SKU: BR.OB-5645-30

ISBN 9790004344767. 10 x 12.5 inches.

Felix Mendelssohn Bartholdy created a standard work with his final violin concerto in E minor op. 64 MWV O 14 that is now firmly established in today's concert repertoire. When in 1838 the composer indicated that he had in mind a violin concerto [...] in E minor [...], it was not only his friend Ferdinand David, the Gewandhaus concertmaster for whom it was intended, who was euphoric. The whole civilized violin world was awaiting this concerto - and yet it was another seven years before the much-anticipated composition was ultimately published by the Leipzig publishing house Breitkopf & Hartel in June 1845, as well as simultaneously in London and Milan. The concerto particularly appeals through its innovative treatment of the solo part, not only because the solo violin strikingly opens the first movement without a preceding orchestral tutti, but also because of its musical dialogue with the orchestra. The Leipzig Gewandhaus premiere on 13 March 1845 with Ferdinand David as soloist under the direction of Nils Wilhelm Gade served - as so frequently with Mendelssohn - virtually as a proofreading process. After the composer subsequently made extensive changes that also involved David, the work first appeared just short of nine months later. The first edition documents the composer's valid final revision, which is reproduced as the work's main version in the present Urtext edition.The matching piano reduction includes not only an unmarked string part, but also a part with the established markings by Igor Oistrach.

SKU: KN.42692

UPC: 822795426922.

Based on the chord changes to I Got Rhythm, this straight-ahead swing chart will be a winner with groups at many levels. Standard instrumentation with solo sheets provided in all keys.

Trumpet Range = G5

Trombone Range = G#4.

SKU: CL.SCM-1134-01

This chart is full of ensemble energy all the way through. Plenty of excitement with kickin’ backgrounds, drum solo and a strong ending your students will love. Solo sections are over two chord changes. Get hot with this one!

SKU: GI.G-7902

ISBN 9781579998271. English.

Learn to improvise with this state-of-the-art book and CD set! With Developing Musicianship through Improvisation, you will learn to improvise as readily as you would join in a conversation. Using the tunes in this book, you will build a vocabulary of tonal patterns, melodic phrases, rhythm patterns, and rhythm phrases you can apply to a wide range of music in classical, jazz, and folk styles. You will also read and write music, connecting your improvisation to meaningful experiences with notation. Each unit contains six components: 1—Repertoire 2—Patterns and Progressions 3—Improvising Melodic Phrases 4—Learning to Improvise: Seven Skills 5—Reading and Writing 6—Learning Solos Regardless of your musical background, you can play tunes and learn harmony by ear—skills at the heart of improvisation. This intuitive and engaging approach to Developing Musicianship through Improvisation is a major advance in music teaching and learning. Christopher D. Azzara is a pianist, author, arranger, and Professor of Music Education at the Eastman School of Music. Richard F. Grunow is Professor of Music Education at the Eastman School of Music.   SONGS INCLUDED: Book 1 repertoire (2 CDs)—Long, Long Ago - Mary Ann - Joshua - Simple Gifts - Down by the Riverside Book 2 repertoire (2 CDs)—When the Saints Go Marching In - Amazing Grace - Motherless Child Book 3 repertoire (2 CDs)—Blues (Saint Louis Blues and More Blues) - Transformation (Rhythm Changes) - Red Wings (Familiar Harmonic Progression)  Book 1B repertoire (MP3 Downloads)—Greensleeves - My Country 'tis of Thee - La Folia - Rule of the Octave - Seven Bach Chorales.

SKU: GI.G-317123

ISBN 9780634033148. UPC: 073999171235.

An exciting, musically challenging solo for concert, contest or recital. This 3-drum work helps to develop musicianship through its use of mixed meters, expressive dynamics, and tempo changes. Grade 4, performance time: 2:15. Click here for a YouTube video on Statement for Timpani.

SKU: BT.DHP-1084333-020

9x12 inches. English-German-French-Dutch.

The Fields is an ode to the unique countryside of Westerwolde, aregion in the Northeast of the Netherlands, where Jacob de Haanlives. The composition is based on film footage of the region as thebeautiful landscape changes with the seasons. A moving concertitem that will bring out the best in your players.

