Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Softcover. 464 pages. Published by Hal Leonard.

Bb Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11 inches. 464 pages. Published by Hal Leonard.

C Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. 464 pages. Published by Hal Leonard.

E Flat Edition. By Various. Fake Book (Includes melody line and chords). Softcover. Size 9x11 inches. 464 pages. Published by Hal Leonard.

Second Edition C Instruments. By Various. Fake Book (Includes melody line and chords). Softcover. 464 pages. Published by Hal Leonard.

Chamber Music Violin

SKU: PR.144407530

Composed by Lauren Bernofsky. 12 pages. Duration 10 minutes, 30 seconds. Merion Music #144-40753. Published by Merion Music (PR.144407530).

ISBN 9781491136614. UPC: 680160687992.

A violinist herself, Lauren Bernofsky has described SONATA FOR SOLO VIOLIN as drawn from autobiographical inspiration, including gestures from Bachâ??s beloved Partita in E Major. Bernofsky opens with a Preludio movement whose references to Bach may be disguised, but they are surely lurking. The second movement is lusciously contrapuntal with the idiomatic finesse of a violinist composing for her own instrument, while musically journaling the emotional pain of living through 2020. The third and final movement is aptly marked â??white-hot,â? and the music certainly is.
My SONATA FOR SOLO VIOLIN was commissioned by violinist Megan Healy as part of The Maud Powell Project, which celebrated the 100th anniversary of the ratification of the 19th Amendment. The project included the creation of five new works for solo violin inspired by and dedicated to the memory of pioneering American violinist Maud Powell (1867-1920). Healy premiered the sonata on May 8, 2021 at PianoForte Studios in Chicago.Among the works Powell most frequently performed in her recitals was the â??Preludioâ? movement from Bachâ??s E major Partita, and I decided to refer to that music in my own first movement, also titled â??Preludio.â? The beginning subtly reflects Bachâ??s opening three-note motive, wherein the music dips down a semitone and then comes back up. This melodic material returns throughout the movement in various forms. I also refer to Bachâ??s sixteenth-note dominated texture, and the gesture in the third measure, which outlines a perfect fifth and then fills it in with notes that alternate between a scale and a pedal tone. The corresponding passage in my piece occurs in the same place, measure 3. Apart from these references to Bach, my sonata is much more modern sounding, especially in its chromatic character.I was still thinking of Bachâ??s solo violin writing while composing the second movement, particularly the polyphonic nature of the slow movements, where the melodic interest moves around between the voices. Emotionally, I wanted my movement to reflect the acute sadness I had been experiencing over the political and social situation in the United States as I wrote the piece. I realized that this is a historically noteworthy time in U.S. history, marked not only by political unrest, but also by a challenge to the very values that I consider essential to what makes a person fundamentally human. I wanted to create a record of that pain in my music.The final movement is marked â??White-hot.â? It is imbued with a relentless, passionate intensity. Wanting again to reflect aspects of our own time, I included glissandi that refer to rock music, specifically the â??fall-offsâ? I frequently hear played by electric guitarists. I borrowed from another (completely different) musical tradition as well, one that is near-and-dear to my heart: Klezmer. Klezmer (Eastern European Jewish folk music) is characterized in part by scales colored by augmented seconds, and is often performed by solo instrumentalists who improvise embellishments like quick grace notes. The second, more lyrical theme in this movement is my nod to Klezmer style.While this piece is an homage to Maud Powell, I also think of it as my own musical autobiography, as it combines some of my favorite aspects of music, and is played on my own instrument.

Bud Powell. (Jazz Play-Along Volume 101). By Bud Powell. For C Instruments, Bass Clef Instruments, Bb Instruments, Eb Instruments. Jazz Play Along. Softcover with CD. 72 pages. Published by Hal Leonard

(C Instruments). By Bud Powell. Fake Book. Softcover. 80 pages. Published by Hal Leonard

For tuba. Classical/Standards/Jazz. Instrumental Solo Part and CD. Published by Music Minus One

Guitar - intermediate

SKU: M7.DUX-867

Edited by Michael Langer. Sheet music with CD. Performance book. 110 pages. Edition Dux Verlag #DUX 867. Published by Edition Dux Verlag (M7.DUX-867).

ISBN 9783868493221.

46 Stücke von südamerikanischen Komponisten mit Gitarrenmusik verschiedenster Länder und Stile. Nach Schwierigkeitsgrad gereiht mit detaillierten Fingersätzen.

By Geoffrey R Lorenz. Organ. Level: 3-staff. Sacred Organ. Published by Lorenz Publishing Company.

A Step-by-Step Guide for All Musicians. By Dave Pozzi. Musicians Institute Press (Instruction taken from the curriculum of MI). Book and CD package. With notes and tablature. Size 9x12 inches. 80 pages. Published by Musicians Institute.

By Robert J Powell. For Organ or Piano and C Instrument. Advent, Christmas, Epiphany, Lent, Palm Sunday, Easter, Ascension, Pentecost. Level: Moderately Easy. Published by MorningStar Music Publishers.

Jazz Play-Along Series Volume 67. By Chick Corea. Jazz Play Along. Softcover with CD. 80 pages. Published by Hal Leonard.

Piano Transcriptions. Performed by Bud Powell. Artist Transcriptions (Authentic note-for-note transcriptions). Book only. Size 9x12 inches. 96 pages. Published by Hal Leonard.

Piano

SKU: M7.AHW-3008

Composed by Bill Dobbins. Sheet music. Performance book. Charles Colin Corp. #AHW 3008. Published by Charles Colin Corp. (M7.AHW-3008).

English.

Eine einmalige und informative Stilstudie von 24 der einflussreichsten Pianisten der Jazzgeschichte.

A comprehensive approach to keyboard improvisation.Both a continuation of the study of styles in Volume 3 and a representation of these style as developed by 24 of the most influential soloists ever, including Jelly Roll Morton, Earl Hines, Art Tatum, Monk, Cecil Taylor, Oscar Peterson, Chick Corea, and Keith Jarrett.

For trombone. Classical/Standards/Jazz. Instrumental Solo Part and 2 CDs. Published by Music Minus One