(Baritone/Bass Voice). Edited by Lisa DeSpain. For Voice (Bass voice). Vocal Col...(+)
(Baritone/Bass Voice).
Edited by Lisa DeSpain.
For Voice (Bass voice).
Vocal Collection.
Singer's Library of
Musical Theatre.
Broadway. Book and CD.
188 pages
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(70th Anniversary Edition). By E. Y. Harburg, music by Harold Arlen. For Tenor S...(+)
(70th Anniversary
Edition). By E. Y.
Harburg, music by Harold
Arlen. For Tenor Sax.
Instrumental Series. Pop
Instrumental Solo Series.
Movie. Level 2-3 (grade
2-3). Book & CD. 40
pages. Published by
Alfred Music Publishing
(70th Anniversary Edition). By E. Y. Harburg, music by Harold Arlen. For Clarine...(+)
(70th Anniversary
Edition). By E. Y.
Harburg, music by Harold
Arlen. For Clarinet.
Instrumental Series. Pop
Instrumental Solo Series.
Movie. Level 2-3 (grade
2-3). Book & CD. 40
pages. Published by
Alfred Music Publishing
(70th Anniversary Edition). By E. Y. Harburg, music by Harold Arlen. For Piano ...(+)
(70th Anniversary
Edition). By E. Y.
Harburg, music by Harold
Arlen. For Piano Acc..
Instrumental Series. Pop
Instrumental Solo Series.
Movie. Level 2-3 (grade
2-3). Book & CD. 60
pages. Published by
Alfred Music Publishing
(70th Anniversary Edition). By E. Y. Harburg, music by Harold Arlen. For Horn in...(+)
(70th Anniversary
Edition). By E. Y.
Harburg, music by Harold
Arlen. For Horn in F.
Instrumental Series. Pop
Instrumental Solo Series.
Movie. Level 2-3 (grade
2-3). Book & CD. 40
pages. Published by
Alfred Music Publishing
(70th Anniversary Edition). By E. Y. Harburg, music by Harold Arlen. For Viola....(+)
(70th Anniversary
Edition). By E. Y.
Harburg, music by Harold
Arlen. For Viola. String
Series. Pop Instrumental
Solo Series. Movie. Level
2-3 (grade 2-3). Book &
CD. 72 pages. Published
by Alfred Music
Publishing
Piano, Voix et Guitare [Partition] Alfred Publishing
(Piano/Vocal/Chords). By E.Y. Yip Harburg and Harold Arlen. For Keyboard; Pian...(+)
(Piano/Vocal/Chords). By
E.Y. Yip Harburg and
Harold Arlen. For
Keyboard; Piano; Voice.
This edition:
Piano/Vocal/Chords.
Piano/Vocal/Chords; Shows
and Movies. Movie. Book.
100 pages
Guitar - Beginning SKU: MB.31103M Third Edition. Bluegrass, Wire b...(+)
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.
Ligne De Mélodie, Paroles et Accords [Fake Book] - Intermédiaire Sher Music Company
By Various. Almost 600 pages of world-famous Sher Music transcriptions! Don't go...(+)
By Various. Almost 600
pages of world-famous
Sher Music
transcriptions! Don't go
to the gig without it!.
Various. Fake Book.
Published by Sher Music
Company.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
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 ...(+)
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.
Fakebook (spiral bound) for Bb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound)
for Bb instrument and
voice. With vocal melody,
lyrics, chord names,
black and white photos
and introductory text.
574 pages. Published by
Sher Music Company.
Fakebook (spiral bound) for Eb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound)
for Eb instrument and
voice. With vocal melody,
lyrics, chord names,
black and white photos
and introductory text.
574 pages. Published by
Sher Music Company.
Chamber Music Piano, Voice SKU: PR.111402850 Five Songs for Mezzo-sopr...(+)
Chamber Music Piano,
Voice
SKU:
PR.111402850
Five
Songs for Mezzo-soprano
and Piano. Composed
by Ricky Ian Gordon.
Collection - Performance.
28 pages. Duration 25
minutes. Theodore Presser
Company #111-40285.
Published by Theodore
Presser Company
(PR.111402850).
ISBN
9781491132005. UPC:
680160680627. What the
Living Do by Maria
Howe.
