SKU: AP.41937S

UPC: 038081480336. English.

Canticulum (Latin for Little Song) is a lovely and well-crafted lyrical piece for young bands. Numerous opportunities present themselves for teaching musicianship through phrase shaping and rubato playing, as well as tension and release points. A beautiful addition to any concert for first- or second-year bands.

SKU: KN.36920S

UPC: 822795369205.

Violas take center stage in this lovely piece, which emphasizes expressive legato playing in the key of G minor. Violas have the melody throughout! Duration 3:10.

SKU: HL.3710135

UPC: 697643110465. 22.0x22.0x0.088 inches.

One of the world's most referred and legendary cymbal lines in history. Renowned and loved for its fine, pure, soft, delicate musical tone that requires precise playing. Alloy: CuSn20, also known as “Traditional Bronze” or “602 Bronze” Applications: Low to medium loud settings, especially well-suited for recording, live; jazz, fusion, blues, moderate pop and rock, country folk, acoustic music Sound: Warm, silvery, mellow, cool, light, fine, precise and controlled; Cymbals with clarity and retro vintage character combined with a velvety, sensitive, very responsive feel. Size: 22-inches Weight: medium Volume: medium low to medium loud Stick Sound: fairly clear, fairly glassy Intensity: controlled Sustain: long Bell Character: fairly separated Sound character: Full, rich, fairly bright, solid. Medium range, clean mix. Controlled and even feel. Very nice and sparkling stick sound supported by a breathy layer of wash. Perfectly balanced. A dynamic all around cymbal for many musical styles played at moderate level.

SKU: PR.11641373S

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

SKU: HL.3710136

UPC: 697643111011. 24.0x24.0x0.073 inches.

One of the world's most referred and legendary cymbal lines in history. Renowned and loved for its fine, pure, soft, delicate musical tone that requires precise playing. Alloy: CuSn20, also known as “Traditional Bronze” or “602 Bronze” Applications: Low to medium loud settings, especially well-suited for recording, live; jazz, fusion, blues, moderate pop and rock, country folk, acoustic music Sound: Warm, silvery, mellow, cool, light, fine, precise and controlled; Cymbals with clarity and retro vintage character combined with a velvety, sensitive, very responsive feel. Size: 24-inches Weight: medium Volume: medium low to medium loud Stick Sound: fairly clear, fairly glassy Intensity: controlled Sustain: long Bell Character: fairly separated Sound character: Full, rich, fairly bright, solid. Medium range, clean mix. Controlled and even feel. Very nice and sparkling stick sound supported by a breathy layer of wash. Perfectly balanced. A dynamic all around cymbal for many musical styles played at moderate level.

SKU: CA.246200

ISBN 9790007253042.

What would Christmas time be without music-making together? Advent, Christmas, and winter songs play an important role for all beginners on a melody instrument, because with these they can show off their progress on the instrument during the first year. And nothing is better suited to this than well-loved and popular pieces such as Christmas classics. The six volumes in our new series for instrumental teaching, developed in collaboration with the Landesakademie fur die musizierende Jugend in Baden-Wurttemberg, all contain 20 easy carols arranged in progressive level of difficulty. Experienced instrumental teachers have made a selection of carols for each instrument according to specific criteria. These can be mastered as part of music school lessons after just a few weeks and months. All the carols have been chosen and transposed so that the range and fingering combinations do not exceed the level of difficulty for the first three years of learning. The piano accompaniment is of moderate difficulty. For many of the carols, an ad lib upper or lower part is included which can also be played by instrumental pupils. The volumes are therefore suitable for individual as well as group tuition. The arrangements are based on the piano and instrumental books from the CHRISTMAS CAROLS project (Carus 2.403/03 und 2.404/03) which is part of the LIEDERPROJEKT, the charitable project to further singing with children. The books contain singing texts for all the carols, providing a full range of options for singing and playing together at Christmas. All the books include the printed music of the piano accompaniment. Digital playalong tracks are available for all the books. Further editions for recorder, clarinet, alto saxophone, trumpet, violin.

SKU: BT.CMP-0634-02-140

Any list of Mozart's greatest works should include this overture. Loved by millions, Mozart's Magic Flute is remarkable for so many reasons and worthy of study by every musician! Why should we deny young band students the joy of playing Mozart just because they don't happen to use a bow on their instruments? Mozart belongs to Everyone! Skillfully brought to the concert band stage by an arranger who works with young bands daily, this somewhat shortened version of the enigmatic Overture is accessible to young bands, but retains a great deal of authenticity. There is added versatility built into this arrangement. A nice performance is possible by using a completeWoodwind section and a Timpanist only. Inspiring!>/I>

SKU: PR.11641373L

UPC: 680160680337.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.