The Fields is een ode aan het unieke landschap van Westerwolde, een landelijk gebied in het noordoosten van Nederland, waar componist Jacob de Haan woont. De muziek is gebaseerd op filmopnamen van de akkers door de verschillendejaargetijden heen. Diverse aspecten van het rustieke leven op het land passeren de revue in dit mooie werk.Download hier de bijbehorende filmopnamn.

The Fields ist eine Ode an die einzigartige Landschaft von Westerwolde, einer Region im Nordwesten der Niederlande, wo Jacob de Haan lebt. Die Komposition basiert auf Filmmaterial von dieser Gegend. Die im Film gezeigten Felder im Jahreszeitenwandel bilden das zentrale Element von The Fields. Die drei Teile dieses ungewöhnlichen Werkes beschreiben die Felder im Wechsel der Jahreszeiten, aus verschiedenen Perspektiven und in unterschiedlichen Stimmungen. Ein besonderes Hörerlebnis!Sie können den zum Werk passenden Film hier herunterladen.

The Fields (“Les champs”) est une ode la beauté unique des paysages de la région de Westerwolde, une région située au nord-est des Pays-Bas, lieu de résidence du compositeur. Les champs, filmés au fil des saisons, s’imposent comme l’élément central du développement.Le premier mouvement présente des vues sur des vastes étendues et des images de fermes. La musique se fait rêveuse. Installée dans un tempo lent puis évoluant sous la forme de phrases courtes, une mélodie « wagnérienne » monte de l’orchestre. chaque phrase correspond une autre perspective. La structure chemine vers une conclusion plus ample, plus généreuse, qui reprend le thème initial. Le secondmouvement nous livre des impressions musicales du sol noir, typique de la région. On voit des tracteurs labourer la terre, on entend les grains de céréales germer. La musique engendre un climat mystérieux et plein de suspense. Lentement, mais avec fluidité, nous assistons la floraison des céréales.Le troisième et dernier mouvement dessine la période des moissons et des récoltes : le chargement et le déchargement de l’orge, du ma s, des pommes de terre et des betteraves. La musique bat au rythme d’un mouvement mécanique qui illustre le mouvement de l’arracheuse-chargeuse de pommes de terre. Quelques passages plus romantiques viennent agrémenter le développement. Le thème final est magistral. L’œuvre se clôt sur des images musicales de l’hiver. La terre se repose.

SKU: CL.SCM-1066-01

For band directors who have a good rhythm section and at least one soloist capable of handling a fast tempo, this one makes a great vehicle to show off your strong soloist(s). Based on the changes to Sweet Georgia Brown. A written solo is provided for all instruments in case you want to motivate your players to earn a solo feature for one or more of them. The accompaniment parts are quite easy if your rhythm section is swinging.

SKU: HL.44013285

UPC: 888680908850.

Festival Prelude 'Ad Excel' was commissioned by the AD Concert Band, from Solihull in the UK, to celebrate their 40th Anniversary in2016. The title, Ad Excel, is a play on words: it is Latin for 'to excel' but also celebrates the bands anniversary as XL is 40 in Roman numerals. The work opens with a bright fanfare with frequent changes of meter. This leads to a playful main subject, played first by woodwinds, followed by full band. A bridge passage leads to a legato second subject, played twice. The bridge passage returns to introduce the both main melodies in new keys and instrumentations before a coda, derived from the opening fanfare, bringsthe work to a close.

SKU: BR.BV-416

1864: Wagner is saved

ISBN 9783765104169. 5.5 x 8.5 inches. German.

The year 1864 brought some major changes in Richard Wagner's life, which could not have been any more dramatic than at that time: fleeing from his creditors in Vienna, the composer twice misses the emissary of the young Bavarian King Ludwig II before this envoy is finally able to personally announce the composer's appointment to the court of Munich on 3 May 1864. Through his acquaintanceship with Ludwig II, Wagner is liberated from all material cares from this point on and can concentrate on the completion and performance of his works. Later, in Wagner's country house on Lake Starnberg, Wagner and Cosima von Bulow seal their union. Of the 332 letters in this volume, 92 were hitherto unpublished or could only be found in excerpts in autograph catalogues. The commentaries are based on many previously unpublished documents, for example from the estate of Peter Cornelius.

1864: Wagner is saved.