Musical

SKU: BT.9781408165607

Composed by Terry Pratchett. Book with CD. Collins Music Publishing #9781408165607. Published by Collins Music Publishing (BT.9781408165607).

ISBN 9781408165607. English.

Sir Terry Pratchett's enquiring adventure into time travel has its young teen hero, Johnny Maxwell, and his friends confronted with their own bomb-stricken street in WWII. Can they change history and avert the catastrophe?Matthew Holmes' script and song superbly support the plot in a musical for young people to perform and everyone to enjoy.

Johnny and his friends travel back in time to their own street, site of a bombing raid intended for anearby industrial complex. 'Collateral damage' is not the only disturbing issue: what happens to the present if you try to save lives in the past? Serious subjects, but with Terry Pratchett there's always the humour as well,andthe musical includes a host of likeable characters. Matthew Holmes' script skilfully carries the plot along in Terry Pratchett style and his music swings to contemporary pop and the glorious sound of the forties Big Band.

The complete performance pack with its photocopiable script and piano vocal score includes everything you need for rehearsing and presenting the final show, plus there's full audio support on CD so you don't need to read a noteof music.

By Peggy Seeger. For Melody Line, Lyrics and Chord symbols. Folk. Sheet Music. 364 pages. Published by Oak Publications.

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.

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.

(Chords/Lyrics). By Oasis. The Little Black Songbook. Softcover. 192 pages. Music Sales #AM991595. Published by Music Sales

By Dave Matthews. Play It Like It Is. Softcover. Guitar tablature. 128 pages. Published by Cherry Lane Music

Suite for Piano. Composed by Adolphus Hailstork. Sws. Duration 8 minutes. Theodore Presser Company #110-41829. Published by Theodore Presser Company

By Rage Against The Machine. For Guitar. Guitar Recorded Version. Softcover. Guitar tablature. 80 pages. Published by Hal Leonard

Performed by Rage Against The Machine. For guitar and voice. Includes instructional book and examples CD. With guitar tablature, standard notation, vocal melody, lyrics, chord names, guitar notation legend, instructional text, performance notes and introductory text. Alternative rock. Series: Hal Leonard Signature Licks. 72 pages. 9x12 inches. Published by Hal Leonard.

(Music from the Motion Picture Soundtrack). By Various. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Songbook. Softcover. 74 pages. Published by Hal Leonard

Arranged by Alan Keown. For Marching Band. Matrix Marching Band. Percussion Cadences. Grade 3 (Medium-Easy). Score and parts. Published by Matrix Publishing

Chamber Music String Quartet

SKU: PR.114410380

Composed by Lowell Liebermann. Saddle, Tape Junction. Set of Score and Parts. With Standard notation. Composed 1998. Opus 60. 48 + 92 pages. Duration 30 minutes. Theodore Presser Company #114-41038. Published by Theodore Presser Company (PR.114410380).

UPC: 680160015160. 9.5 x 13 inches.

My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
My second String Quartet was written twenty years after the first, Opus 4 from 1978.  The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond.  I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements:  Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work.  While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact.  The quartet is pervaded by a sense of seriousness, even mournfulness.  The second movement’s scherzo is an aggressively animated piece of musical machinery.  The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts.  The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.

Chamber Music Piano

SKU: PR.110418490

Composed by Carter Pann. 16 pages. Duration 16 minutes. Theodore Presser Company #110-41849. Published by Theodore Presser Company (PR.110418490).

ISBN 9781491137260. UPC: 680160690022.

Carte r Pann writes, the piece might have been titled Three Improvisations, but there is an expressive inertia baked in to these works which makes them truer as rhapsodies. This description tells us much about the work, whose movements are an enterprising tango, a bombastic central movement with virtuosic thrust, and a and a hymn heard from afar without any sense of marked time.
Three Rhapsodies was commissioned by the American Composers Forum with complete support from the Thelma E. Hunter Fund. The premiere performance took place in Kilbourn Hall at the Eastman School of Music in Rochester, New York by pianist Marina Lomazov.As with all of my piano works, this was very much an at-the-piano compositional experience. As a pianist I cannot imagine writing a solo work away from the instrument (though at times that would be quite convenient).The whole work explores a palette of impassioned emotions – sometimes veiled, sometimes emboldened, or even outrageous at times. There are technical freedoms in each movement, allowing the pianist to stretch their interpretive inclinations to great lengths. In this way the piece might have been titled Three Improvisations, but there is an expressive inertia baked in to these works which make them truer as rhapsodies.The first movement is a tango with real wanderlust. The second reminds me of Rachmaninoff’s Polka de W.R. in its bombast, but also Chopin’s sixteenth prelude with its sheer virtuosic thrust. The third is a hymn heard from afar with no rhythmic drive, only sheened sonority.

Composed by K. Lee Scott. Multi-Movement/Large Choral Work. All Saints/All Souls, Martin Luther King Day, Memorial, 21st Century, Justice/Peace/Social Concerns. Choral score. Published by MorningStar Music Publishers (MN.70-850).

Jazz ensemble - Grade 4

SKU: CL.SCM-1074-00

Composed by Farber. Jazz Ensemble. Smart Chart Music - Jazz Arrangements Series. Score and set of parts. Composed 2011. Duration 2 minutes, 14 seconds. C.L. Barnhouse #SCM-1074-00. Published by C.L. Barnhouse (CL.SCM-1074-00).

