C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Standards. Softcover. 802 pages. Published by Hal Leonard

(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 856 pages. 9x12 inches. Published by Hal Leonard.

Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.

The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

Flute trio

SKU: P2.10022

Composed by Cornelius Boots. Chamber music, 20th century. Published by Potenza Music (P2.10022).

The third part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The trio is divided into three sections: The Way We Descend--Reflection of Narcissus--Below Nature. Taking a break from Greek myth-nerd terms, this movement introduces chthonic-flavored phrases that elaborate on our descent into the underworld, specifically through dreams. The realm of the underworld can be such a shock to our dayworld, limited, egoic consciousness that it can seem like a violation as Hillman points out, referencing the Greeks: This style of the underworld experience is overwhelming, it comes as violation, dragging one out of life and into the Kingdom that the Orphic Hymn to Pluto describes as 'void of day.' So it often says on Greek epitaphs that entering Hades is 'leaving the sweet sunlight.' (p.49) He elaborates on the differences between dayworld and underworld perspectives: The dream is not compensation but initiation. It does not complete ego-consciousness, but voids it. So it matters very much the way we descend. (p.112) He goes on to describe the various modes in which mythical figures have descended: Ulysses and Aenas to learn; Hercules to take and to test, for example. To act like Hercules, like the hero, in the underworld is to miss the point and cause more problems, the villain in the underworld is the heroic ego, not Hades. (p.113).

Flute duo

SKU: P2.10021

Composed by Cornelius Boots. Chamber music, 20th century. Published by Potenza Music (P2.10021).

The second part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979) by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The duo is divided into two sections: Nekyia and Hypnoia. Each of these is a Greek myth-nerd term for some key aspect of an archetypal descent into the underworld. In fact, nekyia is a term that specifically means archetypal descent as one finds in myths across the ages from Dante to the Greeks and beyond. Hillman sees a lack of sufficient nekyia myths in our modern culture, yet our popular heroes in films and music are shady underworld characters. Dante's underworld was our culture's last, and it was imagined even before the Renaissance had properly begun. Our ethnic roots reach back to great underworld configurations: the Celtic Dagda or Cerunos, the Germanic Hel, and the Biblical Sheol. All have faded... (p.64) Hyponoia is a more subtle term used by Plato that refers to an undersense or a deeper meaning. The search for undersense is what we express in common speech as the desire to understand. We want to get below what is going on and see its basis, its fundamentals, how and where it is grounded. (p. 137) This deeper understanding is one of the motivations and constant characteristics of the underworld descent: but the discoveries made and experiences experienced are not always as they seem to be. Hillman recommends over and over that we see and see into each thing for what it is, and not force a dayworld perspective onto dream images and occurrences. As a duo movement, the term enantiodromia (counter enantio, and running dromia) is particularly appropriate as it is a grounding principle by which Jung understands the regulative function of opposites. As Hillman tends to turn things on their metaphorical heads, he fleshes out dualism and oppositionalism in such a way that in the underworld this actually becomes a unifying principle: If you go far enough with any one movement, a countermovement will set in...The way up and the way down are one and the same: the manifestation of one power by opposite forces. (p. 76) This implies a union of the two opposites, a conjunction as contrasted with an opposition. There are two voices but they are both flutes; there are two contrasting halves to the piece, yet they balance each other even in their differences.

Bass flute solo

SKU: P2.10020

Composed by Cornelius Boots. Solo music, 20th century. Published by Potenza Music (P2.10020).

The first part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The journey to the underworld is a solo undertaking of the self, towards the unknown, yet still rooted within. The low bass tones invoke mystery and point the direction. As an explorer, licensed teacher of and composer for the shakuhachi (an ancient Zen flute crafted from the thicker root-end of bamboo) I have become initiated into the sense-characteristics of playing a flute that has actual roots as part of its structure. Physically this changes the balance, sonically it presents certain deepening qualities, and aesthetically it alters your connection to the dead and dried piece of nature. I have composed 27 solo pieces and etudes for Taimu (a very thick, bass variant on the traditional shakuhachi flute) and tapped into the same dense, slow, timbral approach for this movement. However, the chromatic, metal, modern bass flute offers a whole new set of possibilities and so the movement explores a wide realm of sounds and tempos. Being rooted in the actual ground is an appropriate starting point for the underworld exploration of the whole suite that only goes deeper from this point downwards. The primacy of the root pitch in tonal music is another contributing facet to the root aspect of this title.

SKU: GI.G-CD-986

GIA WindWorks Series. GIA WindWorks. Music Education. CD. GIA Publications #986. Published by GIA Publications (GI.G-CD-986).

UPC: 785147098621.

The creation of the WindWorks label represents an expanded relationship between the North Texas Wind Symphony and GIA Publications, Inc. Composers, conductors, music critics, and connoisseurs worldwide have praised the recordings conducted by Eugene Migliaro Corporon for their innovation, excellence, and professional standards. Bells Across the Atlantic (2013) Adam Gorb • Auguries of Innocence (2014) William Pitts • Concerto Grosso a Quattro Chori (ca. 1730/2013) Gottfried Heinrich Stölzel • Allegro • Adagio • Vivac • Meditation at Lagunitas (2014) Paul Booley • Vulcan (2014) Michael Daugherty • Pon Farr • Mind Meld • Vulcan’s Forge • The Three Embraces (2013) Carter Pann • Antique, calming • With quiet longing • With rubato, a joyous ceremony at first • Jungla (2006) Ferrer Ferrán .