(Piano/Vocal/Guitar). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Artist/Personality; Personality Book; Piano/Vocal/Chords. Faber Edition. Book. Published by Faber Music

Guitar - Beginning

SKU: MB.31103M

Third Edition. Bluegrass, Wire bound. World. Book and online audio. 236 pages. Mel Bay Publications, Inc #31103M. Published by Mel Bay Publications, Inc (MB.31103M).

ISBN 9781513468792. 8.75x11.75 inches.

Adam Granger self-published the first edition of Grangerâ??s Fiddle Tunes for Guitar in 1979. A second edition was published in 1994. Now Mel Bay Publications presents the third edition of the book.

This 236-page book is the most extensive and best-documented collection of fiddle tunes for the flatpicking guitar player in existence, and includes reels, hoedowns, hornpipes, rags, breakdowns, jigs and slip-jigs, presented in Southern, Northern, Irish, Canadian, Texas and Old-time styles.

There are 508 fiddle tunes referenced under 2500 titles and alternate titles. The titles are fully indexed, making the book doubly valuable as a reference book and a source book.

In this new edition, all tunes are typeset, instead of being handwritten as they were in the previous editions, making the tabs easier to read.

The tunes in Grangerâ??s Fiddle Tunes for Guitar are presented in Easytab, a streamlined tablature notation system designed by Adam specifically for fiddle tunes.

The book comes with a link which gives access to mp3 recordings by Adam of all 508 tunes, each played once at a moderate tempo, with rhythm on one channel and lead on the other.

Also included in Grangerâ??s Fiddle Tunes for Guitar are instructions for reading Easytab, descriptions of tune types presented in the book, and primers on traditional flatpicking and rhythm guitar. Additionally, there are sections on timing, ornamentation, technique, and fingering, as well as information on tune sources and a history of the collection.

Mel Bay also offers The Granger Collection, by Bill Nicholson, the same 508 tunes in standard music notation.

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Old Time, Wire bound. Vocal. Book and online audio. 248 pages. Mel Bay Publications, Inc #31104M. Published by Mel Bay Publications, Inc

Concert band (Flute/Piccolo*, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet*, 1st/2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st F Horn, 2nd F Horn, 1st/2nd Bb Trumpet, 1st/2nd* Trombone, Euphoni) - grade 2.5

SKU: CN.R10104

Song of the Auvergne. Composed by Kevin Thompson. Band Music. Score and parts. Duration 3:30. Published by G & M Brand Music Publishers (CN.R10104).

This beautiful song reflects the tranquillity of the French countryside. Dr. Kevin Thompson is a leading British authority on bands and his sensitive score is ideal for smaller groups, providing training for phrasing and ensemble playing.

This beautiful song reflects the tranquillity of the French countryside. Dr. Kevin Thompson is a leading British authority on bands and his sensitive score is ideal for smaller groups, providing training for phrasing and ensemble playing. Professor Kevin Thompson is Principal and Chief Executive of Dartington College of Arts, a University Sector institution dedicated to the performance arts.After undergraduate studies at the Royal Northern College of Music, he gained masters and subsequently doctoral degrees at the University of London. He began his career as a professional trumpet player, conductor, composer and teacher. He was the architect of University of Salford's degree in band musicianship, launched in 1987 and the first of its kind. From 1988 - 1993 he was Principal of Birmingham Conservatoire and during this time was elected to a personal professorship and subsequently a Deanship chair.On his arrival at Dartington, he was made an honorary Professor by the University of Plymouth. In 1992 he gained a Winston Churchill Fellowship to study the Great American Music Schools: Juilliard, Curtis, Eastman, Indiana. Other awards include those of the British Association for American Studies and the British Council for the Royal Danish Academy of Music. He is a Freeman of the City of London. His publications include a book on brass and wind bands published by Cambridge University, many articles in Times Newspaper and other leading British and American journals. The book on wind and brass bands became a key text in many college and university reading lists and was read extensively throughout the English speaking world, particularly in North America and the Pacific Rim. He is joint editor, with Dr Gordon Cox of the new eleven volume series on brass playing and teaching and author of two of the volumes.

