Composed by Various. Arranged by Carol Klose, Christopher Norton, and Hywel Davies. BH Piano. Ballet, Classical. Softcover. 96 pages. Boosey and Hawkes #M060123917. Published by Boosey and Hawkes

Orchestra String Orchestra - Grade 1

SKU: CF.BAS5

Composed by Joseph Compello. SWS - FS. Carl Fischer Beginning String Orchestra Series. Classical. Score and Parts. With Standard notation. 12+8+8+5+5+5+3+2 pages. Duration 2:30. Carl Fischer Music #BAS5. Published by Carl Fischer Music (CF.BAS5).

ISBN 9780825845086. UPC: 798408045081. 8.5 X 11 inches. Key: D major.

The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect ofA Prarie LullabyA should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close toA p as possible. Beginning at m.39, the violin and viola parts are markedA pizzicato. If young players are unable to return quickly toA argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. TheA divisiA notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible. Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score. The divisi notes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes. Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead. The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54. Performance time with the repeat is two and a half minutes.
The musical effect of Prarie Lullaby should be graceful and serene, evocative of a peaceful night on the open plains. To that end, players will need to strive for an unlabored rhythmic flow, smooth bowing and a clear, steady tone as close to p as possible.Beginning at m.39, the violin and viola parts are marked pizzicato. If young players are unable to return quickly to argo at m.53, they may make the bow preparation easier by taking a full measure rest at m.52. This option is marked in the parts and score.The divisi no tes at m. 69 are provided for ensembles which lack violas. Ensembles with violas may have them play the lower notes while the second violins play the upper notes.Percussion, which is completely optional, should be very subdued. Choose a bell mallet which allows the tones to be heard just above the strings. the woodblock part is intended to imitate the clip-clop sound of a horse's hooves. Two different sizes of woodblocks or temple blocks are needed. Finding two suitable sounds on one woodblock is difficult. Again, the right mallets are very important. The suspended cymbal should be played with brushes if the string ensemble is small. If the suspended cymbal with brushes cannot be heard above a large number of strings, then sticks should be used instead.The percussion part can be performed by one player, provided the instruments and mallets are set up properly and the player has the skill to make the transitions smoothly. Note the optional rest at mm. 53-54.Performance time with the repeat is two and a half minutes.

About Carl Fischer Beginning String Orchestra Series

Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:

• Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
• Limited keys and rhythms - only simple 8th note patterns
• Limited independence of parts
• Playable after limited study time
• First position and natural bowings
• Piano for rehearsal and reinforcement

Selected and Arranged in Sets for Mandolin. Composed by Kevin Allison. Squareback saddle-stitched. Book. 108 pages. Published by Mel Bay Publications, Inc

Educational Piano Library. Level 2. Softcover Audio Online. 80 pages. Published by Hal Leonard

Orchestra String Orchestra - Grade 1

SKU: CF.BAS16

Composed by Douglas Townsend. Carl Fischer Beginning String Orchestra Series. Classical. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #BAS16. Published by Carl Fischer Music (CF.BAS16).

ISBN 9780825851735. UPC: 798408051730. 8.5 X 11 inches. Key: D major.

About Carl Fischer Beginning String Orchestra Series

Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:

• Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
• Limited keys and rhythms - only simple 8th note patterns
• Limited independence of parts
• Playable after limited study time
• First position and natural bowings
• Piano for rehearsal and reinforcement

Choral TBB chorus

SKU: CF.CM9204

Composed by Traditional. Arranged by Gary E. Parks. Performance Score. With Standard notation. 8 pages. Duration 1 minute, 50 seconds. Carl Fischer Music #CM9204. Published by Carl Fischer Music (CF.CM9204).

ISBN 9780825883224. UPC: 798408083229. 6.875 x 10.5 inches. Key: D minor. Text: Catherine E. Parks. Cathryne E. Parks.

Gary and Cathryne Parks work together to bring us a rollicking sea chantey to life for TBB voices. The descriptive text of the elements of a sailor's life paints a full picture of not just the challenges and joys, but of the loneliness as well. A great choice for your concert program. Duration: 1:50.

Choral Cello, Piano, alto voice, bass voice, soprano voice

SKU: CF.CM9404

Composed by Shelley Smith David (D) Smith. Fold. Performance Score. With Standard notation. 8 pages. Duration 2 minutes, 28 seconds. Carl Fischer Music #CM9404. Published by Carl Fischer Music (CF.CM9404).

ISBN 9780825898020. UPC: 798408098025. 6.875 x 10.5 inches. Text: Percy Bysshe Shelley. Percy Shelley.

Classical guitar - Intermediate

SKU: MB.99904M

Composed by Giovanni De Chiaro. Squareback saddle stitch, Wedding. Style. Book and online audio. 112 pages. Mel Bay Publications, Inc #99904M. Published by Mel Bay Publications, Inc (MB.99904M).

ISBN 9780786697045. 8.75 x 11.75 inches.

This collection provides fresh repertoire for wedding ceremonies offering a wonderful alternative to the church organ. Selections include Canon in D Pachelbel ; Jesu, Joy of Mans Desiring Bach ; Wedding March Mendelssohn ; and other popular and enjoyable pieces suitable for the occasion. Written in standard notation only with suggested fingerings. Includes access to online audio recording.

By William Bay. For Guitar (Electric). method. You Can Teach Yourself. Rock. Level: Beginning. Book CD DVD. Size 8.75x11.75. 108 pages. Published by Mel Bay Publications, Inc.

