Mariachi Band (Voice, Trumpet I, Trumpet II, Violin I, Violin II, Guitar/Vihuela, Guitarron) - easy

SKU: RU.30042FS

Arranged by Jaime Martin Vela. Mariachi. RBC Mariachi Series. Folk. Score and Parts. RBC Publications #30042FS. Published by RBC Publications (RU.30042FS).

9 x 12 inches.

The RBC Mariachi Series is a storied catalog full of wonderful melodies and timeless tunes by legendary musicians and arrangers Juan Ortiz and Jamie Martin Vela. The Mariachi catalog is a wonderful resource for any level of Mariachi Ensemble, with charts that span easy to advanced difficulty levels. Complete sets come with vocal sheet music as well as lyric sheets for ease of performance and rehearsal, while others come with alternate parts in Trumpet and Violin to make each piece more accessible.

Jazz, Jazz Instruction. Softcover Book. Sher Music Company #9780997661767. Published by Sher Music Company

Woodwind quintet (Fl. Ob. Cl. Hn in F. Bsn.) (flute, oboe clarinet, horn in F, bassoon) - Intermediate-Advanced

SKU: FT.FM605

Composed by Frank Bridge and Traditional. Arranged by Robert Rainford. An arrangement of this well known melody for wind quintet. Score and parts. Forton Music #FM605. Published by Forton Music (FT.FM605).

ISBN 9790570485048.

Frank Bridge arranged this well known Irish air for string quartet, here presented in a version for wind quintet. Unusually, Bridge starts the arrangement with an extended fantasy upon the main theme, never stating it completely. A series of stabbing chords begin the music, and help to mark out the start of each section. Elements of the tune then weave in and out of the music, and are passed equally between all five players. The first four notes of the theme in rhythmic diminution are transformed into a delicate arpeggio that permeate the music, all accompanied with the lush chords of early 20th century English music. After about one hundred bars the music reaches an impassioned climax before the tune is finally stated in its full form, with each instrument in turn taking a solo phrase accompanied by the others. A final, peaceful coda using the delicate arpeggio of the first sections brings the piece to a close.

Mariachi Band (Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Bb Trumpet (Alternate), Violin 1, Violin 2, Violin 3, Violin (Alternate), Guitaron/Bajo, Viguela/Guitar) - easy

SKU: RU.30031FS

Vargas/Fuentes. Arranged by Juan Ortiz. Mariachi. RBC Mariachi Series. Folk. Score and Parts. RBC Publications #30031FS. Published by RBC Publications (RU.30031FS).

9 x 12 inches.

The RBC Mariachi Series is a storied catalog full of wonderful melodies and timeless tunes by legendary musicians and arrangers Juan Ortiz and Jamie Martin Vela. The Mariachi catalog is a wonderful resource for any level of Mariachi Ensemble, with charts that span easy to advanced difficulty levels. Complete sets come with vocal sheet music as well as lyric sheets for ease of performance and rehearsal, while others come with alternate parts in Trumpet and Violin to make each piece more accessible.

Arranged by Mark Hayes. For Choir. (SATB divisi, a cappella). Choral Octavo. Choral Designs. Spiritual. Choral Octavo. 16 pages. Published by Alfred Publishing.

Piano, Online Audio SKU: HU.9781562243197 Jazz, Jazz Instruction. Jazz Piano Essentials. Softcover Book and Online Audio. 186 pages. Jamey Aebersold Jazz #9781562243197. Published by Jamey Aebersold Jazz (HU.9781562243197). 11 x 8.5 x 0.8 inches. Jazz Piano Essentials includes a collection of riffs, patterns, and exercises as well as explanations of stylistic piano idioms such as stride, walking bass, rootless voicings, rhythm changes, blues, swing, bebop and others supported with transcriptions, arrangements, and solos based on standards. It also contains many intros and endings along with standard runs and fills. A unique compendium full of personal tips and secrets of jazz piano collected over a lifetime of study and performance. Classical musicians starting to investigate jazz or intermediate to advanced players wanting to enhance their skill set will find this book to be full of promise and absolutely "essential".

Violin Duet - Grade 3.5

SKU: AP.36-52711566

Composed by Lynne Latham. Duet or Duo; Method/Instruction; Reference Textbooks; Solo Small Ensembles. Ludwig Masters. Book. Latham Music Enterprises #36-52711566. Published by Latham Music Enterprises (AP.36-52711566).

ISBN 9781628769692. UPC: 746241285935. English.

The third volume in this series includes advanced-intermediate level duets compatible for violin, viola and cello, and the arrangements are also appropriate for gigs. This volume is true chamber music playing, as it uses higher positions, treble clef for viola, tenor clef for cello, and double stops in all parts.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Bass trombone or tuba and piano

SKU: P2.80062

Composed by Johann Galliard. Arranged by Micah Everett. Solo music, 18th century. Published by Potenza Music (P2.80062).

