SKU: GI.G-J382

Composed by Alison Reynolds, Cynthia Taggart, and Wendy H. Valerio. Jump Right In. Music Education. Book. 230 pages. GIA Publications #J382. Published by GIA Publications (GI.G-J382).

ISBN 9781622774920.

Through engaging children using Music Play 2, adults may build relationships with newborn and young children, additional family members, and other adults as they joyfully make music together, affirm and nurture newborn and young children’s innate capacities for expressive musicking and movement, and honor and extend young children’s expressed musical curiosities, ideas, and audeas (musical thoughts and ideas), helping them realize that their musical identities are worth sharing, developing, and preserving. Music Play 2 materials function in companion with Music Play (GIA, 1998) and Edwin Gordon’s Music Learning Theory for Newborn and Young Children (GIA, 2013) To see contents specific to Parts A and B, click here. Download Music Play 2 Extended Indexes (free)   Music Play 2 is a welcomed contribution for all who are concerned with appropriately guiding children’s musical understandings—parents, teachers, and caregivers. The book is extremely well organized with an excellent balance of theory and practice. The theoretical underpinnings of Music Play 2 are presented in a “user friendly” manner, the lessons are easy to follow and adapt for individual children’s needs and level of development, the numerous songs and chants represent a wide variety of tonalities and meters, and an extensive section on inclusion and inclusive practices has been added. Music Play 2 will be the resource I use for my early childhood music classes! —Joanne Rutkowski, Ph.D., Professor Emeritus, Music Education     The Pennsylvania State University This book had me interested from the table of contents onward. The lessons are detailed and ready to use in the classroom. I love that there are tonal and rhythmic patterns to go with each song or chant. This is truly a resource that will delight children and teachers as it is easy to use, appropriate for young children, and pedagogically sound. When I finished, I was ready to jump back into teaching early childhood music. Fantastic! —Alice M. Hammel, Ph.D.     James Madison University Music Play 2 is devoted to the wonder of young children’s musical development. The authors have adeptly woven theory and practice, offering a treasure trove of fresh, accessible lesson plans developed by leading researchers and practitioners in the field of early childhood music. An excellent, indispensable resource with original and high-quality music content, Music Play 2 is essential for all providers of music for young children, and sure to be used time and time again. —Suzanne L. Burton, Ph.D., Professor of Music Education     University of Delaware.

Notes On The Neck composed by Phil Black. For guitar. This edition: Paperback. Reference. Educational. Color poster. Text Language: English. 1 pages. Published by Santorella Publications

Notes on the Bass composed by Phil Black. For bass guitar. This edition: Paperback. Reference. Educational. Color poster. Text Language: English. 1 pages. Published by Santorella Publications

Chamber Music Clarinet, Flute, Percussion, Piano, Tape, Violoncello, soprano voice

SKU: PR.11140180S

For Mezzo-soprano Voice and Chamber Ensemble with Tape. Composed by Shulamit Ran. Text: Five Poems of Nelly Sachs, Translation from German of Nos. I, III and IV by Ruth and Matthew Mead, of No. II by Michael Roloff and No. V by Michael Hamburger. Contemporary. Set of performance scores. With Standard notation. Composed 1969. 52 pages. Duration 18 minutes. Theodore Presser Company #111-40180S. Published by Theodore Presser Company (PR.11140180S).

UPC: 680160601691. Text: Nelly Sachs. Nelly Sachs. Text: Five Poems of Nelly Sachs, Translation from German of Nos. I, III and IV by Ruth and Matthew Mead, of No. II by Michael Roloff and No. V by Michael Hamburger.

