SKU: HL.48182835

Charles Chaynes: Impulsions (Trombone & Piano).

SKU: CY.CC2718

The Chants du Rhin (Songs of the Rhine), a cycle of six pieces, based on poems by Joseph Mery, were written in 1865, and Bizet performed two of them on 16 April 1866 at a soiree of the Beaujolais Philharmonic Society. The songs are grouped symmetrically around La bohemienne as the central piece, framed by two meditatively yearning pieces (in E and D flat major) and two vividly exuberant ones (similarly in E and D flat major), with L'aurore serving as an introduction.

In this cycle Bizet takes up the theme of the gypsy girl which had already entered European music in the operas The Bohemian Girl by the Irish composer Michael William Balfe and Verdi's Il trovatore, as well as in Franz Liszt's Hungarian Rhapsodies for piano. Bizet will return to it one year later in La jolie fille de Perth and ten years later in Carmen. The fourth piece Les confidences shows similarities in tonality, structure and motifs to the middle part of the third movement of Chopin's Sonata in B minor.

SKU: CY.CC2654

--This work is the third from a collection of five short pieces Beethoven wrote for Flotenuhr or mechanical clock, discovered a number of years after his death.

--Their true origin was uncovered by Professor Albert Kopfermann, a German musician/librarian, who solved the mystery about their instrumentation.

--This delightful Allegro movement has been transposed into the key of D from G and arranged for moderately advanced performers by Ralph Sauer.

--Your audience will love this little gem as the clock slows down and stops before the final cadence. It will make a great encore piece.

SKU: BT.AMP-436-400

ISBN 9789043148672. English-German-French-Dutch.

Part of the Anglo Music Play-Along Series, Philip Sparke’s 15 Intermediate Christmas Carols is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparke’s 15 Easy ChristmasCarols. Specifically tailored to suit the individual instrument, this book introduces the developing player to the world’s most popular Christmas tunes by selecting simple yet attractive melodies that fit their limited range. The book willprovide invaluable additional material to complement any teaching method and includes both piano accompaniment and a demo/play-along CD.

Philip Sparkes 15 Intermediate Christmas Carols sind Teil der Reihe Anglo Music Play-Along und richten sich an junge Instrumentalisten, die einen Tonumfang von ungefähr eineinhalb Oktaven beherrschen. Die Ausgabe schließt sich anSparkes 15 Easy Christmas Carols an. Für diesen Band wurden einfache und zugleich ansprechende Melodien ausgewählt, die genau auf das jeweilige Instrument zugeschnitten sind, sich für dessen begrenzten Tonumfang eignen, und den soSchüler an die weltweit beliebtesten Weihnachtslieder heranführen. 15 Intermediate Christmas Carols bietet damit wertvolles Ergänzungsmaterial, das zu jeder Instrumentalschulepasst und sowohl eine Klavierbegleitung als auch einePlay-Along-CD enthält.

Faisant partie de l’Anglo Music Play-Along Series, les 15 Intermediate Christmas Carols(15 chants de Noël de niveau intermédiaire) de Philip Sparke visent les instrumentistes qui arrivent jouer environ une octave etdemi. Adapté pour convenir chaque instrument spécifique, ce recueil introduit le musicien de niveau moyen aux chants de Noël les plus populaires en sélectionnant les mélodies simples les plus intéressantes qui correspondent leur registre limité.Ce livre fournit du matériel supplémentaire indispensable qui complète n’importe quelle méthode pédagogique et inclut un accompagnement pour piano ainsi qu’une version sur CD avec démos.

SKU: PR.114414450

ISBN 9781598064087. UPC: 680160597635. 9x12 inches.

