Piano Solo. Composed by Various. Music Sales America. Classical. Softcover. 352 pages. Music Sales #AM66895. Published by Music Sales

By Dennis Alexander. For Piano. Piano Suite. Recital Suite Series. Late Intermediate level piece for the Piano Solo event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Sheet. 12 pages. Published by Alfred Publishing.

By Scott Joplin. Edited by Foerster. For violin or cello, piano. Maple Leaf Rag,The Easy Winners,The Strenuous Life,Cleopha,The Sycamore,The Cascades. Published by Edition Kunzelmann.

By John Sands. For Flute. Classical. Sheet Music. 48 pages. Published by Music Sales. Staccato tonguing, the cycle of keys completed, scale and arpeggio section for daily practice. Music by Paul Simon, Dave Brubeck, and J.S. Bach.

Lessons and Licks for Improving Your Speed, Power and Clarity. Musicians Institute Press (Instruction taken from the curriculum of MI). Softcover with CD. Size 9x12 inches. 40 pages. Published by Musicians Institute Press.

Orchestra Orchestra

SKU: PR.11641373S

Composed by Peter Schickele. Full score. Duration 24 minutes. Theodore Presser Company #116-41373S. Published by Theodore Presser Company (PR.11641373S).

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

Concert Band - Grade 5

SKU: HL.44007324

Grade 5 - Score and Parts. Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Score Only. Composed 2007. Duration 720 seconds. Anglo Music Press #AMP214. Published by Anglo Music Press (HL.44007324).

UPC: 884088245214. 9.0x12.0x1.232 inches. English(UK)/Deutsch/Francais/Nederlands.

Colorado Springs was commissioned by the United States Air Force Academy Band, Lieutenant Steve Grimo, Commmander/Conductor. Colorado Springs, home of the USAF Academy, is set in spectacular landscape towards the southern end of the Rocky Mountains and is a popular tourist resort for skiing and hiking. The Academy plays an important part in the life of the area and serves as a base for the USAFA Band, one of the professional bands forming part of the musical life of the U.S. Air Force. The suite is in three movements: 1. The Springs (fanfare) - “The Springs” is the local residents' name for the town, and this first movement starts with a stirring fanfare for brass and percussion, opening with bold unison horns. The rest of the brass join in and woodwind add decorative figures. After a short change of style, the opening material reappears to close the movement. 2. Seven Falls - Seven Falls is a spectacular waterfall near to the town which cascades 181 feet in seven distinct steps down a solid cliff of pikes peak granite. In this movement, high woodwinds describe the sparkling water as it descends to a popular lookout post near the bottom of the falls. 3. Pikes Peak - To the north-west of the town and reaching an altitude 14,110 feet, Pikes Peak is the farthest east of the big peaks in the Rocky Mountain chain, which contributed to its early fame among explorers and pioneers, and made it the symbol of the 1859 Gold Rush to Colorado with the slogan, “Pikes Peak or Bust.” It is the second-most visited mountain in the world behind Japan's Mount Fuji. This atmospheric movement describes the majesty of the mountain and is based around the fanfare from the first movement. Opening on a solitary bassoon, it is not long before the main theme appears under bubbling woodwinds. The music reaches a passionate climax at which point the opening fanfare reappears to bring the whole work to a close.

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Finger Cymbals, Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo and more. - Grade 3-3.5

SKU: CF.CPS27

Composed by Sean O'Loughlin. FS-SWS. Carl Fischer Concert Performance Series. Classical. Score and Set of Parts. With Standard notation. Carl Fischer Music #CPS27. Published by Carl Fischer Music (CF.CPS27).

ISBN 9780825847813. UPC: 798408047818. 9 X 12 inches. Key: F major.

Dotted rhythms, colorful percussion writing, and a fresh melodic style characterize this concert work by the gifted Sean O’Loughlin. A dynamic and stirring piece, Cascades is a perfect selection for contest and festival use. Duration: 4’35 Key: F Ranges: Trumpet – Bb; Horn – G; Trombone – G.

34 Ragtime Piano Originals by 14 Composers. Edited by Maurice Hinson. For Piano. Piano Collection. World's Greatest. Masterwork; Ragtime. Level: Advanced. Book. 144 pages. Published by Alfred Publishing.

Guitar

SKU: FG.55011-326-8

Composed by Kai Nieminen. Fennica Gehrman #55011-326-8. Published by Fennica Gehrman (FG.55011-326-8).

ISBN 9790550113268.

I met for the first time the refined Finnish composer Kai Nieminen in Milan (Italy), although we had been in touch for a while before. It was that very trip which provided the inspiration for this composition dedicated to Bruno Munari, one of the most renowned XXI century Italian artists, who lived and worked in Milan. In particular, the work that inspired this composition, displayed at Museo del Novecento in Milan and characterised by swirling lines enveloping torn-out music scores, suggested the mysterious atmosphere of this piece and the subheading Un telegramma dal paese dei sogni (A telegram from dreamland).
The composition can be divided into four sections and displays a wide variety of harmonics, cleverly enhancing the polyphonic resources of the guitar.
The very first bars introduce the main themes of the composition: particularly, at bar 7 it is possible to recognize a Bach quote from Das wohltemperierte Clavier (II book, ndeg24) recurring frequently in the piece and appearing also in the painting.
Meno mosso (bar 51) opens with a ghostly song accompanied by drum-like effects that recall the primitive sound of the shamanic Finnish drum.
Fast sixteenth cascades dotted by harmonic sounds open the fourth and last section at bar 66 (Capriccioso, movendo), alluding to a mysterious telegram sent from another dimension.

Piano

SKU: SU.80101244

Composed by Keith Barnard. Score. Zimbel Press #80101244. Published by Zimbel Press (SU.80101244).

This is an extended concert work (55 minutes) for solo piano. The work is set in a very long and freely-expressed rondo form. Throughout the duration of the piece there are four of five main ideas that are continually repeated and developed. There is much use of fast, cascading passages and tone clusters, but these are firmly contrasted with soft melody passages. The great white cosmic light is expressed by continual tremolando passages which reach their culmination at the very end of this long and expansive work.

Organ Solo. By Scott Joplin. Arranged by E. Power Biggs. Organ Collection. Size 9x12 inches. 36 pages. Published by G. Schirmer, Inc.