Cello Play-Along Volume 6. By The Piano Guys. Cello Play-Along. Softcover Audio Online. 32 pages. Published by Hal Leonard

By Paul Simon. By Paul Simon and Simon And Garfunkel. Arranged by Russ Shipton. Chord Songbooks. Pop and Rock. Book Only. 40 pages. Paul Simon Music #MUSPS10818. Published by Paul Simon Music

Arranged by Joel Raney. Score. Hope Publishing Company #9114. Published by Hope Publishing Company

For voice and piano. Format: Easy piano/vocal songbook (simplified piano/vocal arrangements). With vocal melody, piano accompaniment, lyrics and chord names. Gospel and southern gospel. 64 pages. 9x12 inches. Published by Hal Leonard.

Orchestra Cello, Contrabass, Piano, Timpani, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5

SKU: CF.CAS73

Birthplace of the Desert People. Composed by Doris Gazda. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 16+16+4+10+10+10+2+4+12 pages. Duration 4 minutes, 21 seconds. Carl Fischer Music #CAS73. Published by Carl Fischer Music (CF.CAS73).

ISBN 9780825894749. UPC: 798408094744. 9 x 12 inches. Key: Eb minor.

A dynamic new concert piece from popular composer Doris Gazda, Baboquivari is mysterious at first and then breaks into an exciting 6/8 groove that shifts into several different key areas to add to the excitement. Perfect for contest and festival performances.
The Native American people who reside primarily in the Sonoran Desert of southeastern Arizona and northwest Mexico are known as the Tohono O'odham. Tohono O’odham means Desert People. The Tohono O’odham reservation is the location of the Quinlan and Baboquivari Mountains, which include Kitt Peak, the Kitt Peak National Observatory with its numerous telescopes and Baboquivari Peak. Baboquivari is a 7,730-foot (2,356- meter) granitic monolith located about 60 miles southwest of Tucson, Arizona. Part of the peak lies in the 2,900,000-acre Tohono O’odham Reservation, the second largest Indian reservation in the United States, while most of it lies in the Baboquivari Mountains Wilderness Area.Baboquivari Peak is the most sacred place to the Tohono O'odham people. It is the cen- ter of the Tohono O'odham cosmology and the home of the creator, I’itoi. According to tribal legend, he resides in a cave below the base of the mountain which is regarded by the O'odham nation as the navel of the world, a place where the earth opened and the people emerged after the great flood. Baboquivari Peak is also sometimes referred to as I'itoi Mountain. In the native O’odham language, it is referred to as Waw Kiwulik, meaning narrow about the middle.Baboquivari Peak was mentioned in the journals of Jesuit missionary Padre Eusebio Francisco Kino (1645-1711), who made many expeditions into this region of the Sonoran Desert. Beginning in 1699, Kino introduced Spanish culture and Christianity to the desert dwellers. He established at least twenty Spanish Missions in the area, most of which were in the Tohono O'odham nation. The Tohono O'odham tell the story that at the beginning of the Spanish conquest of what is present day Arizona, a certain Spanish officer and his men tried to dig their way into Baboquivari. Suddenly, the ground under them opened and Baboquivari swallowed them. This story has similarities to that of Francisco Vásquez de Coronado's search for the Seven Cities of Cibola and a place called Quivira, where, he was told, he could get his hands on unlimited quantities of gold. The gold had a way of disappearing while they were searching.Today, the mountain offers a strenuous climb for experienced hikers. It has a waist which was overcome at one time through the use of ladders. Today's mountain climbers get past the indentation that encircles the mountain by using ropes where necessary.

Songbook (spiral bound) for voice and piano. 143 pages. Published by Alfred Publishing.

E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and electronic keyboard). Size 9x12 inches. 48 pages. Published by Hal Leonard.

Soprano voice, mezzo-soprano voice, or tenor voice and piano - Intermediate SKU: EC.9229 Composed by Juliana Hall. E.C. Schirmer Publishing #9229. Published by E.C. Schirmer Publishing

Electric guitar - Intermediate

SKU: MB.30522M

Celtic Rock Solos. Composed by Philip John Berthoud. British, Saddle-stitched, World. Rock and Blues. Book and online audio. 52 pages. Mel Bay Publications, Inc #30522M. Published by Mel Bay Publications, Inc (MB.30522M).

ISBN 9781513464237. 8.75 x 11.75 inches.

Ideal for the intermediate-level guitarist, these 17 traditional tunes from the UK plus one from France are arranged to be played with your electric guitar plugged-in. The transformation that occurs in switching from acoustic to electric instruments adds an unmistakable Celtic rock element to the authorâ??s companion recording.

The tunes are all played twice through on the recording and transcribed note-for-note in the book. The recording features backup from both electric bass and a second electric guitar, often played with a slide and a little â??dirtâ? thrown into the mix. Skillful bodhrán and djembe playing on many of the tracks adds to the dynamic nature of the recording.

Many of these tunes can be played in lower positions but a few venture as high as the 14th fret. Playing one note at a time within a narrow range, if you donâ??t read particularly well now, working through these tunes will help you improve and gain confidence as a sight reader.

Written in standard notation and guitar tablature. Includes access to online audio.

(solos: 2vl.va.vc - 4(4picc.A-fl).3.3.B-clar.3.dble bsn - 4.3.3.1 - perc(4) - hp - pno - str: 10.10.8.8.6)

SKU: BR.PB-5714

Music for Orchestra with String Quartet. Composed by Helmut Lachenmann. Softcover. Partitur-Bibliothek (Score Library). Solo concerto; Dances/marches; Music post-1945. Sheet Music. Composed 1979/80. 176 pages. Duration 36'. Breitkopf and Haertel #PB 5714. Published by Breitkopf and Haertel (BR.PB-5714).

ISBN 9790004216514. 10.5 x 14 inches.

More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Quartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.

World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.

Performed by Peter, Paul and Mary. Songbook for voice, piano and guitar chords. 143 pages. Published by Alfred Publishing.