O The Chimneys is a setting of five poems by Nelly Sachs, the great German-Jewish 1966 Nobel Prize co-winner in literature, whose writing concerned itself almost entirely with the subject of the holocaust. Composed in 1969, the work was my own personal way of saying, through my own art, do not forget. Shockingly, these words have as much relevance today as they did when the work was written. Today we find ourselves having to say do not forget, do not distort, do not deny it ever happened.   I selected the five poems from Sachs' O The Chimneys collection, retaining its grimly evocative title even though I did not include the actual poem by that name. In scoring the work for female voice, flute, clarinet/bass clarinet, cello, piano and percussion, I aimed to give myself the broadest possible palette of instrumental colors while using the smallest number of participants. Yet as I was planning the final moments of my cycle, I felt that instrumental sound alone would not suffice to express the horror. An electronic tape segment was added to the work's final climax.   The first two poems (A Dead Child Speaks and Already Embraced by the Arm of Heavenly Solace), both depicting the tearing of a child away from his mother, are treated essentially as one unit, with the first acting as an introduction to the second. These two, and the cycle's apocalyptic fifth poem (Hell is Naked from Glowing Enigmas II), act as the two weighty pillar points, so to speak, surrounding the more introspective two middle poems (Fleeing and Someone Comes). To maximize dramatic differentiation within the constraints of a relentlessly tragic subject matter, I used range as a means to delineate contrast, by dividing the sounds available to me into low and dark (mvt. III) vs. high and, at times, eerily bright (mvt. IV) colors. Thus the two middle poems are intended to balance the frenzied madness of which the work's outer parts are made.   The work received its first performance in New York at the Metropolitan Museum of Art's Grace Rainey Auditorium on January 19, 1970.   --Shulamit Ran.

Chamber Music Clarinet, Flute, Mezzo-soprano voice, Percussion, Piano, Tape, Violoncello

SKU: PR.111401800

For Mezzo-soprano Voice and Chamber Ensemble with Tape. Composed by Shulamit Ran. Arranged by Nelly Sachs. Text: Five Poems of Nelly Sachs, Translation from German of Nos. I, III and IV by Ruth and Matthew Mead, of No. II by Michael Roloff and No. V by Michael Hamburger. Contemporary. Set of Score and Parts. With Standard notation. Composed 1969. 51+16+14+20+14+15 pages. Duration 18 minutes. Theodore Presser Company #111-40180. Published by Theodore Presser Company (PR.111401800).

UPC: 680160618132. 8.5 x 11 inches. Text: Nelly Sachs. Nelly Sachs. Text: Five Poems of Nelly Sachs, Translation from German of Nos. I, III and IV by Ruth and Matthew Mead, of No. II by Michael Roloff and No. V by Michael Hamburger.

O The Chimneys is a setting of five poems by Nelly Sachs, the great German-Jewish 1966 Nobel Prize co-winner in literature, whose writing concerned itself almost entirely with the subject of the holocaust. Composed in 1969, the work was my own personal way of saying, through my own art, do not forget. Shockingly, these words have as much relevance today as they did when the work was written. Today we find ourselves having to say do not forget, do not distort, do not deny it ever happened.   I selected the five poems from Sachs' O The Chimneys collection, retaining its grimly evocative title even though I did not include the actual poem by that name. In scoring the work for female voice, flute, clarinet/bass clarinet, cello, piano and percussion, I aimed to give myself the broadest possible palette of instrumental colors while using the smallest number of participants. Yet as I was planning the final moments of my cycle, I felt that instrumental sound alone would not suffice to express the horror. An electronic tape segment was added to the work's final climax.   The first two poems (A Dead Child Speaks and Already Embraced by the Arm of Heavenly Solace), both depicting the tearing of a child away from his mother, are treated essentially as one unit, with the first acting as an introduction to the second. These two, and the cycle's apocalyptic fifth poem (Hell is Naked from Glowing Enigmas II), act as the two weighty pillar points, so to speak, surrounding the more introspective two middle poems (Fleeing and Someone Comes). To maximize dramatic differentiation within the constraints of a relentlessly tragic subject matter, I used range as a means to delineate contrast, by dividing the sounds available to me into low and dark (mvt. III) vs. high and, at times, eerily bright (mvt. IV) colors. Thus the two middle poems are intended to balance the frenzied madness of which the work's outer parts are made.   The work received its first performance in New York at the Metropolitan Museum of Art's Grace Rainey Auditorium on January 19, 1970.   --Shulamit Ran.

Chamber Music Bassoon, Clarinet, English Horn, Harp, Horn, Marimba, Piano, Vibraphone, Viola, Violin, Violoncello

SKU: PR.UE037135

For 11 instruments. Composed by Pierre Boulez. 172 pages. Duration 11 minutes. Universal Edition #UE037135. Published by Universal Edition (PR.UE037135).

ISBN 9783702475406. UPC: 803452072515.

Universal Edition presents the last extended version of Boulez' Derive 2 in a 2006 revision. When I reflected on some of Ligeti's compositions, wrote Boulez, I felt the desire to dedicate myself to some almost theoretical research into periodicity in order to systematically examine its overlays, its shifts and its exchange. Tom Service, in The Guardian, describes the work: I had the sense...that although the piece was 45 minutes long, it could either have been 20 minutes or 200 and it wouldn't really have mattered. All of the music you hear in it is based on a single chord (derived - see what I've done there? - from a musical transliteration of the initials of Paul Sacher's name). Everything changes on the surface - there are passages where everything is speeding along vertiginously, which then contract into pools of slower music - but nothing changes underneath. It's a musical world that's completely hermetic and yet infinitely expandable. Weird.

Cello and Piano (CELLO/PIANO)

SKU: HL.48187593

Composed by Francis Poulenc. Heugel. Post-1900. Softcover. 8 pages. Heugel & Cie #HE31361. Published by Heugel & Cie (HL.48187593).

UPC: 888680984359. 9.0x12.0x0.048 inches.

“Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianist. His Serenade, originally composed in 1925-1926 for Voice and Piano, met much success as part of his Bawdy Songs. Therefore, it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc, as a member of Les Six, composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style, making use of a 6/8 time signature, double stops, variations in articulation and wide range on the Cello. Being an imaginative and evocative composition, Serenade, transcribed for Cello and Piano, is a pleasurable addition to the repertoire.”.

Double Bass

SKU: BT.9780713681635

Composed by Chris Maybank. Abracadabra. Method. Book with CD. 32 pages. Collins Music Publishing #9780713681635. Published by Collins Music Publishing (BT.9780713681635).

ISBN 9780713681635. English.

Abracadabra Beginner is full of exciting games and songs to help you play your double bass well! You'll learn how to sit properly, how to hold your double bass, how to make the correct shapes with your fingers and howto hold the bow.

The CD has exciting backing tracks to play along with, and is great to use when you play at home.

• Full of fun and easy songs, rhymes and games
• CD packed with excitinggames and backing tracks
• Play at home, in your lessons and with your friends
• Focuses on the very first steps of string playing , with a wealth of ideas and activities to establish good posture, bow hold andfingerposition
• Activities and games to build and develop musicianship skills, with a structured introduction to reading notation

Choir (Women's Choir)

SKU: AP.49717

Composed by Sally K. Albrecht. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Sacred. Choral Octavo. 12 pages. Alfred Music #00-49717. Published by Alfred Music (AP.49717).

UPC: 038081568041. English.

Changing meters of 10/8 and 6/8 are sure to grab your attention in this contemporary Christmas choral. Rhythmic four-part voices sing mostly in Latin (with occasional joy to the world interjections) and with various choral textures. Staggered Glorias kick it off with exuberance and joyfully return before the final flourish. It's an inspired surprise when the addition of a descant cleverly combines themes we've heard before. Invite a snare drum player to join (part included) to reinforce the triumphant tone.

Choir (Men's Choir)

SKU: AP.49718

Composed by Sally K. Albrecht. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Sacred. Choral Octavo. 12 pages. Alfred Music #00-49718. Published by Alfred Music (AP.49718).

UPC: 038081568058. English.

Changing meters of 10/8 and 6/8 are sure to grab your attention in this contemporary Christmas choral. Rhythmic four-part voices sing mostly in Latin (with occasional joy to the world interjections) and with various choral textures. Staggered Glorias kick it off with exuberance and joyfully return before the final flourish. It's an inspired surprise when the addition of a descant cleverly combines themes we've heard before. Invite a snare drum player to join (part included) to reinforce the triumphant tone.

Composed by Jacob Narverud. Traditional Latin from the Christian Divine Liturgy. Octavo. With Standard notation. Duration 2 minutes, 25 seconds. Carl Fischer #CM9496. Published by Carl Fischer (CF.CM9496).

Choral TBB chorus

SKU: CF.CM9445

Composed by Jacob Narverud. Fold. Performance Score. With Standard notation. 8 pages. Duration 2 minutes, 25 seconds. Carl Fischer Music #CM9445. Published by Carl Fischer Music (CF.CM9445).

ISBN 9781491142530. UPC: 680160900039. 6.875 x 10.5 inches.

Jake Narverud's setting of this prayer of peace is powerful! From the opening unison chant to the final amen, it is infused with interesting and varied harmonies, meter, and rhythm. Men's choirs are sure to feel empowered when learning and performing this piece, commissioned for director Christy Elsner's Allegro con Brio Choir. Also available for SSA voices (CM9389).