Book with Online Audio. Composed 2015. 64 pages. Wise Publications #MUSAM999240R. Published by Wise Publications

Performed by Elvis Costello. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Rock and pop rock. 208 pages. 9x12 inches. Published by Hal Leonard.

A Beginner's Guide, Featuring Step-By-Step Lessons with Audio, Video, and Popular Songs!. Guitar Educational. Softcover Media Online. 32 pages. Published by Hal Leonard

Intermediate to Advanced Studies (Book 3 level). Essential Elements Band Method. Size 9x12 inches. 48 pages. Published by Hal Leonard.

Guitar and Piano

SKU: BT.MUSAM966933

Ballad. Book Only. Wise Publications #MUSAM966933. Published by Wise Publications (BT.MUSAM966933).

ISBN 9780711984356.

Solo piano arrangements, without the lyrics, of thirteen superb Elton John songs, including Candle In The Wind, Crocodile Rock, Don't Let The Sun Go Down On Me, Sacrifice and Your Song.

Intermediate to Advanced Studies (Book 3 level). Essential Elements Band Method. 48 pages. Published by Hal Leonard.

Arranged by Daniel Kelley. For Clarinet, Piano. Solos. Recital, Church. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.

By Otto M. Schwarz. (Score and Parts). De Haske Concert Band Full Set. Published by Mitropa Music.

By Petering. For Men's Choir (TTBB, TTB, TBB, TB,CC, STB) with Organ and/or Instruments. Church Year. Collection (Spiral-bound). Published by Concordia Publishing House.

Edited by Aaron Stang. Fretted instrument mixed folio (easy guitar). Includes notes and tab. 276 pages. Published by Warner Brothers.

By Bob Dylan. Lead Sheets: Melody line, lyrics and chord symbols. Softcover. 96 pages. Music Sales #AM1002188. Published by Music Sales

By Various. Guitar. Hardcover. Guitar tablature. 256 pages. Music Sales #AM999900. Published by Music Sales

By George Gershwin. Edited by Maurice Hinson. For Piano. Piano Collection. Alfred Masterwork Edition. Jazz; Masterwork. Level: Early Advanced / Advanced. Book. 136 pages. Published by Alfred Publishing.

Performed by Art Tatum. For solo piano. Format: piano solo book. With standard notation, chord names and introductory text. Jazz and swing. Series: Hal Leonard Artist Transcriptions. 134 pages. 9x12 inches. Published by Hal Leonard

Composed by Leonard Cohen. Ukulele. Pop, Standards. Softcover. 56 pages. Published by Hal Leonard

By Elton John. For Ukulele. Ukulele. Softcover. Guitar tablature. 80 pages. Published by Hal Leonard

Must-Know Collection of Original and Arranged Treasures from 1600-1750. Composed by Various. Easy Piano Songbook. Baroque, Classical. Softcover. 106 pages. Published by Hal Leonard

Contemporary Settings of Seven Classic Songs by George Gershwin and Ira Gershwin for Solo Voice and Piano. By Ira Gershwin, George Gershwin. Arranged by Mark Hayes. For Voice. (Medium High Voice). Vocal Collection. Book. 52 pages. Published by Alfred Publishing.

Composed by Various. Piano/Vocal/Guitar Songbook. Softcover. 258 pages. Published by Hal Leonard

Easy Bluegrass Songs for Little Guitar Pickers with CD by Larry McCabe. For guitar. This edition: Paperback. Collection. Little Picker series. Folk. Book and CD. Text Language: English; Standard notation, tablature, chords and lyrics. 32 pages. Published by Santorella Publications

Critical Edition Vocal Score. Composed by Antonio Vivaldi (1678-1741). Edited by Alessandro Borin and Antonio Moccia. Opera. Softcover. 332 pages. Ricordi #CP140505. Published by Ricordi

Violin and orchestra

SKU: BO.B.3340

Composed by Jordi Cervello. Instrumental Sets. Duration 29:00. Published by Editorial de Musica Boileau (BO.B.3340).

ISBN 9788480207591.

Engl ish comments:
My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The author

Comentari os del Espanol:
A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.