Inspired by the tale of a legendary folk hero, Adolphus Hailstork’s tour-de-force for trombone and piano is a riveting portrayal of the steely strength and stamina of John Henry, a former slave who helped build the American railroads and ultimately outperformed a steam engine. This composition uses quotes from the spiritual Every Time I Feel the Spirit and the folk song The Ballad of John Henry. For advanced players. Duration: 13’__________________________________________Text on the scanned back cover:JOHN HENRY'S BIG(MAN vs. MACHINE)FOR TROMBONE AND PIANOInspired by the tale of the legendary hero, Adolphus Hailstork’s tour-de-force for trombone and piano is a riveting portrayal of the steely strength and stamina of John Henry, a former slave who helped build the American railroads and ultimately outperformed a steam engine.
PROGRAM NOTES by the ComposerJohn Henry was born a slave in the 1840’s or 1850’s. It is important to remember that no one knows for sure if John Henry existed or is a tall tale created by writers. That is one of the things that makes the legend so intriguing.According to the legend, he grew to stand 6 feet tall, 200 pounds – a giant in that day.Though the story of John Henry sounds like the quintessential tall tale, it is certainly based, at least in part, on historical circumstance. There are disputes as to where the legend originates. Some place John Henry in West Virginia, while recent research suggests Alabama. Still, all share a similar back-story.In order to construct the railroads, companies hired thousands of men to smooth out terrain and cut through obstacles that stood in the way of the proposed tracks. One such chore that figures heavily into some of the earliest John Henry ballads is the blasting of the Big Bend Tunnel, more than a mile straight through a mountain in West Virginia.Steel-drivin’ men like John Henry used large hammers and stakes to pound holes into the rock, which were were then filled with explosives that would blast a cavity deeper and deeper into the mountain. In the folk ballads, the central event took place under such conditions. Eager to reduce costs and speed up progress, some tunnel engineers were using steam drills to power their way into the rock. According to the great American tall tales, on hearing of the machine, John Henry challenged the steam drill to a contest. He won, but died of exhaustion, his life cut short by his own superhuman effort.This composition uses quotes from the spiritual Every Time I Feel the Spirit and the folk song The Ballad of John Henry.JOHN HENRY’S BIG was composed for trombonist David Jackson.

SKU: YM.GTW01093352

ISBN 9784636933529.

20 songs arranged for solo trombone and piano. Trombone part with a book for piano accompaniment and Karaoke CD.
20Shou Chang Hao Du Zou Qu ,Gang Qin Ban Zou . Han Chang Hao Pu Ji Gang Qin Ban Zou Pu &Ban Zou CD.

1. Soshunfu(Ode to Early Spring); 2. Kono Michi; 3. Sato No Aki; 4. Oborozukiyo(A Night with a Hazy Moon); 5. Sakura Sakura; 6. Furusato(My Old Town); 7. Hamabe no Uta(A Song at the Seaside); 8. Yashi no Mi; 9. Hana; Yuyake Koyake; 11. Kojo no Tsuki(Moon over the Ruined Castle); 12. Chiisai Aki Mitsuketa(I've Found a Little Autumn); 13. Satoukibi Batake(In a Large Field of Sugarcane); 14. Hana wa Saku(Flowers Will Bloom); 15. Haru yo Koi(Come spring!); 16. Kawa no nagare no Yo ni(As a River's Running); 17. Miagete goran Yoru no Hoshi wo(Look up at the Night sky); 18. Nada SouSou(Down Come My Tears); 19. Nagori Yukii(Snowfall at the end of the Winter); 20. Ito(String)
1. Zao Chun Fu ; 2. Zhe Tiao Lu ; 3. You Jian Chui Yan ; 4. Meng Long Yue Ye ; 5. Ying Hua ; 6. Gu Xiang ; 7. Hai Bin Zhi Ge ; 8. Ye Zi De Guo Shi ; 9. Hua ; 10. Wan Xia Jian Dan ; 11. Huang Cheng Zhi Yue ; 12. Zhao Dao Liao Xiao Xiao De Qiu Tian ; 13. Gan Zhe Tian ; 14. Hua Zheng Zai Kai ; 15. Chun Tian ,Lai Ba ; 16. Chuan Liu Bu Xi ; 17. Yang Wang Xing Kong ; 18. Lei Guang Shan Shan ; 19. Can Xie ; 20. Xian.

SKU: HL.48185601

UPC: 888680854270. 9x12 inches.

Claude Pichaureau: Trombontests Vol.1 (Trombone & Piano).

SKU: CY.CC3136

ISBN 9790530111055. 8.5 x 11 in inches.

This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.