The poetry of
Marie Howe has a special
place in Ricky Ian
Gordon’s heart and
mind, both haunting and
soothing. WITHOUT MUSIC
is a five-movement work
in which Howe’s
words and Gordon’s
music together give voice
to longterm grieving for
a loved one lost to AIDS.
The work was commissioned
by Music Academy of the
West for their 2019
Marilyn Horne Song
Competition
Winners’ Recital
Tour. For a long time,
I have been in dialogue
with the poems of Marie
Howe. Some poets speak so
directly to you that they
become a second voice
inside you. I have so
many of her poems
memorized, and I speak
them so often because at
certain moments I know
she will say it better
than me.Many I have set
or tried to set and felt
dissatisfied and put them
away. Marie’s
poems are so plain
spoken, you want them to
feel, if you are taking
the trouble to set them
to music, that the songs
are plain spoken as
well... because it would
be criminal to set
Marie’s poems in a
way that obscures the
words and makes them feel
distant or remote.I first
heard Kelsey Lauritano in
a Master Class that
Stephanie Blythe was
giving at Juilliard. I
was bowled over by her
poise, the beauty of her
voice, her engagement
with her body and her
connection to text. She
is a real artist through
and through. I wanted to
create a cycle for her
where it felt like she
was talking to the
audience in the most
intimate way possible. I
wanted to be able to see
her heart.These five
poems are from
Marie’s book,
“What the Living
Do,†the book which
was published eight years
after her brother Johnny
died at 28 from AIDS. The
book is impossibly
beautiful, as clear as a
spring in a remote
forest... the poems
simply tell the story of
Johnny’s illness
and Marie’s
relationship with it, and
him... as Marie would put
it, they are “how
some of it
happened.â€I lost my
partner Jeffrey Grossi to
AIDS in 1996, so needless
to say, this book, and
Marie’s poems were
balm for me... one of the
myriad ways I got through
an excruciating time, as
Jeffrey’s death
followed practically, the
death of my entire
community. I feel bad,
and even awkward, that
this is still so much a
part of my story, but it
is. Is it PTSD, or just,
not wanting to forget? I
don’t know. But
these songs are steeped
in that time.
Trumpet SKU: AP.IF9528 Trumpet. Composed by Harold Arlen. Instrume...(+)
Trumpet
SKU:
AP.IF9528
Trumpet. Composed
by Harold Arlen.
Instrumental Series.
Movie. Book. 20 pages.
Alfred Music #00-IF9528.
Published by Alfred Music
(AP.IF9528).
ISBN
9780897246835. UPC:
029156158038. English. E.
Y. Harburg.
Here
are the top ten tunes
from one of the most
memorable movies of all
time. The titles are:
Ding-Dong! The Witch Is
Dead * If I Only Had a
Brain * If I Were King of
the Forest * Lullaby
League and Lollypop Guild
* The Merry Old Land of
Oz * Munchkinland *
Optimistic Voices * Over
the Rainbow * We're Off
to See the Wizard.
(Christmas Carols For Mixed Voices) Edited by Graham Buckland. For SATB choir (u...(+)
(Christmas Carols For
Mixed Voices) Edited by
Graham Buckland. For SATB
choir (unaccompanied).
Format: a capella
songbook. With choral
notation, lyrics,
performance notes,
introductory text and
index of first lines.
Christmas and holiday.
224 pages. 9x12 inches.
Published by
Baerenreiter-Ausgaben.
Piano, Voix [Partition] - Intermédiaire Alfred Publishing
Lyrics by E.Y. "Yip" Harburg, music by Harold Arlen. Songbook for voice and pian...(+)
Lyrics by E.Y. "Yip"
Harburg, music by Harold
Arlen. Songbook for voice
and piano. From the
motion picture "The
Wizard Of Oz". 40 pages.
Published by Alfred
Publishing.
Chant, Piano facile [Partition] - Facile Alfred Publishing
Lyrics by E.Y. "Yip" Harburg, music by Harold Arlen, arranged by Dan Coates. Son...(+)
Lyrics by E.Y. "Yip"
Harburg, music by Harold
Arlen, arranged by Dan
Coates. Songbook for
voice and easy piano.
From the motion picture
"The Wizard Of Oz". 32
pages. Published by
Alfred Publishing.