Composed by Phil Duncan. For diatonic harmonica. Perfect binding. Methods. Beginning. Book and Online Audio. 44 pages. Published by Mel Bay Publications, Inc

Published by Alfred Publishing. (22668) ISBN 0739034723. Great for mandolinists who have learned the basics and are ready to take the next step. Important techniques are introduced like hammer-ons and pull-offs, different styles of tremolo, slides, cross-picking and rolls. Also included are in-depth discussions of how to learn tunes, introductions to new time signatures, and a more in-depth look at important musical styles.

Guitar - Level 3

SKU: LM.25393

Composed by Yan Vagh Weinmann. Classical. Score. 16 pages. Editions Henry Lemoine #25393. Published by Editions Henry Lemoine (LM.25393).

ISBN 9790230953931.

No. 1 pour les accords - No. 2 pour le tremolo - No. 3 rythmique.

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 2

SKU: CF.YAS236F

Composed by Jay Coles. Yas. Full score. Duration 3 minutes, 44 seconds. Carl Fischer Music #YAS236F. Published by Carl Fischer Music (CF.YAS236F).

ISBN 9781491165287. UPC: 680160924196. Key: E minor.

Intrepid is full of chaotic energy. It’s a fast-paced, aggressive, and all-around powerful work for young string players that makes them sound mature beyond their abilities. This piece is perfect for teaching accents, staccatos, as well as a marcato style of bowing. The melody passes from section to section as the piece progresses.The chaotic energy begins in measure 1. Don’t be afraid to allow the cellos and basses to come out strong, punching the “G” on beat 3 for maximum intensity. This opening section should drive hard leading to the main theme in measure 12, beginning in the cello and bass sections. Pay close attention to the accents. Articulating those correctly is important for building up to the climactic moment that happens at the end.The brief, slow middle section is a great legato section to teach young musicians musicality and musicianship. Starting at measure 68, the main melodic material returns and juxtaposes and floats through various sections of the orchestra until the piece reaches a dramatic conclusion. The ending uses heavy tremolo, but all tremolos are optional throughout. Have fun performing Intrepid!

(An Alfred Classical Guitar Masterworks Edition). Composed by Francisco Tárrega. For Guitar. Book; Classical Guitar Folio; Masterworks. Classical Guitar Masterworks. Masterwork Arrangement; Romantic. 24 pages. Published by Alfred Music

SKU: HL.438829

EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0006. Published by Hal Leonard (HL.438829).

UPC: 852940000714. 4.5x7.25x2.657 inches.

The Carl Martin TremO'vibe is an analog “two in one” effect pedal consisting of a tremolo and a real vibrato, both with independent sets of speed and depth controls. The tremolo effect works like a change in volume. The vibrato, which works as a change in tone (pitch modulation), is carefully designed to imitate the sound of a real tube vibrato. Featuring two switches, The “on” switch allows you to engage or bypass the unit. The “select” switch allows you to switch between Tremolo and Vibrato. The Carl Martin TremO'vibe is an excellent choice for Guitar, Bass, Keyboard, or any other electronic instrument, that requires the highest sonic clarity, maximum dynamic range and noise free performance. The unit has a built in regulated power supply which enables us to design circuitry of the highest quality with maximum headroom.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

Composed by William Bay. Saddle-stitched. Folk. Book. 36 pages. Mel Bay Publications, Inc #WBM42. Published by Mel Bay Publications, Inc

By Henze. (Guitar). Schott. DVD (Digital Video Disk). Size 5.5x7.5 inches. Published by Schott.

For Guitar (All). Technique. Guitar Journals. All Styles. Level: Beginning-Intermediate. Book. Size 9x11.25. 144 pages. Published by Mel Bay Publications, Inc.