By Nathan Daughtrey. Chamber Ensemble. For Oboe or Soprano Sax & Marimba (soprano saxophone (or B-flat clarinet), marimba (5-octave)). Chamber Music. Medium difficult. Score & parts. Duration 9:20. Published by C. Alan Publications . Score and Parts.

Chamber Ensemble Solo Piano (solo piano) - medium

SKU: CN.10470

Composed by Nathan Daughtrey. Chamber Music. Solo part. Duration 3:15. Published by C. Alan Publications (CN.10470).

Written on the occasion of the composer's grandfather's 90th birthday, The Old Pond is meant to capture and reflect on the many wonderful memories of fishing with bamboo poles and live worms in the old pond behind his grandparents' house in rural southern Virginia.

Written on the occasion of my grandfather's 90th birthday, The Old Pond is meant to capture and reflect on the many wonderful memories of fishing with my grandfather with bamboo poles and live worms in the old pond behind my grandparents' house in rural southern Virginia.

Chamber Music Clarinet, Piano, Violin

SKU: PR.11440531S

Composed by Nathan Currier. Full score. With Standard notation. 72 pages. Duration 33 minutes. Theodore Presser Company #114-40531S. Published by Theodore Presser Company (PR.11440531S).

UPC: 680160008667. 11 x 14 inches.

By Nathan Daughtrey. Chamber Ensemble. For Oboe or Soprano Sax & Vibraphone (oboe, vibraphone (3-octave)). Duet Music. Medium difficult. Set of parts. Duration 9:20. Published by C. Alan Publications

SKU: GI.G-10542

Free Your Shoulder Region through Body Mapping. Composed by Jennifer Johnson. Body Mapping. Music Education. 184 pages. GIA Publications #10542. Published by GIA Publications (GI.G-10542).

ISBN 9781622775927.

Pain in the shoulder region is one of the most common problems afflicting instrumentalists, vocalists, and conductors alike. Musician, Heal Thyself! uses the principles of Body Mapping to free musicians of their shoulder pain, injury, and limitations, leading to more expressive and healthy music making. While keenly aware of the importance of whole-body balance and context, author Jennifer Johnson presents the four most common patterns that cause shoulder pain and fatigue, along with guidance on how to “remap” the body for healthier whole arm movements in playing, singing, and conducting. Also included in the book are anatomical images for remapping and many photographs of world-class musicians who exhibit exemplary arm movement and a free shoulder region in their performances. Especially helpful are the book’s movement exploration activities, online video links, and the appendix, which outlines the functions of the shoulder region muscles in layman’s vocabulary. A healthier approach to music making begins today with the ideas and insights presented in Musician, Heal Thyself! Jennifer Johnson is a licensed and internationally sought-after lecturer on Body Mapping, teaching musicians how to move according to the design of their bodies to address and prevent playing injuries. She maintains an active private violin studio, performs regularly, and is the author of three books on Body Mapping.   Musician, Heal Thyself! is an invaluable resource for performers and teachers at every level. The material is so clearly elucidated and its concepts immediately useful and empowering. I love this book! —Carol Rodland, violist     Viola and Chamber Music Faculty, The Juilliard School After doing several of the very clear and thorough explorations in Jennifer Johnson’s new book, my arms had the freedom and ease of a child’s, and I felt a corresponding ease in my trumpet posture and sound. Emotional re-mapping is also part of any physical improvement, and Ms. Johnson describes that aspect of the process clearly and compassionately. I recommend this book for all musicians seeking to express their music with efficiency, freedom, and beauty. —Jeffrey Reynolds, trumpet     Associate Professor, Faculty of Music, University of Toronto For years, I stubbornly ignored my body’s messages because I was afraid to find out I was 'doing everything wrong.' But Jennifer’s wealth of experience working with musicians and her compassionate approach in Musician, Heal Thyself! have made playing more fun and less painful. Why did I wait so long? —Nathan Cole, First Assistant Concertmaster, Los Angeles Philharmonic     Founder of natesviolin.com.

Chamber ensemble - Advanced

SKU: DZ.DZ-3403

Composed by Nathan Kolosko. Score and parts. Les Productions d'OZ #DZ 3403. Published by Les Productions d'OZ (DZ.DZ-3403).

ISBN 9782897953201.

Chamber Music Flute, Piano, Viola

SKU: PR.11440719S

Composed by Nathan Currier. Set of Score and Parts. With Standard notation. 44 pages. Duration 11 minutes, 30 seconds. Theodore Presser Company #114-40719S. Published by Theodore Presser Company (PR.11440719S).

UPC: 680160011087. 8.5 x 11 inches.

