(A Comprehensive Guide to Guitars, Amps, and Effects for the Dedicated Guitarist). By Tobias Hurwitz. For Guitar. Book; CD; Guitar Reference; Reference Textbooks. The Serious Guitarist. 128 pages. Published by Alfred Music

Composed by William Bay. Saddle-stitched. Folk. Book. 36 pages. Mel Bay Publications, Inc #WBM42. Published by Mel Bay Publications, Inc

(Heavy Metal Meets the Acoustic Guitar). By Joshua Craig Podolsky. For Guitar. Book; CD; Guitar Method or Supplement; Method/Instruction; Technique Musicianship. Shredding Styles. Acoustic; Metal; Rock. Advanced; Intermediate. 64 pages. Published by Alfre

By Alan Lee Silva. For Full Score, Violin I, Violin II, Violin III, Viola, Cello, Bass, Piano. Carl Fischer Young String Orchestra Series. Grade 2-2.5. Score and parts. Published by Carl Fischer

Composed by Flavio Henrique Medeiros and Carlos Almada. Mandolin,Guitar: Classical and Lute,Style,Brazilian,Solo s and Duets,Duet and Ensemble. Book and Online Audio. 104 pages. Published by Mel Bay Publications, Inc

Violin & Clarinet

SKU: SU.80111202

For Violin & Clarinet. Composed by Meyer Kupferman. Strings, Violin, Woodwinds, Clarinet. Performance Score. Subito Music Corporation #80111202. Published by Subito Music Corporation (SU.80111202).

Violin & Clarinet Duration: ' Composed: 1972 Published by: Soundspells Productions Includes set of 2 scores The Garden of My Father's House (1973) is a dramatic rhapsody for violin and clarinet duo. The composer wrote the following: I composed THE GARDEN OF MY FATHER'S HOUSE in 1972 in memory of my father, who was my first music teacher. Although he played many instruments and loved to sing, he could not read a note of music. When I was very young he would sing Gypsy songs, Yiddish folk-songs and Rumanian tunes to me and I would play them back on my clarinet, often with ornaments and variations. Sometimes he would accompany me on the piano; he had a few favorite chords which always seemed to pop up no matter what the tune. The piece is a musical ritual, based on a C-sharp drone, or pedal note, that is heard without interruption, across several ranges, throughout the piece. The violin's drone tremolos, often combined with perfect fifths and quarter-tone tunings, imply the key of Csharp minor. The violin part is always rubato — lyrical, expressive and frequently very passionate. But, most importantly, the violin is always tonal. The clarinet, on the other hand, is atonal, its pitches drawn from the twelve-tone row that I used to write my Cycles of Infinities. The style of the clarinet is contemporary, using wide-range intervals, biting accents and unusual instrumental effects, including fluttertonguing and quarter-tone trills. In combining the 'contrasting' roles of the two instruments, I sought to create a musical ritual-game that would draw energy and bits of information from the polarized instruments. The language of the piece calls the listener's attention to the cogent features of both instrumental personalities in a manner that is somewhat similar to the way in which Yiddish combines German and Hebrew. The drone becomes more and more magnetic and begins to join the parts together until they become one in the final C-sharp unison.

By Charles Postlewate. For Guitar (Classical). Solos. Classic. Intermediate-Advanced. Book. 158 pages. Published by Mel Bay Publications, Inc

SKU: HL.438848

EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0202. Published by Hal Leonard (HL.438848).

UPC: 852940000844. 3.25x5.5x2.5 inches.

The Carl Martin Surf Trem has received a facelift from the boys in the back. The 2018 Surf Trem gets its circuitry from the famous Carl Martin TremO'vibe and takes you back to those infamous American amplifier tremolos... but wider, deeper, yet smooth with no noise or coloration. Clean, transparent analog trem... just what you would expect from Carl and the boys. The new 2018 Carl Martin Surf Trem has head-mounted Input/Output/9v, a very cool small footprint two-tone anodized diecast case, the same heavy duty switch and the awesome Carl Martin DC/DC converter circuitry that allows the pedal to run with +-12v internally while still being powered by a regular 9v 200mA external power supply. Bigger sound, bigger tone, all analog, all Carl Martin!

A Comprehensive Guide to Mastering the Blues. Composed by David DiGiuseppe. Squareback saddle-stitched. Book and online audio. 96 pages. Published by Mel Bay Publications, Inc

By Jason Eckardt (1971-). For Flute. 8 pages. Duration 5 minutes. Published by Carl Fischer

SKU: HL.276761

CDCM Modulation Effects Pedal. Hotone Pedals. Guitar Pedal. Hal Leonard #BME-1. Published by Hal Leonard (HL.276761).

UPC: 888506100048. 3.0x5.0x3.0 inches.

Grown out of next-generation XTOMP technology, the Hotone Binary Series lets loose versatile pro-level effects in compact cases. Based on the same modeling/original effect library that amazed XTOMP users worldwide, Binary Series are dedicated to gather a bunch of high quality effects in a box with more affordable, competitive price. They feature compact casing, dual-footswitch design, versatile inputs/outputs and bright, clear OLED display, which blur the line between “classic pedals” and multi-effects. At the core of all Binary Series pedals, a powerful dual-DSP platform and CDCM (Comprehensive Dynamic Circuit Modeling) modeling system ensure a realistic playing experience. The CDCM system is built on an extremely complex dynamic variation matrix, able to realistically express every detailed change that occurs during the operational process of actual circuitry: Everything is ALIVE and performs like its original. The Hotone Binary Mod is a modulation effects pedal with stereo I/O and expression pedal support for delivering authentic classic, as well as new and inspiring Hotone original, modulation sounds. 24 high-quality modulation effects include choruses, flangers, phasers, tremolos, rotary speaker simulators, vibratos, wahs, detuners and more.

