Several versions of this tune exist. Their roots can be traced back to the days of the jug bands of the early 1900s in Memphis and Louisville. This arrangement is for solo mountain dulcimer in 1-5-8 or DAD tuning. It can be somewhat challenging for the intermediate level player and is probably better suited for the upper intermediate or advanced level player.

Three versions of the tune are included, with each version applying variations and fills to the basic melody.

Three pages. Tablature and guitar accompaniment chords are included (no lyrics or standard notation).

This traditional American blues song is arranged for solo mountain dulcimer in 1-5-8 or DAD tuning. It makes use of a 1 fret on all three strings. Suitable for the intermediate level player with a knowledge of chord-melody style, the primary challenge to learning this song will be the numerous "filler notes" involving hammer-ons and pull-offs.

Two pages. Includes tablature, standard musical notation, lyrics, and guitar accompaniment chords.

This traditional gospel song has been covered by many artists. The arrangement is intended for solo mountain dulcimer in 1-5-8 or DAD tuning. It is suitable for the upper intermediate level player with a solid knowledge of three finger chords and chord-melody style of playing. The arrangement makes extensive use of a 1+ fret.

Three pages, Tablature, standard musical notation, lyrics and guitar accompaniment chords are included.

A river finds its ripples: the traditional gospel tune "Down to the River to Pray" flows into the surging waters of rhythm and blues. A duet for viola and piano, this arrangement is especially effective as a prelude, postlude or special music for traditional church services and other worship events, including youth rallies. Also recommended for recitals, concerts and anywhere upbeat, joyful music is played. Key: D major. 9 pages of music (that includes a separate two-page pullout viola part).

ISBN 9781609742249. Jerry Garcia, the lead guitarist, singer, and alleged leader of the Grateful Dead, became an icon of the 60s youth movement. It was well-known that Jerry was a huge fan, and probably considered himself a player, of old-time American music, from mountain fiddle and banjo music, to English ballads, to jug band music to bluegrass and blues, and more. On the "Shady Grove" recordings one can hear the deep commitment, respect, and love Jerry had for this traditional American music. He's very faithful to the original artists' music. That may be surprising if you expect more of an ego-driven "my version" approach from one the biggest rock stars ever. What you have here is a vibrant collection of wonderful traditional American songs, from a great variety of genres, played in a style closely based on their traditional sources. Of course within those parameters we hear wonderful and personal readings of the tunes from both Jerry and mandolinist David Grisman. Dix Bruce has carefully transcribed many of Jerry's solos from the album, trying to determine not just what he was playing but how he was playing it. Melodies, tablature, lyrics, and chords are included in arrangements designed to be playable on the guitar while presenting the melodies as closely as possible. Jerry's banjo solos are transcribed here for guitar.

Nineteen Skeletal Duets for Trombones is a set of duets of easy to moderately difficult specifically for teachers and students in private lessons. The first 15 duets are arranged from Fifteen Safari Duets for Tubas which was composed in 1989 for playing with my tuba students at Berklee College of Music. They are at different levels of difficulty and in various styles so that we always had duets to play no matter what was the ability of the student. The additional four duets were added in 2020 for trombones for this set. The title of each duet is also a name for a bone in the human body, hence the name Skeletal Duets. There is something in each duet for students to learn: the basics of tone production, rhythms, melodic phrasing, jazz, graphic notation, etc. Most are sight readable and some have been performed in concerts. Nineteen Skeletal Duets for Euphoniums are the same duets but in treble clef. Twenty-two Skeletal Duets for Hornsuses the first 19 of the trombone set with three additional duets added. Some of the trombone and horn duets are in the same key so they can be played together.

1. Cranium
This duet presents the cantabile ?singing? style as studied for playing the trombone. I find that this duet helps the student much like the melodies of Borgodni (Rochet) etudes.

2. Stirrup
This duet provides an opportunity to read basic rhythms and articulations. I find that the more advanced students can read in a faster tempo while the less skilled students work best in the slower tempos ? a common choice for all of the duets.
3. Humerus
This waltz helps the student match phrasing in a cantabile setting. There are a few instances where the teacher (playing the first part) plays a phrase then the student plays a similar phrase.
4. Vertebra
This is in a ?rock? style with syncopated rhythms with cantabile melodies. Articulations are especially important in this duet.
5. Axis
Legato scales and syncopated rhythms are the features of this duet. This is a good exercise for legato playing on trombone, especially when the legato tongue is needed versus when the trombonist does not need to tongue when moving across partials.
6. Tibia
This duet alternates in rock style and swing. Articulations and manipulation of ?swing? rhythms are important.
7. Clavicle
The key of A for this duet provides variation for the students.
8. Fibula nd
This duet uses the easiest of rhythms and range, especially for the 2
9. Scapula
This duet is non-metric and uses graphic notation. This was a favorite duet of my students as many had never experienced this notation before.
10. Atlas ndThis is an Invention in the Bach style. This is probably the best duet to play when the 2 part is played by bass trombone.

(student) part.

11. Radius
This duet is in a ?Medium Swing? jazz style. Each part has a chance to play a little bit of a ?walking? bass line. Articulations and manipulation of ?swing? rhythms are important in this duet.
12. Femur
This duet works on double time and half time tempo changes.
13. Patella
This is another duet that includes graphic notation. In this duet ?Free rapid legato lines? are used.
14. Anvil
This gallop displays different types of articulation.
15. Hammer
This duet is in the style of a fanfare.
16. Rib
This duet is a melody, ?Magallon Blues?, that I originally composed when I taught at a summer music camp in Magallon, Spain. In that camp each of the students would practice playing a jazz solo. This duet also has jazz chord changes so you can add piano or guitar. The use of drums is also an added option.
17. Sacrum
This duet is a short arrangement of Mozart?s ?Eine Kleine Nachtmusic?.
18. Ulna
This duet is a short arrangement of the traditional Irish folk song ?Londonderry Air?, more commonly known as ?Danny Boy?.
19. Ilium
This duet is a short arrangement of the Beethoven?s song ?Ode to Joy? which represents the triumph of universal brotherhood against war and desperation.

Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Tuba Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally including First Prize in the 1991 TUBA Etude Contest for Twenty Characteristic Etudes for Tuba, an award from The American Prize for his Petite Suite for Brass Quintet and others. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.
His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.