original key of B-fl...
This authentic arrangement of William Boyce's Symphony No. 1 preserves the original melodic and harmonic material along with the three-movement Italian sinfonia form; however, the original key of B-fl...
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- Brian Folus
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Two contrasting Shaker melodies provide the framework for this piece, which alternates between 6/8 and cut time. The first, Followers of the Lamb, was written by Sister Clarissa Jacobs (1833-1905). Ac...
Two contrasting Shaker melodies provide the framework for this piece, which alternates between 6/8 and cut time. The first, Followers of the Lamb, was written by Sister Clarissa Jacobs (1833-1905). Ac...
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Two contrasting Shaker melodies provide the framework for this piece, which alternates between 6/8 and cut time. The first, Followers of the Lamb, was written by Sister Clarissa Jacobs (1833-1905). Ac...
Two contrasting Shaker melodies provide the framework for this piece, which alternates between 6/8 and cut time. The first, Followers of the Lamb, was written by Sister Clarissa Jacobs (1833-1905). Ac...
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A gem from the Baroque, this Handel work is in the typical French Overture form, with a stately opening with dotted rhythms, followed by a fugal allegro. In G Major, this exhilarating work lies easily...
A gem from the Baroque, this Handel work is in the typical French Overture form, with a stately opening with dotted rhythms, followed by a fugal allegro. In G Major, this exhilarating work lies easily...
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A gem from the Baroque, this Handel work is in the typical French Overture form, with a stately opening with dotted rhythms, followed by a fugal allegro. In G Major, this exhilarating work lies easily...
A gem from the Baroque, this Handel work is in the typical French Overture form, with a stately opening with dotted rhythms, followed by a fugal allegro. In G Major, this exhilarating work lies easily...
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Vir-cello Reality, as the title suggests, is a showcase for the cello section. This fast-paced rondo gives the cello section the opportunity to show off their agility, and allows them to sing out as a...
Vir-cello Reality, as the title suggests, is a showcase for the cello section. This fast-paced rondo gives the cello section the opportunity to show off their agility, and allows them to sing out as a...
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Vir-cello Reality, as the title suggests, is a showcase for the cello section. This fast-paced rondo gives the cello section the opportunity to show off their agility, and allows them to sing out as a...
Vir-cello Reality, as the title suggests, is a showcase for the cello section. This fast-paced rondo gives the cello section the opportunity to show off their agility, and allows them to sing out as a...
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What would it sound like if Scott Joplin had written 'Jingle Bells?' Your students and audience will find out when they hear this delightful holiday piece in ragtime style. Full of great teaching oppo...
What would it sound like if Scott Joplin had written 'Jingle Bells?' Your students and audience will find out when they hear this delightful holiday piece in ragtime style. Full of great teaching oppo...
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What would it sound like if Scott Joplin had written 'Jingle Bells?' Your students and audience will find out when they hear this delightful holiday piece in ragtime style. Full of great teaching oppo...
What would it sound like if Scott Joplin had written 'Jingle Bells?' Your students and audience will find out when they hear this delightful holiday piece in ragtime style. Full of great teaching oppo...
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What would it sound like if Scott Joplin had written 'Jingle Bells?' Your students and audience will find out when they hear this delightful holiday piece in ragtime style. Full of great teaching oppo...
What would it sound like if Scott Joplin had written 'Jingle Bells?' Your students and audience will find out when they hear this delightful holiday piece in ragtime style. Full of great teaching oppo...
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This triad of 'B's' explores a variety of styles, meters and modalities. 'Be-Boppin' Bourée' is a juxtaposition of 17th century bourée and 20th century swing styles, complete with walking bass line. '...
This triad of 'B's' explores a variety of styles, meters and modalities. 'Be-Boppin' Bourée' is a juxtaposition of 17th century bourée and 20th century swing styles, complete with walking bass line. '...
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This triad of 'B's' explores a variety of styles, meters and modalities. 'Be-Boppin' Bourée' is a juxtaposition of 17th century bourée and 20th century swing styles, complete with walking bass line. '...
This triad of 'B's' explores a variety of styles, meters and modalities. 'Be-Boppin' Bourée' is a juxtaposition of 17th century bourée and 20th century swing styles, complete with walking bass line. '...
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This fun and original piece for string orchestra introduces the technique of 'tone painting.' It depicts inventor Professor Wigstein's proud creation, a machine that plays some of the world's most fam...
This fun and original piece for string orchestra introduces the technique of 'tone painting.' It depicts inventor Professor Wigstein's proud creation, a machine that plays some of the world's most fam...
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This fun and original piece for string orchestra introduces the technique of 'tone painting.' It depicts inventor Professor Wigstein's proud creation, a machine that plays some of the world's most fam...
This fun and original piece for string orchestra introduces the technique of 'tone painting.' It depicts inventor Professor Wigstein's proud creation, a machine that plays some of the world's most fam...
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This fun and original piece for string orchestra introduces the technique of 'tone painting.' It depicts inventor Professor Wigstein's proud creation, a machine that plays some of the world's most fam...
This fun and original piece for string orchestra introduces the technique of 'tone painting.' It depicts inventor Professor Wigstein's proud creation, a machine that plays some of the world's most fam...
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This arrangement from one of the greatest symphonies of all time captures the rhythmic essence and delightful melodic craftsmanship of Ludwig van Beethoven. All orchestra members will develop cultural...
This arrangement from one of the greatest symphonies of all time captures the rhythmic essence and delightful melodic craftsmanship of Ludwig van Beethoven. All orchestra members will develop cultural...
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This arrangement from one of the greatest symphonies of all time captures the rhythmic essence and delightful melodic craftsmanship of Ludwig van Beethoven. All orchestra members will develop cultural...
This arrangement from one of the greatest symphonies of all time captures the rhythmic essence and delightful melodic craftsmanship of Ludwig van Beethoven. All orchestra members will develop cultural...
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