Andy has become one of our best selling writers and this impressive chart proves why. Here’s a delightful tune that could have come straight out of the Count Basie library, except for the fact that it was composed to match student levels. The four bar hi-hat solo leads to a strong ensemble intro. A unison tenor sax/ trombone section soli theme follows until the bridge section shows us the sax section for four bars then the full ensemble which leads to the last sax/trombone theme. Written or ad lib solos follow then it’s a classic Basie style shout chorus with four measure drum solo fills. A great style-teaching-tool, and a perfect opener for any festival or concert performance. Optional high/low Trumpet parts are provided on this publication.

Jazz ensemble - Grade 4

SKU: CL.SCM-1074-01

Composed by Farber. Jazz Ensemble. Extra full score. Composed 2011. Duration 2 minutes, 14 seconds. C.L. Barnhouse #SCM-1074-01. Published by C.L. Barnhouse (CL.SCM-1074-01).

Andy has become one of our best selling writers and this impressive chart proves why. Here’s a delightful tune that could have come straight out of the Count Basie library, except for the fact that it was composed to match student levels. The four bar hi-hat solo leads to a strong ensemble intro. A unison tenor sax/ trombone section soli theme follows until the bridge section shows us the sax section for four bars then the full ensemble which leads to the last sax/trombone theme. Written or ad lib solos follow then it’s a classic Basie style shout chorus with four measure drum solo fills. A great style-teaching-tool, and a perfect opener for any festival or concert performance. Optional high/low Trumpet parts are provided on this publication.

Guitar Recorded Versions Guitar

SKU: HL.120167

By Godsmack. Guitar Recorded Version. Alternative, Rock. With guitar tablature. 72 pages. Published by Hal Leonard (HL.120167).

ISBN 9780634007729. UPC: 073999043228. 8.5x11.0x0.181 inches.

All 12 songs from the self-titled album by these Boston alt/metal rockers, named after an Alice in Chains song. Includes: Bad Religion * Get Up, Get Out! * Immune * Keep Away * Moon Baby * Now or Never * Situation * Someone in London * Stress * Time Bomb * Voodoo * Whatever.

About Hal Leonard Guitar Recorded Versions

G uitar Recorded Versions are note-for-note transcriptions of guitar music taken directly off recordings. This series, one of the most popular in print today, features some of the greatest guitar players and groups from blues, rock, and heavy metal. Guitar Recorded Versions are transcribed by the best transcribers in the business. Every book contains notes and tablature.

Orchestra

SKU: PR.44641242L

Composed by Steven Stucky. With Standard notation. Duration 1 hour, 10 minutes. Theodore Presser Company #446-41242L. Published by Theodore Presser Company (PR.44641242L).

UPC: 680160617531.

Augus t 4, 1964 was commissioned by the Dallas Symphony for the 2008 celebration of President Lyndon B. Johnson’s centennial year. The 75-minute oratorio focuses on two events that came to a head on August 4, 1964, events that defined LBJ’s presidency: the discovery of the bodies of three slain civil rights workers in Mississippi, and the bombing of North Vietnam, which accelerated U.S. involvement in the Vietnam war. Gene Scheer’s thoroughly-researched libretto includes actual transcripts of White House phone conversations and government documents, as well as letters from the mothers of the slain civil rights workers.

Chamber Music Goodman (Mezzo soprano), Johnson (baritone), McNamara (tenor), Mrs. Chaney (soprano), Piano, alto voice, bass voice, choir:, soprano voice, tenor voice

SKU: PR.441410240

For Soprano, Mezzo Soprano, Tenor, Baritone, Chorus and Orchestra. Composed by Steven Stucky. This edition: Vocal score. Libretto by Gene Scheer. Laquita Mitchell/Soprano, Kelley O?Connor/Mezzo-soprano, Vale Rideout/Tenor, Robert Orth/Baritone, Dallas Symphony Chorus (David Davidson, Director); Dallas Symphony Orchestra, conducted by Jap van Zweden. Contemporary. Vocal Score. With Standard notation. Composed 2008. 132 pages. Duration 1 hour, 10 minutes. Theodore Presser Company #441-41024. Published by Theodore Presser Company (PR.441410240).

UPC: 680160589128. Libretto by Gene Scheer.

August 4, 1964 was commissioned by the Dallas Symphony for the 2008 celebration of President Lyndon B. Johnson’s centennial year. The 75-minute oratorio focuses on two events that came to a head on August 4, 1964, events that defined LBJ’s presidency: the discovery of the bodies of three slain civil rights workers in Mississippi, and the bombing of North Vietnam, which accelerated U.S. involvement in the Vietnam war. Gene Scheer’s thoroughly-researched libretto includes actual transcripts of White House phone conversations and government documents, as well as letters from the mothers of the slain civil rights workers.

10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. Improvisation; Method/Instruction; Play- Along; Technique Musicianship; Woodwind - Flute Method or Collection. Advance Music. Jazz. Book; Digital Download. Advance Music #01-ADV14114. Published by Advance Music

(A Medley of Circus March Themes). Arranged by Douglas E. Wagner. Concert Band. Concert Band. Belwin Concert Band. Form: March. Grade 3. Score only. 36 pages. Published by Belwin Music

Performed by Green Day. Edited by Aaron Stang. Guitar songbook (Guitar tablature). 120 pages. Published by Warner Brothers.