(For C Instruments). By Various. For C Instruments. Fake Book. Softcover. 576 pages. Published by Hal Leonard

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Randb and classic soul. Series: Hal Leonard Fake Books. 437 pages. 9x12 inches. Published by Hal Leonard.

Over 400 Songs. Fake Book (Includes melody line and chords). Size 9x12 inches. 583 pages. Published by Hal Leonard.

by Mel Bay. For all guitars. Modern Guitar Method. All styles, solos & duets. Level: Multiple Levels. Book. Method. Size 8.75x11.75. 320 pages. Published by Mel Bay Pub., Inc.

Easy Piano Piano/Keyboard

SKU: HL.282482

The New Decade Series. Composed by Various. Easy Piano Songbook. Pop, Rock. Softcover. 400 pages. Published by Hal Leonard (HL.282482).

ISBN 9781540034397. UPC: 888680789268. 9.0x12.0x0.923 inches.

70 songs from the new millenium arranged for easy piano, including: Beautiful * Before He Cheats * Bye Bye Bye * Chasing Pavements * Don't Know Why * Drive * Fallin' * Hey There Delilah * I Gotta Feeling * I'm Yours * Just Dance * Love Story * Mercy * Only Time * The Reason * Rehab * This Love * A Thousand Miles * Umbrella * Viva La Vida * Waiting on the World to Change * With Arms Wide Open * You Raise Me Up * and more.

Deluxe Box Set. By Pearl Jam. Transcribed Score. Hardcover. With guitar tablature. 816 pages. Published by Hal Leonard

(6 Easily Prepared Piano Duet Arrangements). Arranged by Robert D. Vandall. For Piano. Book; Duet or Duo; Piano Duet (1 Piano, 4 Hands). Sacred Performer Duet Collections. Ascension; Father's Day; Hymn; Mother's Day; Pentecost; Sacred; Spring. Late Intermediate. 44 pages. Published by Alfred Music Publishing

Chamber Music Cornet

SKU: CF.O88X

Composed by Narcisse Bousquet. Edited by Joey Tartell Edwin Franko Goldman. SWS. Softcover. With Standard notation. 44 pages. Carl Fischer Music #O88X. Published by Carl Fischer Music (CF.O88X).

ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.

These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.
IntroductionTips on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.

Saddle-stitched, Solos. Trumpet. Book and online audio. Mel Bay Publications, Inc #WBM78M. Published by Mel Bay Publications, Inc

Strum and Sing Your Favorite Praise and Worship Songs. Composed by Various. Guitar Collection. Play Along. Softcover Audio Online. 32 pages. Published by Hal Leonard

Lyrics/Chord Symbols/Guitar Chord Diagrams Guitar

SKU: HL.363741

By Taylor Swift. Guitar Chord Songbook. Country, Pop. Softcover. 152 pages. Published by Hal Leonard (HL.363741).

ISBN 9781705132388. UPC: 840126956351. 6.0x9.0x0.389 inches.

Get just what you need to play Taylor's greatest hits on guitar! This third edition features 44 tunes with complete lyrics, chord symbols, and guitar chord diagrams from Taylor's country as well as pop career. Includes: Back to December • Blank Space • Cardigan • Exile • Fifteen • I Knew You Were Trouble • Love Story • ME! • Mean • No Body, No Crime • Picture to Burn • Red • Shake It Off • Teardrops on My Guitar • We Are Never Ever Getting Back Together • Wildest Dreams • You Belong with Me • and more.

Horn in F and piano - Intermediate-Advanced

SKU: FT.FM568

Composed by Allan Herbie Jones. Horn in F and Piano. Score and part. Forton Music #FM568. Published by Forton Music (FT.FM568).

ISBN 9790570484676.

The first movement should be played at a lively and energetic tempo with a joyful approach. Particular attention should be paid to articulation and phrasing. The second movement requires very quiet and expressive playing. Phrasing and legato playing should dominate throughout, with lots of feeling and tone. The glissandi are marked ad lib. which leaves this entirely up to the player. The only recommendation is to play the last glissando as marked, (Slow chromatic). Like the first movement, the third movement should be lively and energetic. No legato playing and attention once again to articulation and phrasing. In this movement, the phrasing has been left for the player to decide, i.e. twelve bars in one breath or choose where to breathe.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3

SKU: CF.CPS251F

Composed by Patrick Glenn Harper. Full score. 25 pages. Carl Fischer Music #CPS251F. Published by Carl Fischer Music (CF.CPS251F).

ISBN 9781491159880. UPC: 680160918478.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.