These settings of the Galliard bassoon sonatas grew out of a perceived need for more intermediate-early advanced solo literature for the bass trombone, as well as more settings of Baroque-period works for that instrument. While the sonatas are playable on the bass trombone in their original keys (whether at pitch or down one octave), by setting them in lower keys I have endeavored to make them useful for developing tone quality and technique in the valve register, while not going so low that clarity and facility might be compromised (as can be the case when playing in the original keys down one octave). The new keys I have chosen for each of the sonatas are closely related to the original ones, in every case down a perfect fourth or perfect fifth, so something of the sound of the original keys is maintained. Other than the key changes I have made very few adjustments to the intervals in the solo or left hand keyboard parts; in the places where I have done the most editing I have provided cues for the original intervals and/or rhythms so that the player can choose whether to perform the simplified part I have provided or something closer to the original. The new keys (as well as copyright considerations) necessitated that I provide entirely new figured bass realizations for the accompanist's right hand. These are entirely my own, though in the early stages of this project I did consult with Professor Stacy Rodgers, my colleague and collaborator at the University of Mississippi. I have provided more than a simple harmonic accompaniment in my realization; each movement has a number of short melodic passages to provide interest in the keyboard part for both performer and listener. Still, I have been purposefully reserved in writing these parts, and in no case should the keyboardist feel obligated to strictly adhere to the part as I have written it. I have left the figured bass in the score so that the performer can modify and/or build upon what I have provided, particularly in the repeats (as Professor Rodgers did when playing and recording one of the sonatas with me). I have labeled the accompaniment part simply as keyboard with the understanding that these sonatas were originally intended for performance with harpsichord (assisted by cello or bassoon) or organ, though I am sure that the vast majority of performances of these arrangements will have piano as the accompanying instrument. My keyboard part has thus been written with that instrument in mind. If performing with harpsichord assisted by cello or bassoon those players will need to make adjustments in places where the bass lines extend below the ranges of their instruments. While I am confident that my right hand part is a faithful realization of the harmonic structure indicated by the composer, no attempt has been made either in my keyboard realization or in my light editing of the solo part to adhere to present scholarly conventions regarding the interpretation of early music. I have constructed these arrangements to meet the needs of twenty-first-century student (and professional) bass trombonists, and thus I have provided the interpretive markings which I believe will yield the most pleasing performances on that instrument. That said, I have sought to be modest in my indications of tempo, dynamics, articulation, and ornamentation, as these sonatas will admit varying interpretations in those respects. Performers and teachers are welcome and encouraged to experiment in order to find the interpretations which they think most effective. Although I originally created these arrangements with the bass trombone in mind, I am sure that they will work equally well on tuba. Due to range considerations similar to those I mentioned above for the bass trombone, they might be particularly better-suited to performance on the F or E-flat tubas than previous editions of these sonatas. I am looking forward to using these arrangements with my students on both instruments, and hope that others will find them useful, as well.

A Guitarist's Guide to Fingerpicking Techniques, Patterns, and Styles. Guitar Educational. Fingerstyle Instruction, Country Instruction. Softcover Audio Online. With guitar tablature. 72 pages. Published by Hal Leonard

Band Concert Band

SKU: PR.465000130

For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (PR.465000130).

ISBN 9781598064070. UPC: 680160600144. 9x12 inches.

Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.
In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,” for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,” and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Spring”) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

Violin 1, Violin 2, Viola, Cello - Grade 3.5

SKU: AP.36-52703177

Composed by Lynne Latham. Performance Music Ensemble. Latham Music. Score. Latham Music Enterprises #36-52703177. Published by Latham Music Enterprises (AP.36-52703177).

ISBN 9781621569367. English.

Some of the best loved operatic tunes are featured in this collection arranged by Lynne Latham. Ideal for the advanced quartet, players will find performances of these Opera Favorites fulfilling and enjoyable. Included: 1. O mio babbino caro from Gianni Schicchi (Puccini), 2. The Flower Song from Lakme (Delibes), 3. Der Vogelfänger from The Magic Flute (Mozart), 4. Bei Männern from The Magic Flute (Mozart), 5. Barcarolle from Tales of Hoffman (Offenbach), 6. Habanera from Carmen (Bizet), 7. The Toreador's Song from Carmen (Bizet), 8. Meditation from Thaïs (Massenet).

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

String Quartet String Orchestra - Grade 4

SKU: AP.36-52703332

Composed by Carole Neuen-Rabinowitz. Performance Music Ensemble; Quartet; String Quartet. Ludwig Masters. Score. Latham Music Enterprises #36-52703332. Published by Latham Music Enterprises (AP.36-52703332).

ISBN 9781621569831. UPC: 746241242075. English.

Advanced intermediate level.  Contains 8 excerpts from "Carnival of the Animals", "Coppelia", "Swan Lake", and "Sylvia".

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

Performed by Barbara Barber. Edited by Judi Gowe Bagnato. Summy-Birchard supplementary instruments (viola and piano). Published by Alfred Publishing.