By Wayne Erbsen. For All Instruments. SongBook. Gospel-Old Time. Level: Beginning. Book. Size 9x12. 172 pages. Published by Native Ground Music.

Performed by Benny Carter. Artist Transcriptions (Authentic note-for-note transcriptions). Size 9x12 inches. 104 pages. Published by Hal Leonard.

100 Songs in the Key of C. By Various. Fake Book (Includes melody line and chords). Softcover. 230 pages. Published by Hal Leonard.

(An Inspiring Method to Playing the Drums, Guided by the Legends). By Rich Lackowski. For Drumset. Artist/Personality; Book; DVD; Method/Instruction; Percussion - Drum Set Method or Collection. On the Beaten Path. Beginner. 136 pages. Published by Alfred Music Publishing

Concert band - Grade 4

SKU: MH.0-931329-53-1

Composed by Gregory B.Rudgers. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:30. Published by Manhattan Beach Music (MH.0-931329-53-1).

ISBN 9780931329531.

Journey back to ancient Greece and view a place of long-gone legend. Follow the trail to the Kingdom of Ithaca, from the heroic palace, to a place of tranquility, to a reckless dance of abandon, to the return of Odysseus. The melodic material used in 200 B.C. is from a two thousand year old Greek hymn to Apollo. The legendary adventures of Odysseus as described by Homer in the Odyssey (ca. 700 B.C.) provide the programmatic material. The music is freely based upon the First Delphic Hymn (or Paen to Apollo), composed ca. 200 B.C. The source is a transcription appearing on pages 363 - 367 of Ancient and Oriental Music, Edited by Egon Wellesz (Oxford University Press: London, 1957). Each movement of the work depicts a key event in the epic Homeric poem, as described below. Movement I: Intrada - The first four notes of this movement, C - Bb - G - Bb, are the melodic and harmonic foundation for the entire work. These pitches, introduced in a simple and direct manner, are subsequently developed in more complex fashions throughout the suite. Following this stately introduction is a militaristic fanfare that introduces the dotted-eighth and sixteenth-note figure later reprised in the second and fourth movements. Indeed, all the musical ideas which will be central to the remaining movements first appear in the Intrada. This movement depicts the grandeur of Odysseus and his kingdom in Ithaca, and establishes the heroic mood of the entire work. Movement II: Ballad - After a brief restatement of the opening dotted-eighth-and-sixteenth fanfare, the second movement extracts the falling third (Bb to G) from the C - Bb - G - Bb motif and extends it and expands it into a haunting solo for alto saxophone. The C - Bb - G - Bb motif appears again (see measures 23 - 33 in trumpets) as counterpoint to this melody, now pulsing through the thick texture of the band. Many performers have come to view the Ballad as the emotional epicenter of the entire suite; my conception of the Ballad is to achieve a union of pathos and strength. Programmatically, this movement depicts Odysseus's son, Telemachos, as he both longs for Odysseus's return and stoically defends his father's kingdom. Movement III: Dance - It will take Odysseus twenty years to return to Ithaca. During his absence, noblemen besiege his palace, violating the sanctity of the household and seeking the hand of his wife, Penelope. This movement depicts the wanton revelries that result. The original four-note motif is chromatically altered and the meter is made irregular. The rapid tempo, driving percussion, and angular meter and melodies combine in an explosion of reckless abandon. Movement IV: March Building from a delicate woodwind ensemble accompanied by finger cymbals to a fully orchestrated statement replete with thundering percussion, this is a resounding march of victory. Odysseus has returned in triumph to restore dignity to his household and to reclaim the throne of the Kingdom of Ithaca. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 - 2, 2 Oboe 1 - 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet, 2 Bassoon 1 - 2, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (B.C.), 2 Euphonium T.C., 4 Tuba, 1 Timpani, 2 Mallet Percussion: Bells, Xylophone, 2 Percussion 1: Snare Drum, Tambourine, 2 Percussion 2: Crash Cymbals, Suspended Cymbal, Tom-Tom, Finger Cymbals, 1 Percussion 3: Bass Drum.

By Various. Arranged by Ron Middlebrook. Vocal. Size 9x12 inches. 112 pages. Published by Centerstream Publications.

SKU: GI.G-J383

Composed by Alison Reynolds, Cynthia Taggart, and Wendy H. Valerio. Jump Right In. Music Education. 494 pages. GIA Publications #J383. Published by GIA Publications (GI.G-J383).

ISBN 9781622775408.

