Arranged by Pamela Conn Beall And Susan Hagen Nipp. For Children's Voices. General Music and Classroom Publications. Wee Sing. 45 silly songs and fingerplays. Children's. Book and CD. 64 pages. Duration Over one hour. Published by Alfred Publishing.

By Michael Barrett and Pamela Martin. For SA(T)B Choir (SA(T)B). Shawnee Press. 12 pages. Shawnee Press #D5540. Published by Shawnee Press

Clarinet and Piano. By Carl-Maria Von Weber. Arranged by Pamela Weston. Fentone Play Along Books. Play Along. Size 8.25x11.75 inches. Published by Fentone Music.

Select Piano Solos for Study, Festival and Performance with Performance CD. By Carl Czerny; Cornelius Gurlitt; Dmitri Kabalevsky; Dmitri Shostakovich; Franz Joseph Haydn; George Frideric Handel; Heinz Walter; Jean Philippe Rameau; Johann Kuhnau; Miriam Hyde; Pamela Wedgwood; Robert Schumann; Theodore Kullak; Wolfgang Amadeus Mozart. Edited by Marvin Blickenstaff. Arranged by Marvin Blickenstaff. Solo piano. For Piano Solo. This edition: Late Elementary 2. Classical. Level: Late Elementary. Score and Audio CD. 16 pages. Published by Carl Fischer.

By Traditional. Arranged by Pamela; Piano Arr.: Farrell Warrick-Smith. For Voices: SA (SSAA), solo. Piano. Celebration Series Sacred. Level: easy. Published by GIA Publications.

Arranged by Pamela Conn Beall And Susan Hagen Nipp. For Children's Voices. This edition: Paperback. General Music and Classroom Publications. Wee Sing. 42 sing-along songs, 27 backseat games, 18 silly tongue twisters. Children's. Book and CD. 64 pages. Duration Over one hour. Published by Alfred Publishing.

Arranged by Pamela Warrick-Smith. Text: Traditional Spiritual. For SATB Chorus, Solo and Piano accompaniment. Celebration Series. Includes guitar chord names. Sacred. Level: easy. 16 pages. Published by GIA Publications.

Orchestra Orchestra

SKU: PR.11641373S

Composed by Peter Schickele. Full score. Duration 24 minutes. Theodore Presser Company #116-41373S. Published by Theodore Presser Company (PR.11641373S).

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

Orchestra Orchestra

SKU: PR.11641373L

Composed by Peter Schickele. Large Score. Duration 24 minutes. Theodore Presser Company #116-41373L. Published by Theodore Presser Company (PR.11641373L).

UPC: 680160680337.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

Choral (Listening CD)

SKU: HL.35020195

A Proclamation of Hope. Composed by Pamela Martin. Arranged by Brant Adams. Shawnee Press. Collection. CD. Shawnee Press #PD0055. Published by Shawnee Press (HL.35020195).

UPC: 752478118021. 5.5x5.0x0.397 inches.

Featuring music from an all-star cast of composers: Michael Cox, Patti Drennan, David Friedman, Jill Gallina, Alice Gomez, W.T. Greer, Stefania de Kenessey, Rosephanye Powell, Joseph M. Martin, Robert Seeley Sing for the Cure is a 60-minute, 11-song, choral collection with full orchestration or piano accompaniment. Based on true stories of breast cancer survivors, the individual pieces are powerful enough to be used alone or grouped for a mini-program. October is Breast Cancer Awareness Month; plan now to honor the members of your community whose lives have been touched by this struggle. The work includes promotional ideas to support this life-changing work. Don't miss the opportunity to Sing for the Cure, and celebrate the lives of courageous women in your community! Benefitting Komen for the Cure.

By Toto. Piano/Vocal/Guitar Artist Songbook. Softcover. 68 pages. Published by Cherry Lane Music

Guitar (flatpick/plectrum) - Intermediate

SKU: MB.95696

Composed by David Grisman. Squareback saddle stitch. Acoustic Disc Records. Bluegrass and Country. Book. 88 pages. Mel Bay Publications, Inc #95696. Published by Mel Bay Publications, Inc (MB.95696).

ISBN 9780786616572. UPC: 796279028691. 8.75 x 11.75 inches. By David Grisman and Tony Rice, transcribed by John Carlini.

In 1994, Acoustic Disc issued a landmark CD by David Grisman and Tony Rice. The central idea behind the album called for the artists to play a different vintage mandolin or guitar on each cut. On this remarkable recording, David and Tony perform 17 original compositions on a wide range of vintage instruments. Mel Bay Publications, Inc., is proud to present this guitar edition and a separate mandolin edition of Tone Poems, both transcribed by noted guitarist/arranger John Carlini. All 17 solos in each book are written in notation and tablature.

by David Grisman and Tony Rice. For mandolin. transcribed solos. Acoustic Disc Records. Acoustic Music. Level: Intermediate-Advanced. Book. Size 8.75x11.75. 64 pages. Published by Mel Bay Publications, Inc.