Concert band (Flute/Piccolo*, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet*, 1st/2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st F Horn, 2nd F Horn, 1st/2nd Bb Trumpet, 1st/2nd* Trombone, Euphoni) - grade 2.5

SKU: CN.S11104

Song of the Auvergne. Composed by Kevin Thompson. Band Music. Score only. Duration 3:30. Published by G & M Brand Music Publishers (CN.S11104).

This beautiful song reflects the tranquillity of the French countryside. Dr. Kevin Thompson is a leading British authority on bands and his sensitive score is ideal for smaller groups, providing training for phrasing and ensemble playing.

This beautiful song reflects the tranquillity of the French countryside. Dr. Kevin Thompson is a leading British authority on bands and his sensitive score is ideal for smaller groups, providing training for phrasing and ensemble playing. Professor Kevin Thompson is Principal and Chief Executive of Dartington College of Arts, a University Sector institution dedicated to the performance arts.After undergraduate studies at the Royal Northern College of Music, he gained masters and subsequently doctoral degrees at the University of London. He began his career as a professional trumpet player, conductor, composer and teacher. He was the architect of University of Salford's degree in band musicianship, launched in 1987 and the first of its kind. From 1988 - 1993 he was Principal of Birmingham Conservatoire and during this time was elected to a personal professorship and subsequently a Deanship chair.On his arrival at Dartington, he was made an honorary Professor by the University of Plymouth. In 1992 he gained a Winston Churchill Fellowship to study the Great American Music Schools: Juilliard, Curtis, Eastman, Indiana. Other awards include those of the British Association for American Studies and the British Council for the Royal Danish Academy of Music. He is a Freeman of the City of London. His publications include a book on brass and wind bands published by Cambridge University, many articles in Times Newspaper and other leading British and American journals. The book on wind and brass bands became a key text in many college and university reading lists and was read extensively throughout the English speaking world, particularly in North America and the Pacific Rim. He is joint editor, with Dr Gordon Cox of the new eleven volume series on brass playing and teaching and author of two of the volumes.

Piano

SKU: HL.14012211

Composed by Patrick Gowers. Music Sales America. TV-Film-Musical-Show. Book [Softcover]. 4 pages. Music Sales #NOV100336. Published by Music Sales (HL.14012211).

8.25x11.75x0.042 inches.

The Forever Green theme has a flowing, pastoral quality perfectly suited to the move-to-the-country theme of the television show. The sheet music includes two endings, a short one to match the music of the opening credits, and a longer, more elaborate one -- which the producer referred to as 'the weird bit'.British composer Patrick Gowers is widely known for his film and television scores, having created memorable music for Smiley's People, Therese Raquin, and Comic Act as well as the Jeremy Brett series of television adaptations of the cases of Sherlock Holmes. His Choral and Organ works are also celebrated.

For trumpet. Format: trumpet solo book (no accompaniment). Broadway, pop, folk and romantic period. 95 pages. 9x12 inches. Published by Music Sales.

Guitar Chord Songbook. Performed by The Beach Boys. Guitar Chord Songbook. Size 5.88x9 inches. 144 pages. Published by Hal Leonard.

Music Minus One Trumpet. Composed by Jean-Baptiste Arban. Sheet music with CD. Music Minus One. Classical Period, Technique, Studies and Play Along. Softcover sheet music and accompaniment CD. With standard notation. 24 pages. Music Minus One #MMO3809. Published by Music Minus One

By David Hirschberg. For Piano. Piano Duet (One Piano, Four Hands). Book. 48 pages. Published by Alfred Publishing.

Composed by Various. Ocarina. Pop. Softcover. 64 pages. Published by Hal Leonard

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

High Voice and Piano

SKU: HL.14026589

Composed by Roger Quilter. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV26300901. Published by Music Sales (HL.14026589).

Roger Quilter (1877-1953) was a British composer, best known for writing many gentle and beautiful songs. Along with Henry Balfour Gardiner and Percy Grainger, he was a member of the Frankfurt Group, a group of friends who studied composition together at the Hoch Conservatory in Frankfurt.

Three Pastoral Songs (Op.22) is a collection of three songs based on countryside scenes: I will go with my father a-ploughing - Cherry valley - I wish and I wish. They are arranged here for High Voice with Piano accompaniment.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.