SKU: PR.41641576L

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

SKU: FT.FM692

ISBN 9790570485918. 21 x 30 cm inches.

SKU: BT.MUSM570206506

English.

First performance: by Meridian Ensemble conducted by the composer, Bourne, Lincs, 1978.

SKU: GI.G-10377

ISBN 9781574635324.

A unique resource for both novice and experienced band directors gathering effective teaching tools from the best in the field including more than 40 chapters dealing with every aspect of teaching instrumental music from curriculum to valuable websites. This best-selling and highly praised text has become the method of choice for university methods courses throughout the United States and Canada. What's New in the Revised Edition? Curriculum—updated to 2014 National Music Education Standards, including relevant learning theories, modalities, and music instruction theories. Resources—for concert band, marching band, pep band, jazz ensemble, and chamber groups School Law—learn more about the teacher’s Code of Ethics, music copyright law, and examine common ethical teaching scenarios. Anatomy of Music-Making—presents effective methods for teaching tone quality, balance, blend, intonation, pulse, rhythm, technique, style, articulation, phrasing, interpretation, and expression. STEPS© Method—for creating rehearsal plans and providing a theoretical approach to understanding the ensemble to improve score study and objective assessment. Motivation—surveys current intrinsic and extrinsic methods, and explores the development of leadership and character in the instrumental program, including Social Emotional Learning (SEL). Job Readiness—new teacher assessment and certification requirements, as well as valuable information guiding the new teacher throughout the music practicum and the job interview. Intonation—expanded tools for training the ear in both the individual student and full ensemble. Program Administration— the “nuts and bolts” of managing the instrumental program have been updated with topics on assessment, evaluation, rehearsal planning, score study, repertoire selection, programming, rehearsal facilities, auditions, seating, recruiting and retention, budget planning, music library management, basic instrument repair, booster groups, advocacy, time management, practicing tips, and classroom management and discipline. Mind Your P’s and Q’s—considers the implications and relationships of Professional Growth, Personal Growth, Intelligence Quotient, and Emotional Quotient. Supplementary Website—numerous charts, figures, templates, a balanced instrumentation calculator, teaching tools, recruiting materials, assessment rubrics, various learning activities. Learn more about this new resouce in this short video below: Click here to download Lesson Plan Forms.   A wonderful resource for all music educators! Dr. Jagow’s book is comprehensive and impressive in scope. An excellent book! Bravo! —Frank L. Battisti Finally, an exceptional text that offers the depth of understanding our students need in critically important topic areas. Bravo! —Don Harris So many important facets are uncovered and solutions revealed. It’s a must for the library of any serious music educator. —H. Robert Reynolds There are a growing number of fine books dealing with different aspects of the wind band and ensemble, none cover so many essential aspects in so much detail. —Tim Reynish Dr. Jagow's book is a fantastic resource for instrumental conductors, both the young and the more experienced! —George Edge . . . a book which contains a wonderfully diverse wealth of knowledge that is 'hands on' for the informed music educator. . . . an excellent resource for both beginning teachers and veteran music educators. —Dr. Linda R. Moorhouse From creating artistic musical experiences to establishing a first-class organization blueprint, there is no stone left unturned. This is not a book to be recommended, but a book to be REQUIRED. —Tim Lautzenheiser.

SKU: BT.EMBZ13924

The present edition of the trio sonatas by Johann Ludwig Krebs (1713-1780) is based on pp. 113-158 of a contemporary copy of the trio sonata collection which is held in the Sächsische Landesbibliothek, Dresden, shelf-mark Mus. 1-Q-1. The common title at the beginning of the first trio reads: Sechs Trio a 2 Flauti e Basso. In spite of the consistent indication of instrument in the source the music material of the second flute part suggests an alternative use of instruments. Apart from the characteristic string turns occurring in some places mention should be made of the range of voice up to g of the first trio sonata if the/in first place and particulary of theconsistently applied double stops of the second melodic instrument in the first movement of piece No. 6. Territorial restrictions may apply. Please ask before ordering.

SKU: HL.50511982

ISBN 9790080139240. Bach (23 x 30,2 cm) inches. Johann Ludwig Krebs; Eniko Gyenge.

The present edition of the trio sonatas by Johann Ludwig Krebs (1713-1780) is based on pp. 113-158 of a contemporary copy of the trio sonata collection which is held in the Sachsische Landesbibliothek, Dresden, shelf-mark Mus. 1-Q-1. The common title at the beginning of the first trio reads: Sechs Trio a 2 Flauti e Basso. In spite of the consistent indication of instrument in the source the music material of the second flute part suggests an alternative use of instruments. Apart from the characteristic string turns occurring in some places mention should be made of the range of voice up to g of the first trio sonata if the/in first place and particulary of the consistently applied double stops of the second melodic instrument in the first movement of piece No. 6. Territorial restrictions may apply. Please ask before ordering.

SKU: CF.CPS263

ISBN 9781491161524. UPC: 680160920150.

Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone “teewinet,” meaning “many pinnacles.” Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight “swing” and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.