SKU: SP.TS154

ISBN 9781585602544. UPC: 649571001541.

The Classics to Jazz collection published by Santorella Publications features some of the most popular masterworks from four of the greatest musical geniuses in history. Each piece is first presented in its original form and then on the following page, it is arranged with a Jazz feel. The Classics to Jazz series is a great educational tool for the advancing pianist making the transition from Classical studies to the exciting world of Jazz Piano. These curiously irresistible melodies arranged and edited by Jonathon Robbins will grab you as soon as you begin to play. Fun and exciting, these pieces will become the most played tunes in your library. The Complete Highlights features the works of Carl Czerny, Charles Hanon, Johann Sebastian Bach and Wolfgang Amadeus Mozart. This late intermediate to advanced text is a must have - must study assortment of challenging crossover pieces for those who would like to get some fun back into their practice sessions. The Classics to Jazz * Complete Highlight Edition published by Santorella Publications includes a performance CD. Each classic exercise and jazz piece is played up to tempo by Craig Stevens on an acoustic grand piano. This Craig Stevens performance is truly remarkable! All we can say is Wow and so too, will you! These four fabulous sections include: Johann Sebastian Bach: Bouree in E Minor - Minuet in G - March in D - Corrente - Minuet in G Minor - Little Prelude * (derived from the masterworks of J. S. Bach). Carl Czerny: Exercise No. 1 - 15 - 20 - 22 - 25 - 34 - 37 - 42 - 59 - 63 - 70 * (derived from Czerny's 160 Eight-measure Exercises). Charles L. Hanon: Exercise No. 1 - 2 - 4 - 5 - 6 - 8 * (derived from Hanon's Sixty Exercises for the Virtuoso Pianist). Wolfgang Amadeus Mozart: Andante - Larghetto - Minuet in G - Minuet in D - Minuet in F - Minuet in C * (derived from the masterworks of W. A. Mozart).

SKU: PR.114419280

ISBN 9781491132357. UPC: 680160676125.

Inspired by Chinese tradition, this concerto-like dance suite includes: 1. Lion Dance, 2. YangKo, and 3. Muqam. Each movement draws from melodies and rhythms characteristic of various regions of China many centuries ago. CHINESE FOLK DANCE SUITE is available for violin with full orchestra, or as a recital work with piano.
Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, Chinese Folk Dance Suite is written for solo violin and orchestra; it was premiered by The Women’s Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco.Inspired by various Chinese traditional folk dances, the suite has three movements:I. Lion Dance. Traditionally, people dance with richly decorated hand-made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In this composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from the traditional Guangdong tune “Dragon Boat Racing,” and the Chaozhou tune “Lion Playing Ball.”II. YangKo. Originating in northern China, this is a major folk dance form in mass performance popularized in the country. In YangKo performance, people play rhythmic patterns on the drums hung around their waists while singing and dancing. In the second movement, I imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members of the orchestra sing non-pitched syllables in different layers as the soft background, to imitate the percussion sound which produces the ever-going pulse.III. Muqam. This large-scale music and dance form, from the Uygur nationality in Xinjiang province, originated in the 15th century. My third movement use a 7/8 meter and the melodic style of Muqam music. The fiery dancing gesture culminates in the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines.

SKU: CF.CM9777

ISBN 9781491164488. UPC: 680160923380. Key: Bb major. English. Marjorie Pickthall.

Text: excerpt from Brading by Marjorie PickthallHere, where the legions parted; Here, where the shields were laid, Wild orchid, honey-hearted, Grows in the wind-swept shade.Here, where the soldiers rested; Here, where they set their spears, The little larks, brown-breasted, Fall down like falling tears.Here, where the swords came after; Here, where the ships went by,The sea-winds send their laughter Between the downs and the sky.Program note:Between the downs and the sky is a meditation on the text and the notion of here. Reflective and commemorative in nature, the poem speaks to themes of remembrance and our shared connections to humanity translated through the natural world. Pickthall pairs anthropomorphized images of nature against the impacts of human violence and strife.I am drawn to the location-less setting of “here”. We are left with a certain placeless-ness in the poem. “Here” could mean anywhere and everywhere; it could also mean right in front of us in this exact moment. “Here” is also a call to attention, here where we witness, where we notice, where we are called to. Here, where we love, where we mourn, where we hope to become whole.Musically, “here” is metamorphosed through various ostinati gestures as if to depict memory, reflections, echoes which reverberate long after the initial source, a heart beat, relentless waves pounding shores, etc. The work also juxtaposes extreme high and low registers particularly in the piano writing to capture the title image of the “here” found in-between the downs and the sky.The work moves in and out of unison, two part, and optional three part writing; from m. 45 to the end, the middle line baritone part is completely optional. The music functions the same with or without the inner voice part. This is done to aid in the accessibility of the work, to make the music as approachable and successful to groups of all abilities.