By James Pellerite. For Flute. Woodwind - Flute Method or Collection. Book. 64 pages. Published by Alfred Publishing.

Composed by Henriette Renie (1875-1956). Leduc. Classical. Softcover. 232 pages. Alphonse Leduc #AL23707. Published by Alphonse Leduc

Piano

SKU: HL.49045635

Piano Solo. Composed by Kenji Sakai. Piano. Classical. Softcover. Zen-On #ZN169302. Published by Zen-On (HL.49045635).

This is my first work for piano, except for studies. The 'bell' and 'cloud' in the subtitle are metaphors of motifs used in this piece. The motif representing the sound of the 'bell' in Le gibet, the second of Gaspard de la nuit by Maurice Ravel, is transferred here and tolled insistently from the beginning. The motif gradually loses its figure and transforms into tremolos which represent 'clouds'. I name the process 'Disincarnations.' The work represents the transforming process itself. -Kenji Sakai.

SKU: GI.G-9987

Anatomy, Technique, and Wellness Principles. Composed by Lisa Marsh. Body Mapping. Music Education. 168 pages. GIA Publications #9987. Published by GIA Publications (GI.G-9987).

ISBN 9781622773985.

Coor dinate Movement for Pianists explores the art and science of playing piano from a fundamental yet often overlooked perspective: sound is the result of movement. What movements, then, produce the most desirable sounds at the piano? Drawing from experience in the fields of piano instruction, medicine, and Body Mapping, author Lisa Marsh presents a detailed discussion—complet e with anatomical drawings and music examples—about the types of movement that contribute to a healthy, fluid, and versatile piano technique. This resource is divided into three parts. In the first, Marsh establishes several foundational concepts, including the relationship between sound and movement, sensory awareness, and the practice of inclusive awareness. This section also introduces the key anatomical structures involved in playing piano. Part II focuses on the development of a piano technique based on relaxed, efficient, and anatomically accurate movements. Technical skills addressed include: tremolos, trills, leaps, scales, navigating black and white keys, octaves, chords, voicing, articulation, pedaling, fingerings, repeated notes, and tone production, among others. The dozens of music examples included in Part II, excerpted from the standard piano literature, offer an opportunity for pianists to practice healthy movements in context. This section also includes several chapters that offer practical tips for practicing, learning, and memorizing music. Part III rounds out this resource with a thoughtful discussion about musicians’ physical, mental, and emotional wellness. Topics covered include finding community and employment, combating performance anxiety, preventing injury, and rehabilitating after injury. Coordinate Movement for Pianists is a brilliant reminder that healthy movement is the basis for a fulfilling and lifelong enjoyment of piano. Regardless of experience or level, students and teachers alike are certain to gain new inspiration and reap the benefits from applying these ideas to their own craft. Lisa Marsh is Director of the Coordinate Movement Program at Portland State University, where she specializes in wellness for musicians. Her work as an educator, performer, and composer is informed by years of experience in the fields of medicine, piano study, Body Mapping, and Alexander Technique.

String Quartet

SKU: PR.16400222S

Composed by Dan Welcher. Full score (study). With Standard notation. Duration 11 minutes. Theodore Presser Company #164-00222S. Published by Theodore Presser Company (PR.16400222S).

UPC: 680160037841.

This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection.   The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour.   In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature.   The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales.   The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey.   Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.

Orchestra String Orchestra - Grade 1.5

SKU: FJ.ST6401

Composed by William Owens. Series; String Orchestra. FJH Beginning Strings. Light Concert; Novelty. Score and Part(s). Duration 1:45. The FJH Music Company Inc #98-ST6401. Published by The FJH Music Company Inc (FJ.ST6401).

UPC: 241444365700. English.

The hand truly is quicker than the eye in this whimsical piece for developing strings! Using mostly stepwise motion, it is a wonderful study in legato and staccato styles. Written tremolos can be played at the director's discretion while optional, carefully scored percussion parts will certainly add to the intrigue. Pure magic!

By Merrill Clark. For Electronic Keyboard. Electronic Keyboard. Blues. Book. 96 pages. Published by Alfred Publishing.

(For Solo Marimba). By Steven Stucky (1949-). Solo Part. For Marimba. Contemporary. Solo part. Standard notation. 20 pages. Duration 15 minutes. Published by Theodore Presser Company

Guitar

SKU: BT.VOLMB161

Composed by Greg Horne. Book with CD. Volonte e Co #VOLMB161. Published by Volonte e Co (BT.VOLMB161).

ISBN 9788863881585. French.

The last volume of this superb series dedicated to the acoustic Guitar begins with exercises enabling development in style and precision. Techniques such percussive riffing, right hand damping, slaps, tapping, slap harmoniesand tremolos are studied. You will broaden your knowledge of Celtic music, blues, improvisation, alternative scales and also learn to play worldwide music styles such as reggae, African music, Brazilian, norteno music and a mix ofeverything.

These methods are very important for intermediate and advanced guitarists and equally include a study of more that 10 alternative scales and teach how to analyse, contrast and voice movement. Everyguitarist,average to professional will find material to improve their acoustic Guitar playing.

Berklee Guide. Songwriting, Instruction. Softcover Audio Online. 128 pages. Published by Berklee Press