By Jeanne Page. For Dulcimer (Hammered). Solos. Christmas. Level: Beginning-Intermediate. Book. Size 8.5x11. 64 pages. Published by Mel Bay Publications, Inc.

By John McClellan and Deyan Bratic. For Guitar (Fingerpicking). transcribed solos. Country. Level: Advanced. Book. Size 8.75x11.75. 376 pages. Published by Mel Bay Publications, Inc.

Taught by Fred Sokolow. For Guitar (All). Solos. Grossman Audio. Rock. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 48 pages. Published by Mel Bay Publications, Inc.

The History, the Players and the Technique of Country Guitar. By Richard Kochli. For Guitar (Fingerpicking). solos. AMA Verlag. Western American. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 276 pages. Published by AMA Verlag.

Woodwinds (solos: SATB - choir: SATB - 0.2(ob da cac).0.0. - 1.0.0.0. - org(solo) - str - bc)

SKU: BR.OB-4527-30

16th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Wilhelm Rust. Folder. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Set of parts. 8 pages. Duration 18'. Breitkopf and Haertel #OB 4527-30. Published by Breitkopf and Haertel (BR.OB-4527-30).

ISBN 9790004313459. 9 x 12 inches.

by Bud and Donna Ford. For mountain dulcimer. Acoustic music, solos. Level: Beginning. Book. Method. Size 8.75x11.75. 88 pages. Published by Mel Bay Pub., Inc.

By Abby Newton. For Cello. Transcribed solos. Scottish. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 32 pages. Published by Mel Bay Publications, Inc.

by Stephen C. Siktberg. For Guitar (Classical and Fingerpicking). solos. Acoustic Guitar Series. Baroque. Level: Intermediate-Advanced. Book. Size 8.75x11.75. 296 pages. Published by Mel Bay Publications, Inc.

By Duck Baker. For Guitar (Fingerpicking). Solos. Blues. Level: Intermediate-Advanced. Book/CD Set. Size 8.75x11.75. 80 pages. Published by Mel Bay Publications, Inc.

Guitar (flatpicking) - Beginning-Intermediate

SKU: MB.20881BCD

Composed by William Bay. Saddle-stitched, Style, Tunebook, Gospel/Sacred, Children and Young Beginner, Solos, Christian. Made Easy. Sacred. Book/CD set. 32 pages. Mel Bay Publications, Inc #20881BCD. Published by Mel Bay Publications, Inc (MB.20881BCD).

ISBN 9780786607464. UPC: 796279036368. 8.75 x 11.75 inches.

Top traditional praise songs scored in notation and tab for easy to play flatpicking guitar. Songs include Sanctuary, As the Deer, Give Thanks, Lord, Reign in Me, Draw Me Close and many more. A companion CD is included. On the CD each piece is played twice, once as a guitar solo with accompaniment and again as a back-up track so the guitarist may practice the piece and use in a worship setting; ideal for small group or church performance.

Arranged and edited by James Tanguay. For Tin Whistle. Solos. Christmas. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 32 pages. Published by Mel Bay Publications, Inc.

By Steve Eckels. For Guitar (Fingerpicking). Solos. Made Easy. Classic. Level: Beginning. Book/CD Set. Size 8.75x11.75. 32 pages. Published by Mel Bay Publications, Inc.

Wire bound. Classical. Book and online audio/video. 160 pages. Mel Bay Publications, Inc #20838M. Published by Mel Bay Publications, Inc

Basso (cello/double bass) (solos: ob - 0.2.0.0 - 2.0.0.0 - str)

SKU: BR.OB-5309-26

Urtext. Composed by Wolfgang Amadeus Mozart. Edited by Henrik Wiese. Stapled. Orchester-Bibliothek (Orchestral Library). This handsome urtext edition from Breitkopf is edited by Henrik Wiese and comprises the complete suit of full score, orchestral parts, oboe copy and piano accompaniment. (Double Reed News). Solo concerto; Classical. Part. 8 pages. Duration 20'. Breitkopf and Haertel #OB 5309-26. Published by Breitkopf and Haertel (BR.OB-5309-26).

ISBN 9790004340103. 10 x 12.5 inches.

Mozart is believed to have written an oboe concerto for the Salzburg virtuoso Giuseppe Ferlendis in 1777. The work was considered lost until 1920, when Bernhard Paumgartner discovered a copy of the parts that must have been written shortly before Mozart's death. Nevertheless, this copy proved to be much more unreliable than the copy of the parts of the flute concerto. Every source-critical edition must take these parts into consideration, as there is otherwise no extant source material aside from a brief autograph sketch. Henrik Wiese's new edition consistently distinguishes between what can be regarded as Urtext and what the informed player must interpret himself. To this end, the edition for oboe and piano also contains a study part in which the solo parts for flute and oboe are placed synoptically opposite each other.,,This handsome urtext edition from Breitkopf is edited by Henrik Wiese and comprises the complete suit of full score, orchestral parts, oboe copy and piano accompaniment. (Double Reed News).

Vocal soli, SATB choir, orchestra (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.EOS-8047-15

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; Softcover. Eulenburg Orchestral Series. Mass; Requiem; Baroque. Part. 24 pages. Duration 55'. Breitkopf and Haertel #EOS 8047-15. Published by Breitkopf and Haertel (BR.EOS-8047-15).

ISBN 9790004789735. 8.5 x 11.5 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nach der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).