Song List: As With Gladness, Men Of Old Come, Thou Long-Expected Jesus He Is Born, The Divine Christ Child O Come, O Come Emmanuel On Christmas Night Silent Night, Holy Night

Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septi�me regrettent!!!, Petite Valse,F�tes galantes, and Pr�lude � ?L?Histoire de Tristan?

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pell�as et M�lisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orph�e-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint S�bastien and La Bo�te � joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr� Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr� Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

Contains:
"En Face Du Miroir (Facing The Mirror)"
- taken from the Isadar solo piano complete collection, "Red" (also available on SMP)

Sounds like: Keith Jarrett, Bill Evans, Vince Guaraldi, Liz Story, George Winston, early Windham Hill solo piano artists

Transcribed by: David Shenton ( https://www.shentonmusic.com/ ) verbatim to the sound recording

Album & Songbook Review by: Kathy Parsons

Red is pianist/composer Isadar?s genre-defying tenth solo piano album and seventeenth independent release from the past twenty years. It is also the third installment in a trilogy of solo piano albums released in the past year - Reconstructed, a Will Ackerman-produced anthology of some of Isadar?s best piano pieces; O Christmas, Isadar?s second piano Christmas album; and now Red, a bittersweet love-themed album that took seven years to produce and that consists of the first new original solo piano material Isadar has released in more than ten years.

I have been reviewing and thoroughly enjoying Isadar?s releases since his second piano album, 1999?s Active Imagination, which still stands as one of my favorite recordings. Even though I have been a big fan for many years, I was still blown away by Isadar?s live performance in my house concert series in July 2010. The man has magic fingers and an extraordinary piano touch that are perfectly suited to express his imaginative, distinctive, and emotionally powerful music.

Isadar is also a singer/songwriter and an electronic musician who creates the music videos for much of his music, dramatizing the stories that inspired the songs. I will always be partial to Isadar?s piano albums because his voice and vision are unique, incorporating jazz, new age, pop, and classical stylings into a musical language all his own.

Red opens with ?Broken Valentine,? a free-flowing expression of heartbreak and the broad range of emotions that go with it, alternating between grief and confusion then shifting to perhaps anger and resignation - a great beginning. The title track conveys the freedom of an improvisation while weaving together a variety of upbeat themes. ?The Man Who Broke My Heart? is energetic and in constant swirling motion - also very free and from deep within. ?The Stairwell? is darker and much more mysterious, overflowing with Isadar?s intriguing accented rhythms and picturesque compositional style. My favorite track is the almost nine-minute ?Letting Go,? a piece that intertwines a series of musical vignettes into a powerful, colorful musical collage. I love the way Isadar seamlessly goes from flowing and smooth to a bouncy jazz style to high drama without missing a beat. Great stuff! ?En Face Du Miroir (Facing the Mirror)? is much lighter, with fingers dancing nimbly around the piano keyboard. The album closes with ?Blood ... Thicker Than Water,? again a combination of changing themes that could well be a musical family portrait - different personalities working separately and as a unit, bound together by the unseen ties that keep families together through thick and thin.

Isadar has created another piano masterpiece that should be more widely heard than his previous releases due to the success of Reconstructed. I hope so, anyway! Red is available from isadar.com, Amazon, iTunes, and CD Baby. Very highly recommended!

Isadar?s Red: Solo Piano Sheet Music Collection is a note-for-note transcription of all seven pieces from Isadar?s 2013 CD/download release by the same name. The music was transcribed by David Shenton (shentonmusic.com) with clear, concise notation that includes dynamics, pedaling and metronome settings.

Isadar is an amazing pianist with a style all his own, so this isn?t a book that most pianists will be able to just sit down and play. It will take some work and attention to detail to get this music right, but it will be well worth the effort. Having the recording for handy reference would be a big help.

Rhythms are often complex and syncopated, but are usually repeated within each piece, so once you have them, the rest will follow fairly easily. There are only a few chords with a reach of more than an octave and none of the key signatures are terribly difficult. The layout and spacing of the music is excellent, and the paper stock is a bright white 9?x12? format with a stapled binding.

If you enjoy listening to Isadar?s music, I?m sure you will enjoy playing it, too! This songbook is available from isadar.com. Recommended!

The songs with their key signatures and the number of pages is listed below:

Broken Valentine - C minor (3 flats) - 4 pages
Red - A minor (0 sharps or flats) - 5 pages
The Man Who Broke My Heart - A minor - 6 pages
The Stairwell - F# minor (3 sharps) - 7 pages
Letting Go - F minor (4 flats) / C minor (3 flats) - 8 pages
En Face Du Miroir (Facing the Mirror) - Ab (4 flats) / F minor/ Bb minor (5 flats) / Db (5 flats) - 7 pages
Blood ... Thicker Than Water - A Minor/ C (0) / F (1 flat) - 7 pages

Isadar is an artist on both Enlightened Piano Radio & Whisperings Solo Piano Radio, the latter featuring some of today's biggest names in solo piano music, including Ludovico Einaudi, David Nevue, Brian Crain, Kevin Kern, Robin Spielberg, Michele McLaughlin, Philip Wesley and over 300 more...

