A Workbook for Examinations. Composed by Paul Harris. This edition: New. Method/Instruction; Technique Musicianship; Woodwind - Oboe Method or Collection. Faber Edition: Improve Your Sight-Reading. Book. Faber Music #12- 0571540236. Published by Faber Music

A Workbook for Examinations. Composed by Paul Harris. This edition: New. Method/Instruction; Technique Musicianship; Woodwind - Flute Method or Collection. Faber Edition: Improve Your Sight-Reading. Book. Faber Music #12- 0571539866. Published by Faber Music

26 Favorite Songs Arranged by Janet Davis. Arranged by Janet Davis. Mandolin. Pop, Folk. Softcover Audio Online. 248 pages. Published by Hal Leonard

Piano

SKU: SU.12800066

For Piano. Composed by Edward Elzear Zez Confrey. Keyboard, Piano/Harpsichord. Score. Subito Music Corporation #12800066. Published by Subito Music Corporation (SU.12800066).

BachScholar Editions Vol. 66: ZEZ CONFREY: 12 Novelty Piano Solos (1921-1924) (editor's preface, 49 pages of music) presents Zez Confrey's twelve most popular novelty piano solos from the exciting era of the 1920s. (The novelty style evolved from classic ragtime, of which Confrey was its first pioneer.) These beautiful and meticulous engravings are reproduced from the original editions, making this an historically accurate Urtext of the highest quality (no fingerings provided). Pianists, students, teachers, and ragtime aficionados will marvel at the clarity and legibility of this fine authoritative edition of exciting and entertaining solos from the pioneer of the novelty ragtime style. Contents include: 1. My Pet (1921) 2. Kitten on the Keys (1921) 3. You Tell 'Em, Ivories (1921) 4. Greenwich Witch (1921) 5. Poor Buttermilk (1921) 6. Stumbling (Paraphrase) (1922) 7. Coaxing the Piano (1922) 8. Dizzy Fingers (1923) 9. Nickel in the Slot (1923) 10. High Hattin' (1924) (from African Suite) 11. Kinda Careless (1924) (from African Suite) 12. Mississippi Shivers (1924) (from African Suite) Composed: 1921-1924 Published by: BachScholar.

130 of the Greatest Bluegrass and Newgrass Solos. Mandolin. Bluegrass. Softcover. With guitar tablature. 184 pages. Published by Hal Leonard

A Workbook for Examinations. Composed by Paul Harris. This edition: New. Method/Instruction; Technique Musicianship; Woodwind - Flute Method or Collection. Faber Edition: Improve Your Sight-Reading. Book. Faber Music #12- 0571539858. Published by Faber Music

A Workbook for Examinations. Composed by Paul Harris. This edition: New. Method/Instruction; Technique Musicianship; Woodwind - Saxophone Method or Collection. Faber Edition: Improve Your Sight- Reading. Book. Faber Music #12-0571540201. Published by Faber Music

A Workbook for Examinations. Composed by Paul Harris. This edition: New. Method/Instruction; Technique Musicianship; Woodwind - Bassoon Method or Collection. Faber Edition: Improve Your Sight-Reading. Book. Faber Music #12- 0571540260. Published by Faber Music

A Workbook for Examinations. Composed by Paul Harris. This edition: New. Method/Instruction; Technique Musicianship; Woodwind - Clarinet Method or Collection. Faber Edition: Improve Your Sight- Reading. Book. Faber Music #12-0571539890. Published by Faber Music

(The Music of Zez Confrey, Pauline Alpert, and Rube Bloom). For Piano. Book; Masterworks; Piano Collection; Piano Supplemental. Dover Edition. 20th Century; Masterwork Arrangement; Novelty. Intermediate. Published by Dover Publications

(Piano Solos). By Edward Elzear "Zez" Confrey (1895-1971). Edited by Richard Dowling. For Piano. Artist/Personality; Book; Piano Collection. Ragtime. Advanced. 140 pages. Published by Alfred Music Publishing

Chamber Music String Quartet

SKU: PR.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

Concert Band - Grade 2.5

SKU: AP.37818S

Composed by Jeffrey E. Turner. Concert Band; Performance Music Ensemble; Single Titles. Young Symphonic. Form: Ballade. Score. 12 pages. Alfred Music #00-37818S. Published by Alfred Music (AP.37818S).

UPC: 038081436364. English.

Imagine finding yourself stumbling alone in a darkened cave. It's so quiet, the only thing you can hear is your own heartbeat. Lost, you pray for guidance, and suddenly, sound paints a picture of what your eyes can't see. Met with a shimmering mirror of sparkling percussion, you follow a pinpoint of light shining off a solo trumpet. The darkness filling with heaven's light, you are no longer Lost in the Crystal Cave. You've found a way out by following footprints left for you in the music.

Piano

SKU: BT.EMBZ1763

Composed by Bela Bartok. Book Only. Composed 1954. 24 pages. Editio Musica Budapest #EMBZ1763. Published by Editio Musica Budapest (BT.EMBZ1763).

French.

'Two pieces of scherzo character in triple time flank a slower movement in duple time. The first burlesque entitled 'Quarrel' is Márta's piece, Nov. 1908, is a dispute between two opposing characters, with grimaces and taunts. The second burlesque, with the subtitle 'Slightly Tipsy' or 'A bit drunk' is one of Bartók's ingenious programme music miniatures, with characteristic performance indications. The figure appearing in a stumbling rhythm begins to sing indifferently, then continues ruvido (coarsely). By the end of the middle section, to be played in dry tone, our hero collapses completely, and takes leave as a pitiful figure, like the wooden puppet after the dance in The WoodenPrince ballet. ...Finally, the titleless third burlesque, Molto vivo, capriccioso, also stimulates the imagination: one can detect in it the grotesque rush of the last bagatelle, 'My Dancing Sweetheart,' just like the Wooden Prince dance. (HCD 32525 Bartók New Series Vol. 25, László Somfai).

Choral, Flute, Violin (SAB choirW/ FLUTE)

SKU: HL.35032178

Composed by Ed Rush. Arranged by James Michael Stevens. Shawnee Sacred. Communion, Sacred. Octavo. 12 pages. Published by Shawnee Press (HL.35032178).

UPC: 888680739669. 6.75x10.5 inches.

The familiar nature of this reverent anthem is perfect for inviting the faithful to the table of the Lord's Supper. A stylish piano part supports an expressive melody and timeless message. Careful part-writing eliminates any stumbling blocks to learning and the worshipful atmosphere of the music keeps the focus on the sacredness of this important moment of remembrance. On point!

Piano

SKU: BT.EMBZ20084

Urtext (1932-1939). Composed by Bela Bartok. Arranged by Yusuke Nakahara. EMB Music of Bela Bartok. Educational Tool. Book Only. Composed 2021. 112 pages. Editio Musica Budapest #EMBZ20084. Published by Editio Musica Budapest (BT.EMBZ20084).

English-Hungarian.

Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a classical piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from Imitation and Inversion, Ostinato, and Free Variations, concerning compositional technique, to mood pieces and pieces with programmatic ideas such as Notturno, Boating, From the Diary of a Fly, or the famous Six Dances in Bulgarian Rhythm. Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2

SKU: CF.YPS212F

Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS212F. Published by Carl Fischer Music (CF.YPS212F).

ISBN 9781491152997. UPC: 680160910496.

Takin g its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.
Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.” They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.  That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.

Performed by Elvis Presley. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 324 pages. Published by Hal Leonard.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Grade 3. Conductor Full Score. Duration 3:30