Edited by Amy Appleby. Collection and examples CD for easy solo piano. Over 200 great masterpieces from the baroque, classical, romantic and modern eras. Series: Piano Treasury Series. 399 pages. Published by Music Sales.

By Amy Appleby. For Piano. Classical. Sheet Music. 240 pages. Published by Music Sales.

24 Piano Transcriptions - 2nd Edition (From Orchestral, Operatic, Vocal, and Chamber Works). Edited by Transcr. Robert Schultz. For Piano. This edition: 2nd. Masterworks; Piano Collection; Piano Supplemental. Alfred's Classic Editions. Masterwork. Advanced. Book. 124 pages. Published by Alfred Music

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*) - grade 5

SKU: CN.R10004

Composed by John Ireland. Band Music. Score and parts. Duration 10:30. Published by G & M Brand Music Publishers (CN.R10004).

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

For Piano. Popular, Classical, Weddings. Sheet Music. 128 pages. Published by Wise Publications.

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

By Alan Gout (Compiler) ; Martin Frith (Editor). For Saxophone. Classical. Sheet Music. 64 pages. Published by Music Sales.

For Violin. Classical (orchestral). Includes a high-quality printed music score and a compact disc containing a complete version with soloist, in split-channel stereo (soloist on the right channel); then a second version in full stereo of the orchestral accompaniment, minus the soloist. Published by Music Minus One

Compiled by Josef Gingold. Orchestral excerpt book for violin. 115 pages. Published by International Music Co.

Arranged by Douglas E. Wagner. Traditional. For String Orchestra. String Orchestra. Belwin Beginning String Orchestra. Folk Song. Level: 1.5 (grade 1.5). Conductor Score and Parts. 284 pages. Published by Alfred Publishing.

Mixed Trios. By Various. Arranged by Daniel Kelley. For Flute or Oboe or Violin. Trios. Music for Three. Classical / Baroque. Level: Intermediate/Advanced. Part 1. Published by Last Resort Music Publishing.

Flute - Beginner - Advanced

SKU: FH.FLE01

2010 Edition. Composed by The Royal Conservatory. Overtones: A Comprehensive Flute Series. Book. The Frederick Harris Music Company #FLE01. Published by The Frederick Harris Music Company (FH.FLE01).

ISBN 978-1-55440-300-4.

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental repertoire and supporting materials such as Studies, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study.This compilation of standard orchestral passages for flute is an indispensable resource for the developing years and beyond. Teachers and students will find this unrivalled volume essential for examination or audition preparation.

Slavonic Dances, op. 46, no. 1 Antonin Dvorak
Symphony No. 100 in G Major (Military): II Franz Joseph Haydn
Le carnaval des animaux: Aquarium Camille Saint-Saens
HMS Pinafore: I'm Called Little Buttercup Arthur Sullivan
La forza del destino: Overture Giuseppe Verdi
Serse (Xerxes), HWV 40: Va godendo vezzoso e bello George Frideric Handel
Symphony No. 100 in G Major (Military): III Franz Joseph Haydn
Ma Vlast: II Bedrich Smetana
HMS Pinafore: When I Was a Lad Arthur Sullivan
Nutcracker Suite: Overture Pyotr Il'yich Tchaikovsky
Symphony No. 6 (Pastoral): III Ludwig van Beethoven
Symphony No. 9 in E Minor, op. 95 (New World): I Antonin Dvorak
Faust: Soldier's Chorus Charles Gounod
Peer Gynt Suite No. 1, op. 46: I Edvard Grieg
Symphony No. 102 in B flat Major: I Franz Joseph Haydn
Brandenburg Concerto No. 4, BWV 1049: III Johann Sebastian Bach
Carmen: La garde montante Georges Bizet
Petite suite: Ballet IV Claude Debussy
Symphony No. 100 in G Major (Military): IV Franz Joseph Haydn
Symphony No. 40 in G Minor, K 550: III Wolfgang Amadeus Mozart
Symphony No. 5: IV Ludwig van Beethoven
Carmen: Act 1, Prelude Georges Bizet
Faust Ballet Music: Danse antique Charles Gounod
Symphony No. 102 in B flat Major: IV Franz Joseph Haydn
Scheherazade, op. 35: IV Nicolai Rimsky-Korsakov
Symphony No. 6 (Pastoral): I, II Ludwig van Beethoven
Symphonie fantastique: V Hector Berlioz
Die Zauberfloete: Wie stark ist nicht dein Zauberton Wolfgang Amadeus Mozart
Bolero Maurice Ravel
Scheherazade, op. 35: I Nicolai Rimsky-Korsakov
Brandenburg Concerto No. 4, BWV 1049: I Johann Sebastian Bach
Symphonie fantastique: I Hector Berlioz
Carmen: Entr'acte (Prelude) Georges Bizet
Symphony No. 1 in C Minor: IV Johannes Brahms
Die Zauberfloete: Overture Wolfgang Amadeus Mozart
Symphony No. 8 in G Major: IV Antonin Dvorak
Leonore Overture No. 3, op. 72a Ludwig van Beethoven
Symphony No. 4 in E Minor: IV Johannes Brahms
La mer: I, II, III Claude Debussy
Symphony No. 4 (Italian): IV Felix Mendelssohn
Symphony No. 1 (Classical): II Sergei Prokofiev
Symphony No. 3 in E flat Major (Eroica): IV Ludwig van Beethoven
Prelude a l'apres-midi d'un faune Claude Debussy
Sinfonie Mathis der Maler: I, II Paul Hindemith
Incidental Music to A Midsummer Night's Dream, op. 61: Scherzo Felix Mendelssohn
Petroushka (1947 revision): Part 1 Igor Stravinsky
Symphony No. 4 in F Minor: III Pyotr Il'yich Tchaikovsky
Capriccio espagnol, op. 34: IV Nicolai Rimsky-Korsakov
Symphony No. 1 (Classical): IV Sergei Prokofiev
Concerto for Orchestra: I, II, III, IV, V Bela Bartok
Symphonic Metamorphosis after Themes by Carl Maria von Weber: II, III Paul Hindemith
Das Lied von der Erde: VI Gustav Mahler
Peter and the Wolf, op. 67 Sergei Prokofiev
Le carnaval des animaux: 10. Voliere Camille Saint-Saens
Daphnis et Chloe: Troisieme partie Maurice Ravel
Guillaume Tell: Overture Gioachino Rossini
Till Eulenspiegel's Merry Pranks Richard Strauss
Firebird Suite (1919 version) Igor Stravinsky
Symphony No. 9: IV Ludwig van Beethoven
Concerto for Orchestra: III Bela Bartok
Scheherezade, op. 35: IV Nicolai Rimsky-Korsakov
Semiramide: Overture Gioachino Rossini
Symphony No. 5, op. 47: I, II Dmitri Shostakovich.

About Overtones

Unparalleled in scope, Overtones offers all the music flutists want in one complete series! This progressive collection includes fundamental Repertoire and supporting materials such as Etudes, Compact Discs, Orchestral Excerpts, and Technique. The richness of music carefully selected for this compilation will resonate with teachers and students at every level of study and is the official series for those using The Royal Conservatory Music Development program.

Arranged by John Tapella. Guitar solo book and accompaniment CD for electric guitar. With guitar tablature, standard guitar notation and performance notes. Series: Hal Leonard Guitar School. 63 pages. Published by Hal Leonard.