Composed by Stefan Grossman. Guitar: Fingerpicking,Style,Blues ,Met hod,Solos. Grossman Audio. Book and Online Audio. 116 pages. Published by Mel Bay Publications, Inc

Unison choir, keyboard instrument - Level 2

SKU: CA.322840

Composed by Silvia Elvers. Separate edition with choral collection. Sacred vocal music, Special days, Praise and thanks. Full score. Duration 1 minute. Carus Verlag #CV 03.228/40. Published by Carus Verlag (CA.322840).

ISBN 9790007178086. Key: D major. Language: German. Text: Elvers, Silvia. Text: Silvia Elvers.

(2D1.2D1.2.2/4.2.3.1,timp ,str)

SKU: TM.05520SET

Composed by William Henry Humiston. Set Type: D. Set of parts. Lucks Music Library #A7801. Published by Lucks Music Library (TM.05520SET).

Transposed: Hn 1&2, Tpt 1&2, (CL orig. in Bb) No Tbns.

Classical. Textbook. Trinity College London #TCL019318. Published by Trinity College London

(SATB Chorus and Organ). By Lee Hoiby (1926-). SATB. Choral. Schott Music #ED30047. Published by Schott Music

Composed by David Barrett. Perfect binding. Value Line. Blues Harp. Book and online audio. Published by Mel Bay Publications, Inc (MB.96699M).

By Jerry Silverman. For Guitar (Fingerpicking). SongBook. Bill's Music Shelf. Victorian. Beginning. Book. 140 pages. Published by Mel Bay Publications, Inc

Jazz ensemble - Grade 4

SKU: LO.60-1335H

Composed by Bob Washut. Jazz. Conductor's score. Heritage Music Press #60/1335H. Published by Heritage Music Press (LO.60-1335H).

ISBN 9780893288129.

Alte rnating between Latin and swing, this impressive new piece is reminiscent of the way jazz players usually perform On Green Dolphin Street. The opening Latin section is over a rhythmic ostinato and pedal F, which makes the release to swing even more effective. The solos for alto saxophone and trumpet are one chorus each (but could easily be extended) using the same Latin/swing format as the head. Following the solo section is a saxophone soli and an exciting breakdown section. Some wide dynamic contrasts in the final ensemble section take the chart out. (Trumpet 1 to written D, Trombone to A-flat, Trombone 4 is for bass trombone.).

Basso (cello/double bass) (solos: SATB - choir: SATB - 1.0.ob d'am.0.0. - 0.0.0.0. - str - bc)

SKU: BR.OB-4651-26

3rd Day of Christmas [St John's Day]. Composed by Johann Sebastian Bach. Stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Part. 8 pages. Duration 20'. Breitkopf and Haertel #OB 4651-26. Published by Breitkopf and Haertel (BR.OB-4651-26).

ISBN 9790004317808. 9 x 12 inches.

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS19

Composed by Alan Lee Silva. Carl Fischer Young String Orchestra Series. Classical. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #YAS19. Published by Carl Fischer Music (CF.YAS19).

ISBN 9780825854859. UPC: 798408054854. 8.5 X 11 inches. Key: D major.

Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yetA legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerfulA divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel. A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out. In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.
Summer Dance is a melodic, up-tempo piece with plenty of musical and technical challenges for every player. Musicians should strive to play it with an energetic yet legato feel.A spirited introduction features an opening melody in the violins and active repeated-note pedal patters in the violas and low strings. An AABA form begins at m.5 and the orchestration is immediately pared down to feature violin I and cello. It then builds again in density to the B section, where a quick dynamic drop allows a question-and-answer melody between the two parts to sing out.In m. 29, the melody is harmonized and a countermelody in violin I introduced. The violins take the melody soaring in octaves in m. 33, as the piece again builds to the B section and suddenly quiets. Measure 55 then provides more question-and-answer interplay, this time for viola and cello, while violin continues with its newly harmonized melody. Summer Dance finishes with a soft recurrence of the opening figure and a build toward a powerful divisi voicing on beat 3 of m. 63, right before the final chord.

About Carl Fischer Young String Orchestra Series

Thi s 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

Bass guitar - Intermediate-Advanced

SKU: MB.95254BCD

Composed by Johann Sebastian Bach. Edited by Josquin Des Pres. Saddle-stitched, Solos. Baroque. Bass tablature songbook and examples CD. With guitar tablature and standard guitar notation. 48 pages. Published by Mel Bay Publications, Inc (MB.95254BCD).

ISBN 9780786628438. UPC: 796279042697. 8.75x11.75 inches. Transcribed by Josquin des Pres.

Johann Sebastian Bach is recognized as one of the world's supremely great musicians. Known primarily as an organist and then only later recognized as a composer, Bach transformed the conventional structures of preludes and fugues. J.S. Bach for Bass will open up a whole new world of phrasing for the aspiring bassist. Selections include Prelude #1 in C Major, Suite #1 in G Major, Partita #2 in D and more. This book is written in notation and tablature. Also available in Japanese from ATN, Inc.

By Mizzy McCaskill and Dona Gilliam. For Flute. Solos. Complete. Celtic/Irish. Level: Beginning. Book/CD Set. Size 8.75x11.75. 192 pages. Published by Mel Bay Publications, Inc.

(1+1.2.2.2/4.0.0.0,hp,cel ,str,cello solo,voice)

SKU: TM.02678SET

Composed by Henri Duparc. Set Type: D. Set of parts. Lucks Music Library #A8780. Published by Lucks Music Library (TM.02678SET).

Vocal Score I = Key of c (Original key); Vocal Score II = Key of a. Listed in score as chant or voice. Please specify key when ordering.