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). Music Play 2 (494 pages) is bundled into two parts, Part A and Part B. The following are the features of each part:   Part A (264 pages) Part B (229 pages) Tribute to Edwin Gordon Guiding Newborn and Young Children’s Innate Music Capacities Guiding Young Children Through Types and Stages of Preparatory Audiation: The Materials Using Music Play 2 Inclusion: All Children and Their Families (Salvador) 45 Extended Music Engagement Plans, each with a music selection (i.e., song, song/chant combination, or chant) in a wide variety of tonalities and meters, and prototypical examples of social-music and movement play in relation to Gordon’s three types of preparatory audiation. Each song has a chord root or bass-line melody notated, singable as an additional part, as well as chord functions to guide harmonic accompaniment to the melody. Each plan features More Audeas for Music Play, such as tonal pattern and/or rhythm pattern examples for each type of preparatory audiation, supplemental harmonic and rhythm accompaniments to add to the music selection, and More Ideas for Music Play, such as examples of ways to connect Music Play 2 activities to PK–2 2014 Music Standards, and one inclusion strategy in a Domain of Learning. Guidance for teaching chord root or bass line melodies and additional harmony parts, and chordal accompaniments. Complete listing of all PK–2 2014 Music Standards, along with which extended music engagement plans feature each standard. Indices: Comprehensive Index Headings, Music Play (1998) and Music Play 2 Comprehensive Index of Music Selections Alphabetized by Type and Title: Music Play (1998) and Music Play 2 Modified Comprehensive Index, Music Play 2: Parts A and B Music Play 2: Part A Music Selections Alphabetized by Type and Title Music Play 2: Part A Music Selections Alphabetized by Title 71 Music Engagement Plans, each with a music selection (i.e., song, song/chant combination, or chant) in a wide variety of tonalities and meters, and prototypical examples of social-music and movement play in relation to Gordon’s three types of preparatory audiation. Each song has a chord root or bass-line melody notated, singable as an additional part, as well as chord functions to guide harmonic accompaniment to the melody. Apply More Audeas and More Ideas you discover using Part A to music selections and engagement plans in Part B. Part B features tonalites and meters unique to music selections in Part B, and “Hello” and/or “Goodbye” music selections. Guidance for teaching chord root or bass line melodies and additional harmony parts, and chordal accompaniments. Editor and Contributor List (83 total) An 11-page, comprehensive bibliography and resource list to support researchers and practitioners and promote their audiation-based social-music and movement play with others, especially during early childhood. Indices: Comprehensive Index Headings: Music Play (1998) and Music Play 2 Comprehensive Index of Music Selections Alphabetized by Type and Title: Music Play (1998) and Music Play 2 Modified Comprehensive Index, Music Play 2: Parts A and B Music Play 2: Part B Music Selections Alphabetized by Type and Title Music Play 2: Part B Music Selections Alphabetized by Title 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.

Marching Snare/Tenor duets (marching snare, marching tenors (quints or quads)) - Med-Advanced

SKU: TA.TSPB-29

Four duets for marching snare and tenor. Composed by Brian Blume. Books & Education. Book & CD-ROM. Tapspace Publications #TSPB-29. Published by Tapspace Publications (TA.TSPB-29).

It takes two to tap off in this collection of medium-advanced duets for marching snare and tenor. These four pieces were smartly written by Brian Blume to function as audition pieces for a college-level program (or advanced high school level) or any time a snare player and tenor player want to get together to showcase their skills!

The pieces are short enough to remain attainable but will demand skill from each performer. Inside you'll find:

Take Two -- One phrase is followed by a second, similar phrase (a second take) through a variety of compositional devices. (1'40)

Catchphrase -- Phrases over the barline, phrases with space, and like phrases with different rhythmic values serve to challenge conventional wisdom. (1'20)

Relentless -- Mostly in 7/8 time, this one is relentless in its tempo and musical challenges. (1'15)

Then Again -- A throwback to more traditional rudimental works, you'll find ratamacues, swiss army triplets, and even the double drag tap! (1'45)

Take Two comes with individual PDF parts for printing or tablet view and audio reference recordings. You supply the talent!

(58 Songs, complete lyrics, chord symbols and guitar chord diagrams) Performed by Johnny Cash. Guitar chord songbook for guitar and voice. 144 pages. Published by Hal Leonard.

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

SKU: CF.YAS176

Composed by Johann Pachelbel. Arranged by Larry Clark. SWS FS. Young String Orchestra. Set of Score and Parts. With Standard notation. 16+16+2+5+5+3+5+12 pages. Duration 2 minutes, 34 seconds. Carl Fischer Music #YAS176. Published by Carl Fischer Music (CF.YAS176).

ISBN 9781491146569. UPC: 680160904068. 9 x 12 inches. Key: G major.

This triumphant work by composer Alan Lee Silva will be a perfect selection for your next contest or festival performance. Atlantic Crossing contains all the signature flowing lines and warm harmonies that have made Silva's music so popular and fresh.
A joyous journey across the ocean begins in the opening measures, featuring triumphant violins and violas and accented cellos and basses. After the celebratory introduction, Atlantic Crossing comes down in dynamics and transitions to the lyrical A melody in the violins (m. 9) and continues with an AAB form.The violas take over with the flowing B-theme in m. 17 as the rest of the ensemble accompanies the tune with lush harmonies at a lower dynamic. A two-measure build in mm. 24-25 with ascending violins leads back to a reprise of the powerful introductory statement where the ensemble plays full-out with precise articulations and accents. A two-measure interlude in mm. 34-35 slows the energy down to return to the legato A-theme in the violins and violas. Violas carry the B-theme once again in m. 44 with syncopated and accented answer motifs in the violins. The key center shifts at m. 53, and the violins play the melody in a legato interpretationof the introductory theme. The rest of the group plays their accompaniment figures smoothly and expressively underneath. After the molto ritardando at m. 61, the piece returns to the original key center of G. From there the group plays with driving energy as before in the introduction to the final punctuated note in m. 76.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels