Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Gong, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Timpani, Tom-tom, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2 and more.

SKU: CF.FPS164F

Composed by Amy Webb. Full score. 16 pages. Carl Fischer Music #FPS164F. Published by Carl Fischer Music (CF.FPS164F).

ISBN 9781491163900. UPC: 680160922697.

Call of the Ancient Clans takes players back to the time of the dawn of man, when neighboring tribes could communicate with each other not by racing through the harsh jungle or dry desert, but by the use of different rhythm instruments. Music was also used in religious rituals, celebrations and to share the history of the group.With an interesting, pulsating rhythm and catchy woodwind lines, Call of the Ancient Clans is sure to light a fire under students and get them involved in making some exhilarating music. The notes can be easily played by those with over a year of band experience, but will also provide a good challenge, as the first clarinets do go over the break a couple of times.Students will have a lot of fun playing double forte (who doesn’t?). However, caution students that playing “as loud as you can” can lead to bad-sounding notes. Balance with the person next to you; if you can’t hear them, you’re too loud. Double forte is a bit like calling to your friend from across the gym when nobody else is in there. You don’t want to be louder than that.Who has the melody at each rehearsal mark? Your students should know and if they do not, tell them. If they don’t have the melody, they need to back off their notes and play softer. Let the melody shine.Balance will make this piece truly sing. I hope you enjoy playing it; I loved writing it.

One Holy Lamb (A Musical for Easter). By David Guthrie. Arranged by Lari Goss. For SATB choir. Musical. Modern Christian, Easter. Easy. Choral Book. Duration 38'00". Published by Word Music (

Performed by Jerry Garcia. Guitar/vocal songbook for guitar and voice. With vocal melody, lyrics, chord names, guitar chord diagrams, strum and pick patterns, introductory text and black and white photos. 200 pages. Published by Alfred Publishing.

(P/V/G Folio). By Bob Dylan. For voice, piano and guitar chords. Piano. Folk Rock. Difficulty: medium. Songbook. Vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. 180 pages. Music Sales #AM91466. Published by Music Sales

Baritone/Bass Accompaniment CDs. By Various Composers. Vocal Collection. CD only. Size 9x12 inches. 8 pages. Published by Hal Leonard.

Hardcover Boxed Set. By ABBA. Legendary Series. Pop and Rock. Book Only. 256 pages. Wise Publications #MUSAM1002716. Published by Wise Publications

Unveiling the Mystery Behind the Maestro. Amadeus. Biography/Composers and Musicians, Classical Reference. Hardcover. 312 pages. Published by Amadeus Press (HL.333460).

Trombone

SKU: GF.JPTB

Composed by Greg Fishman. Play-Along (Book+CD). Published by Greg Fishman Jazz Studios (GF.JPTB).

Milwaukee Avenue

Ogden Avenue

Narragans ett Avenue

Belden Avenue

Chicago Avenue

Quincy Street

Rockwell Street

Dearborn Street

Franklin Street

Pearson Street

Jazz Phrasing for Trombone features ten melodic pieces which are easy to play, yet convey the essence of mainstream (Swing/Bebop/Bossa) jazz vocabulary. The pieces are catchy and melodic, demonstrating the use of sequence and voice-leading to make a musical statement.

This book includes a play-along CD featuring trombonist Russ Phillips playing each song with a world-class rhythm section. The CD also includes tracks featuring Greg Fishman demonstrating each song on alto saxophone, giving trombone players the option of playing along with Russ Phillips on trombone or with Greg Fishman on alto saxophone.

In addition, there are play-along tracks featuring just the rhythm section. These tracks are great for practicing the songs, chords, scales, voice-leading lines and soloing over the chords progressions.

Jazz Phrasing for Trombone will provide valuable insights into a melodic approach to jazz improvisation. This book is recommended for trombone players of all levels who wish to improve their tone, articulation, phrasing, and understanding of thematic development.

Special Features of Jazz Phrasing for Trombone:

o Suggested Use Section - Provides detailed instructions on a variety of ways to work with the book.
Style & Analysis Section - Provides clear, concise explanations of sequence, variation and voice-leading
Thematic Index - Lets you compare the opening themes of all ten songs in convenient two page at-a-glance format. Also includes detailed information on the opening interval of each song, as well as harmonic context of the opening interval.
Endorsements for Jazz Phrasing for Trombone:
Greg has done it again. Great melodies, interesting rhythms and beautiful chord progressions. This is the perfect foundation for learning jazz. - Jamey Aebersold
This book is a monument to Greg Fishman's superb teaching skills, as well as his clear understanding of the jazz student's early needs. He has purposefully selected accessible tempos, significant melodic rhythms (with their appropriate phrasing) and sensitive note choices, utilizing commonplace chord progressions within the jazz repertory, all impeccably demonstrated on the accompanying compact disc. This book is a must for the early conditioning of jazz students! - Jerry Coker
Greg Fishman has created a book of fun, well-written, catchy tunes in a variety of styles for developing jazz players---highly recommended. - Dr. Gregory W. Yasinitsky, Regents Professor of Music & Coordinator of Jazz Studies, Washington State University
Songs included in Jazz Phrasing for Trombone - Volume 1:
o Milwaukee Avenue
Ogden Avenue
Narragansett Avenue
Belden Avenue
Chicago Avenue
Quincy Street
Rockwell Street
Dearborn Street
Franklin Street
Pearson Street

A few words from the preface of the book:

Applying good phrasing to music is like using good punctuation in written or spoken language. It involves the grouping of ideas to make the meaning of the words clear to the listener. The words are grouped into sentences, and the sentences are then grouped into paragraphs. The same is true when interpreting a piece of music.

Good phrasing requires a musician to interpret the notes he plays, and determine which notes need to be grouped together to form a complete musical idea.

Each song in Jazz Phrasing for Trombone is designed to train your ear to hear the logical grouping of phrases through the use of sequence and thematic development.

While the art of good phrasing involves the interpretation of note groupings and their relationships, it also involves deciding where you're going to take a breath.

Read the following sentences aloud to compare examples of good and bad phrasing.

Good phrasing, spoken in one continuous breath:

Ladies and gentlemen, it gives me great pleasure to introduce the senior class president.

Bad phrasing, spoken with extra breaths, disrupting the flow and grouping of the words:

Ladies and gentlemen, it gives (breath) me great pleasure to introduce the senior class (breath) president.
The difference between these two sentences is very similar to the difference between a professional musician's phrasing and a student's phrasing. Both may be playing the correct notes with the correct rhythm, but the professional musician knows how to group the notes in a smooth, flowing fashion, while the student takes breaths at random, not even aware that he's disrupting the phrasing.

Jazz Phrasing for Trombone has been carefully designed to help you learn to phrase like a professional player.

These are pieces that will be fun for all musicians who love melodic writing with good thematic development..

Piano SKU: HU.HN44 Composed by Robert Schumann. Edited by Ernst Herttrich. Piano Solo, Piano and Keyboard, Repertoire, Collections. Scenes from Childhood Op. 15. Classical, Romantic. Softcover Book. 28 pages. G. Henle #HN44. Published by G. Henle

Chorus (with soloists) and piano (solos: Sp MezT2BarB - 2(picc).2(cor ang).2(Bkl).2(dble bsn) - 3.2.3.0 - timp.perc.(2) - Cel - str - stage music: 2trp.timp.perc)

SKU: BR.EB-9433

A Theatrical Caprice in One Act. Composed by Ferruccio Busoni. Choir; Softbound. Edition Breitkopf. Opera; Music theatre; Early modern; Late-romantic. Piano/Vocal Score. Duration 60'. Breitkopf and Haertel #EB 9433. Published by Breitkopf and Haertel (BR.EB-9433).

ISBN 9790004189108. 9 x 12 inches. German.

Text by the composerTranslation: engl. (E. J. Dent), ital. (V. Levi), port. (G. de Medeiros)Place and time: Bergamo, around the 18th century.Characters: Ser Matteo del Sarto, master tailor (baritone) - Abbate Cospicuo (baritone) - Dottore Bombasto (bass) - Leandro, Cavaliere (tenor) - Arlecchino (speaking part) - Colombina, Arlecchino's wife (mezzo-soprano) - Annunziata, Matteo's wife - Zwei Sbirren - Ein Karrner - a Donkey - People at the windows (silent parts)The idea behind this work was to combine a major speaking role with a part for a female singer and orchestra in the spirit of the opera buffa. The overall tone is pacifistic and anti-bourgeois. Busoni's inspiration was that of an opera-play in the style of Italian improvised comedy; he wanted types and characters on stage whose varying typology would provide the source of conflict ... The title hero absconds with the young wife of the Dante-reading tailor Matteo. He returns as a false barbarian commander, as a husband who engages in a duel with the suitor Count Leandro, and as a conqueror who announces the moral of the story in the epilogue: how to be able to bow in rags and still retain one's dignity and rights. The piece takes a turn for the absurd when the Abbate, at the sight of Leandro, who is presumed dead, begins to sing a chorale-like song of praise to the donkey of Providence who comes trotting in at that moment. This introduces the most musically refined number in the piece, the quartet, in which Leandro's love aria and his duet with Columbina satirize the attitudes prevalent in Italian opera from Scarlatti to Verdi. Musically, Busoni uses throughout the entire work an idiom of dance-like, blissfully transparent comedy and hides harmonic audacities behind touches of lightness. The orchestral sound radiates an incomparable brightness and buoyant elegance. (Hans Heinz Stuckenschmidt, 1967)

In the appendix, EB 9433 contains the later composed aria Wer siegt? Wer fallt?..

Piano - Grade 4

SKU: FA.MFCD007PN

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical, Impressionistic. Score. Musik Fabrik #MFCD007PN. Published by Musik Fabrik (FA.MFCD007PN).

8.27 x 11.69 inches.

Debussy's friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bedier's adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner's Tristan und Isolde are that none of the action takes place in Cornwall and that Isolde of the White Hands is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.

The idea of a Tristan that restored its 'legendary character' and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan's death. Even if he thought that Mourey's poetry was 'not very lyrical and many passages do not exactly invite music', he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, 'one of the 363 themes for the Roman de Tristan' in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong Le Faucon. After a short atmospheric introduction, Debussy's dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy's opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.

Unfortunat ely, Mourey's actual libretto has been lost and the project eventually foundered because Bedier's cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey's version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!