By Maria Callas. For Voice. This edition: Piano/Vocal/Guitar. Book; CD; Play-Along; Vocal Collection. You're the Voice. Published by Faber Music

(Hal Leonard Piano Repertoire Book with Audio Access Included). Composed by Various. Edited by Jennifer Linn. For Piano/Keyboard. Educational Piano Library. Early Intermediate. Softcover Audio Online. 48 pages. Published by Hal Leonard

Composed by William Bay and Mike Christiansen. For guitar. Methods. Mastering the Guitar. Beginning. Book and Online Audio. 136 pages. Published by Mel Bay Publications, Inc

(Hal Leonard Piano Repertoire). Composed by Various. Edited by Jennifer Linn. For Piano/Keyboard. Educational Piano Library. Intermediate. Softcover Audio Online. 64 pages. Published by Hal Leonard

For 2 Clarinets or Clarinet and Alto Sax. Composed by Matthias Petzold. Clarinet, Saxophone, Music Styles & Regions, Classical, Solos and Duets. Book and Insert with CD. 52 pages. Published by Mel Bay Publications, Inc

(Two Stylistically Balanced and Technically Diverse Programs). Edited by Jane Magrath. For Piano. Book; Graded Standard Repertoire; Masterworks; Piano Collection. Audition Repertoire for the Intermediate Pianist. Masterwork; Recital. Intermediate. 24 pages. Published by Alfred Music Publishing

(Two Stylistically Balanced and Technically Diverse Programs). Edited by Jane Magrath. For Piano. Book; Graded Standard Repertoire; Masterworks; Piano Collection. Audition Repertoire for the Intermediate Pianist. Masterwork; Recital. Intermediate. 28 pages. Published by Alfred Music Publishing

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contrabass, Crotales, Cymbals, English Horn, Field Drum, Flute, Glockenspiel, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Snare Drum, Triangle, Trumpet, Vibraphone, Viola and more.

SKU: PR.416411770

For Violin, Piano, and Chamber Orchestra. Composed by William Kraft. Full score. With Standard notation. Duration 17 minutes. Theodore Presser Company #416-41177. Published by Theodore Presser Company (PR.416411770).

UPC: 680160091508.

I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.

Concert Band - Grade 2

SKU: BT.EMBZ12368

Composed by Árpád Balázs. EMB Concert Band Series. Concert Piece. Score Only. Composed 1983. 20 pages. Editio Musica Budapest #EMBZ12368. Published by Editio Musica Budapest (BT.EMBZ12368).

9x12 inches.

The teachers under whom Árpád Balázs (b.1937) studied composition - Ferenc Farkas, Aram Khachaturian and Goffredo Petrassi - each independently formed the opinion that with his lyrical gift Árpád Balázs's true creative field would be that of choral music and wind ensembles. Their early predictions are borne out by the roughly two hundred and fifty works for choir and almost twenty for wind orchestra that the composer has since produced. It is interesting that in the suite entitled Négy kép (Four pictures) the stylistic features of these two related musical fields are united. In it the wind instruments sing! It was not by chance that the expansive second movement was given thetitle Cantilena, while the slightly livelier but just as lyrical third movement was entitled Arietta. The opening movement of the work is a stridently jolly, energetic Induló (March), but not one of the rigidly military kind: the 6/8 rhythm contributes to its light-hearted character. This music is avowedly akin to the ballet music of Prokofiev. This choice series of four character pieces is crowned by Játék (Play) in which conveying the effect of the mixture of lines moving in parallel and then colliding with each other may be more technically demanding, but is well worth the effort! (Hungaroton HCD 31353).

Hal Leonard Bass Method Stylistic Supplement. Bass Method. Blues, Instruction. Softcover Audio Online. With guitar tablature. 80 pages. Published by Hal Leonard

(2Sg-S-solo,3Sg-T-solo,2Sg-Bar-solo,GemCh-SATB,Tz-Bal,Orch)

SKU: BA.BA08870-90

Comédie-ballet in three Acts. Composed by Jean-Philippe Rameau. Edited by Thomas Soury. Arranged by François Saint-Yves. This edition: urtext edition. Paperback. Opera. Vocal Score. RCT 51. Baerenreiter Verlag #BA08870_90. Published by Baerenreiter Verlag (BA.BA08870-90).

ISBN 9790006567553. 27 x 19 cm inches. Text Language: French. Text: Duplat de Monticourt, Pierre-Jacques.

This edition presents a further dramatic jewel for the stage by Jean-Philippe Rameau. It comes with a vocal score for study and rehearsals as well as with a compilation of the purely instrumental parts for performance as a suite in the concert hall.

In view of the wealth of the work's musical treasures and the stylistic innovations - similar to theBoreades- the rather frosty reception of the premiere series in the spring of 1760 seems completely incomprehensible to us today. It led to this Comedie ballet not being performed until well into the 20th century. The story that the ballet tells is based on a fable by La Fontaine,Le Petit chien qui secoue de l'argent et des pierreries(i.e.The little dog who shakes silver and stones). In medieval Veneto, the guardian Anselme undermines the love affairs of his ward Argies. Scenes of tragic expression are contrasted with folk-comic ones; and last but not least, the sexually ambiguous fairy Manto may have caused difficulties for the bold work at the Paris Opera.

The critical new edition published as part of theOpera omnia Rameauseries offers the final version, supplemented in the appendix by the variants of the original version. SinceLes Paladinsremained unpublished during Rameau's lifetime and was also not included in theOEuvres completes, this is the first edition of the work. It satisfies both scholarly demand and the practical needs of musicians.