Also available as sheet music in physical songbooks, digital downloads, as well as software for Yamaha Disklavier player-pianos.

For more information, visit his website at: http://www.isadar.com

English.

Style &. Craft - Troubleshooting 1 - The Fingerboard Map: Chords. The Guide To Twentieth-Century Guitar: Praxis is the first instructional book of its kind. It takes a strikingly new and refreshing approach to learning guitar, and it is carefully designed to guarantee efficient practice with rewarding results. Establish Your Own Musical Direction: Whether your playing falls under one of the more traditional conventional styles, or whether you're a composer and arranger or exploring new musical regions and establishing your own musical direction or personal fusion of musical ideas and influences, Praxis has what you need. Unlock The Musician Within: The name of the system (Praxis comes from the Greek word meaning practice and to do) accurately reflects its general orientation. Play it first, getting sound and satisfaction out of the guitar immediately, and musical understanding will naturally follow. Praxis lets you choose the precise subject you want and immediately provides relevant musical examples. And these examples are presented in such a way that the principle behind the example is always clear, thus allowing you to apply it directly to your music. One Step Beyond - Originators Vs. Imitators: Traditional guitar books try to teach you to play someone else's music. That approach tends to produce imitators rather than originators and real musicianship skills are picked up slowly and almost by accident. Praxis takes you directly to being able to play anything that you want ... someone else's music, your own music, and everything in between. Praxis takes you one step beyond. Efficient Learning: Guitar instruction books are traditionally written in a progressive fashion. Book 1 first, then Book 2, etc. However, the selection and sequencing of material is usually determined by the book rather than the reader, and the familiar result is that, while the book progresses, the student doesn't. Again, Praxis reverses this. You don't have to start with Book 1, there is no Book 1! You go where your interests lie. Just begin work on any one subject in any volume that attracts you. Integrated Study Programs - 239 Compact &. Powerful Units: Because Praxis is a modular system, it can be reassembled into many different combinations. These different combinations of units can answer both varying curricular needs as well as individual interests. Directly stated, there are countless guitar books housed within Praxis, either three, or ten, or

This is a warm and reflective arrangement of Edelweiss from the Sound of Music. This version is written for piano four hands which can be performed as a piano duet or duo. The Piano 1 part can also be played with only one hand since it is one note at a time.

Ideal as a pedagogical piece.

For Piano 1: Five-finger positions with no chords, played one note at a time, and almost no hand position movement. All fingers are written in to easily follow. Includes lyrics to sing along while playing.

For Piano 2: For teacher or Early intermediate student.

Easy for beginner students to listen and follow along with a teacher or duet partner. Great way to introduce students to the key of B-flat major.

Length: Approx. 1:10

The best way to learn any instrument is to have lessons from a good, experienced teacher. Although, happily, the number of such teachers is constantly growing, the recorder is still frequently taught by enthusiastic but inexperienced teachers and many players start by teaching themselves.
This series of books sets out to help learners of all ages in all three situations. Experienced teachers, who may choose to disregard much of the text as personal demonstration is always clearer than the written word, will find exercises and fine tunes a-plenty to support their own method at each stage. The less experienced willbenefit from many valuable teaching hints culled from long experience and may rely on the books to lead to a sound playing technique and a mastery of simple notation.
Those learning by themseves - and I started in this way - are urged to work carefully and systematically through the books, taking plenty of time to assimilate each point before moving on. For them, without the personal model provided by a live teacher, it is vitally important to listen as often as possible to fine players, in person or on record, so that they have in their mind's ear a clear notion of the kind of sound they would like to produce.
But however they start, I can only wish that all who use these books will derive as much pleasure and musical satisfaction and gain as many lasting and valued friendships as I have through this most subtle, delightful and sociable of instruments. (Brian Bonsor)

&ldquo....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken&ldquo. (Oliver James, Contact Magazine)

These two tutors, with accompanying teacher's books, are for newcomers to the instrument who are beginning on the treble and so assume no previous knowledge either of the instrument or of musical notation.

This spritely and delightful tune from Rodger's and Hammerstein's beloved THE SOUND OF MUSIC is masterfully and lovingly adapted for flute choir by an arranger who once portrayed Friedrich von Trapp in a theatrical production.

Digital Pack includes:

1. Do-Re-Mi (from The Sound of Music) - Conductor Score (Full Score)
2. Do-Re-Mi (from The Sound of Music) - Flute
3. Do-Re-Mi (from The Sound of Music) - Oboe
4. Do-Re-Mi (from The Sound of Music) - Bassoon
5. Do-Re-Mi (from The Sound of Music) - Bb Clarinet 1
6. Do-Re-Mi (from The Sound of Music) - Bb Clarinet 2
7. Do-Re-Mi (from The Sound of Music) - Bb Clarinet 3
8. Do-Re-Mi (from The Sound of Music) - Bb Bass Clarinet
9. Do-Re-Mi (from The Sound of Music) - Eb Alto Saxophone 1
10. Do-Re-Mi (from The Sound of Music) - Eb Alto Saxophone 2
11. Do-Re-Mi (from The Sound of Music) - Bb Tenor Saxophone
12. Do-Re-Mi (from The Sound of Music) - Eb Baritone Saxophone
13. Do-Re-Mi (from The Sound of Music) - Bb Trumpet 1
14. Do-Re-Mi (from The Sound of Music) - Bb Trumpet 2
15. Do-Re-Mi (from The Sound of Music) - F Horn
16. Do-Re-Mi (from The Sound of Music) - Trombone
17. Do-Re-Mi (from The Sound of Music) - Baritone B.C.
18. Do-Re-Mi (from The Sound of Music) - Baritone T.C.
19. Do-Re-Mi (from The Sound of Music) - Tuba
20. Do-Re-Mi (from The Sound of Music) - Bass
21. Do-Re-Mi (from The Sound of Music) - Percussion 1
22. Do-Re-Mi (from The Sound of Music) - Percussion 2
23. Do-Re-Mi (from The Sound of Music) - Mallet Percussion
24. Do-Re-Mi (from The Sound of Music) - Timpani

Digital Pack includes:

1. Climb Ev'ry Mountain (from The Sound of Music) - Conductor Score (Full Score)
2. Climb Ev'ry Mountain (from The Sound of Music) - Flute
3. Climb Ev'ry Mountain (from The Sound of Music) - Oboe
4. Climb Ev'ry Mountain (from The Sound of Music) - Bassoon
5. Climb Ev'ry Mountain (from The Sound of Music) - Bb Clarinet 1
6. Climb Ev'ry Mountain (from The Sound of Music) - Bb Clarinet 2
7. Climb Ev'ry Mountain (from The Sound of Music) - Bb Clarinet 3
8. Climb Ev'ry Mountain (from The Sound of Music) - Bb Bass Clarinet
9. Climb Ev'ry Mountain (from The Sound of Music) - Eb Alto Saxophone 1
10. Climb Ev'ry Mountain (from The Sound of Music) - Eb Alto Saxophone 2
11. Climb Ev'ry Mountain (from The Sound of Music) - Bb Tenor Saxophone
12. Climb Ev'ry Mountain (from The Sound of Music) - Eb Baritone Saxophone
13. Climb Ev'ry Mountain (from The Sound of Music) - Bb Trumpet 1
14. Climb Ev'ry Mountain (from The Sound of Music) - Bb Trumpet 2
15. Climb Ev'ry Mountain (from The Sound of Music) - F Horn
16. Climb Ev'ry Mountain (from The Sound of Music) - Trombone
17. Climb Ev'ry Mountain (from The Sound of Music) - Baritone B.C.
18. Climb Ev'ry Mountain (from The Sound of Music) - Baritone T.C.
19. Climb Ev'ry Mountain (from The Sound of Music) - Tuba
20. Climb Ev'ry Mountain (from The Sound of Music) - Bass
21. Climb Ev'ry Mountain (from The Sound of Music) - Percussion 1
22. Climb Ev'ry Mountain (from The Sound of Music) - Percussion 2
23. Climb Ev'ry Mountain (from The Sound of Music) - Mallet Percussion
24. Climb Ev'ry Mountain (from The Sound of Music) - Timpani

Song List: Epiphany Medley Hark, The Glad Sound! It Came Upon the Midnight Clear Lo, How a Rose E'er Blooming Masters in this Hall Pat-a-Pan

This lively and enchanting work -- lovingly crafted by an arranger who once played Friedrich von Trapp in a theatrical production -- can stand alone or can be combined with Prof. Hays' other arrangements to create a SOUND OF MUSIC SUITE. All members of the ensemble are featured in this arrangement which includes both the introductory and wedding versions of the endearing tune.

German * English.

In the successful Best of Piano Classics series, two more collections of original works and arrangements are published, now for piano four hands, for double the joy of playing the instrument: Best of Piano Duets 1 contains 20 original duets, including the popular Waltz and Hungarian Dance No. 5 by Brahms or the Military March by Schubert. Best of Piano Duets 2 contains 20 arrangements for discerning lovers of classical masterpieces, including the famous Canon by Pachelbel, "Das klinget so herrlich" from Mozart's Magic Flute or Morning Mood by Grieg. Completed with fingerings, tempo suggestions and pedal indications and published in a modern and reader-friendly layout, these great-sounding original pieces and arrangements, selected for advanced players, are recommended not only for lessons but also for any amateur musician who loves to play the piano

German * English.

In the successful Best of Piano Classics series, two more collections of original works and arrangements are published, now for piano four hands, for double the joy of playing the instrument: Best of Piano Duets 1 contains 20 original duets, including the popular Waltz and Hungarian Dance No. 5 by Brahms or the Military March by Schubert. Best of Piano Duets 2 contains 20 arrangements for discerning lovers of classical masterpieces, including the famous Canon by Pachelbel, "Das klinget so herrlich" from Mozart's Magic Flute or Morning Mood by Grieg. Completed with fingerings, tempo suggestions and pedal indications and published in a modern and reader-friendly layout, these great-sounding original pieces and arrangements, selected for advanced players, are recommended not only for lessons but also for any amateur musician who loves to play the piano.