Sambuca, which most people know today as a licorice-flavored liqueur, was the name the Greeks gave to a kind of sharp, shrill-sounding harp, of Eastern, possibly Jewish origin. The Greeks then gave this same name to a wooden flute made from the elder bush, and in the middle ages it was also associated with the viol, at least to the extent that the Hurdy-gurdy, an instrument shaped like a viol and played by means of a rotating wheel, was sometimes called a Sambuca rotata. Thus, the word Sambuca is tied up with the ancestors - in each case, ancestors of ow birth, as it were - of the modern harp, flute, and viola. Somehow, the present-day association with alcohol seems very meet, in that a certain objectionable quality seems to have gone with the name - in 1545 one George Ascham wrote, This I am sure... all maner of pypes, barbitons, sambukes... be condemned of Aristotle. The word Sambucistria - for a female Sambuca player - was used by Plutarch and others to evoke a feeling of foreign-inspired decadence [Grove's Dictionary of Musical Instruments, 1984]. Currier's work is truly a Sambuca sonata. Written for the three Sambuca instruments, Currier has first of all seemingly endeavoured to make the harp part particularly Sambuca-like (i.e., sharp and shrill) with its many nail and xylophonic effects, but more importantly, has used musical material that corresponds to the low-brow, somewhat Dionysian, indeed, today even Bacchanalian implication of the name - thus, rock music seems to inspire a great deal Currier's work [the Samba, an appropriately Bacchanalian Brazilian Carnival dance, in duple meter with syncopations, while apparently having no etymological connection to Sambuca, might seem to be musically involved, too]. The Sambuca which lies behind this rather drunken piece is probably the only musical instrument which became a model for an instrument of war; one Craxton wrote in 1489 that Sambuce is an engyn whiche is made in manere of a harpe able to perce a walle. But whether talking of the modern liqueur or the ancient instrument condemned of Aristotle and mentioned four times in the Book of Daniel, it is a shame that Debussy - inspired by the Dionysian side of classical culture (as in Prelude a l'apres-midi d'un faune) - seems to have remained ignorant Sambuca, a word which to some extent must lie behind all works for this wonderful instrumentation which he invented, and which I might seem to have striven unconsciously, equally ignorant, to make the sole basis of Currier's work - until, having completed this piece, written for harpist Marie-Pierre Langlamet, and rummaging around for a title, I chanced upon it in an old dictionary.

(For Flute, Viola, and Harp). By Nathan Currier. Chamber ensemble. For Flute, Viola, Harp. Score and parts. Standard notation. Composed 15-Jun-93

Composed by Nathan Daughtrey. For Euphonium, Piano. Chamber. Difficulty: Medium Difficult. Duration 7:15. Published by C. Alan Publications

By Roberta Martin. Arranged by Nathan Carter. For Voices: SSATB (SATB), SSA trio (soloists). Keyboard accompaniment. Chamber Music Sacred. Level: easy. 14 pages. Published by GIA Publications.

Chamber Music Piano

SKU: PR.140401330

Composed by R. Nathaniel Dett. Edited by Lara Downes. 32 pages. Duration 18 minutes. Theodore Presser Company #140-40133. Published by Theodore Presser Company (PR.140401330).

ISBN 9781491134412. UPC: 680160684939.

Nathaniel Dett was among America’s leading composers in the early 20th century, and MAGNOLIA SUITE is a beautiful example of his rich, hybrid style. Deeply inspired by the music and mission of Samuel Coleridge-Taylor, Dett’s piano music springs from the late Romantic traditions of florid texture and embellishment, along with programmatic titles and raw emotion. It is notable for melody writing inspired by and paraphrasing African-American song. The 18-minute MAGNOLIA SUITE contains five movements, any of which may also be performed separately. This edition by Lara Downes provides a clean, new engraving that corrects the many errors and unclear indications appearing in the historical printing.
Robert Nathaniel Dett was born in a place that was built on freedom. The little village of Drummondville, Ontario was founded by enslaved Africans – Dett’s ancestors among them – who traveled the Underground Railroad out of the American South into Canada. Their journey brought them to a safe haven, a place where fortunes and futures could be transformed in the span of one generation, to lives full of new possibilities. You could call it “the place where the rainbow ends,” which is the title of the last movement of Dett’s Magnolia Suite.When Dett wrote these pieces, he was a young teacher at Lane College in Tennessee, a historically Black college that had been founded in 1882, the year of his birth. A place built on freedom, with the purpose of educating newly-emancipated slaves – a place designed to nurture the blossoming of ideas, the vibrant flowering of minds set free. This music is inspired by the gorgeous splendor of the magnolia blooms on that college campus, and also by the shared histories, experiences, and aspirations of the community that Dett found there.These five pieces pay affectionate tribute to lineage and legacy. They express gratitude for the bittersweet beauties of the present; nostalgia for the past (a bit romanticized, as the past always is); and an effervescent optimism for the future that awaits us in the place where the rainbow ends.

(A Practical Guide for the Collabrative Pianist). By Heasook Rhee. For piano. Book. 192 pages. Published by Carl Fischer