Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2

SKU: CF.YPS204

Long Live the King. Composed by Tyler Arcari. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6 +3+3+1+1+4+16+2+4 pages. Duration 2 minutes, 24 seconds. Carl Fischer Music #YPS204. Published by Carl Fischer Music (CF.YPS204).

ISBN 9781491152249. UPC: 680160909742. Key: D minor.

Avalon� ��Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship.
Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King!

Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2

SKU: CF.YPS204F

Long Live the King. Composed by Tyler Arcari. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS204F. Published by Carl Fischer Music (CF.YPS204F).

ISBN 9781491152928. UPC: 680160910427.

Avalo n–Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship.
Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King!

Flex-It Series for Variable Instrumentation Concert Band. Arranged by Colin Cowles. (Score and Parts). Fentone Play Along Books. Published by Fentone Music.

Flex-It Series for Variable Instrumentation Concert Band. Arranged by Colin Cowles. (Score and Parts). Fentone Play Along Books. Published by Fentone Music.

Composed by Aaron Copland (1900-1990). Arranged by Robert Longfield. Flex-Band Grade 3. Fanfare. Softcover. Boosey and Hawkes #M051664306. Published by Boosey and Hawkes

For Piano. Classical (duet). Includes a high-quality printed music score with selected primo and secondo piano parts, and two compact discs featuring the duet accompaniments to either primo or secondo part, depending on the selection, so you can perform the other part alongside. Published by Music Minus One.

A cello method for children. Composed by Egon Saßmannshaus and Kurt Sassmannshaus. Stapled. With a Chinese text booklet. Performance score. Baerenreiter Verlag #BA10757. Published by Baerenreiter Verlag

By Jacob De Haan. (Score and Parts). De Haske Concert Band Full Set. Published by De Haske Publications.

Choral SATB choir

SKU: CF.CM9700

Composed by Hungarian Folk. Arranged by Stacy Garrop. 20 pages. Duration 4:44. Carl Fischer Music #CM9700. Published by Carl Fischer Music (CF.CM9700).

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

Flex-It Series for Variable Instrumentation Concert Band. Arranged by Colin Cowles. (Score and Parts). Fentone Play Along Books. Published by Fentone Music.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Glockenspiel, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Snare Drum, Temple Blocks, Tom-tom, Trombone and more. - Grade 1

SKU: CF.BPS142F

Composed by Aaron McMichael. Bps. Full score. 12 pages. Duration 1 minute, 40 seconds. Carl Fischer Music #BPS142F. Published by Carl Fischer Music (CF.BPS142F).

ISBN 9781491161616. UPC: 680160920280.

Imagi ne you are a young lion, looking for a new home to claim as territory. This piece aims for your students to explore their new notes and take on the music that is written before them. So go on this short adventure as the lion tries to find his home in the forest. Set in Concert Bb and 4/4 time signature, this piece utilizes beginning band concepts. Most instruments play within a 5 to 8 note range so your wind players can have success. I also wrote several percussion parts that you may substitute with other instruments depending on your situation. Make sure the students play all note durations to the rest or next note. There are multiple opportunities for expression with simple dynamic changes and shapings below the line.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Glockenspiel, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Snare Drum, Temple Blocks, Tom-tom, Trombone and more. - Grade 1

SKU: CF.BPS142

Composed by Aaron McMichael. Bps. Set of Score and Parts. 8+2+8+2+2+5+2+2+8+3+6+2+3 +1+2+1+1+1+12 pages. Duration 1 minute, 40 seconds. Carl Fischer Music #BPS142. Published by Carl Fischer Music (CF.BPS142).

ISBN 9781491161234. UPC: 680160919826.

Imagi ne you are a young lion, looking for a new home to claim as territory. This piece aims for your students to explore their new notes and take on the music that is written before them. So go on this short adventure as the lion tries to find his home in the forest. Set in Concert Bb and 4/4 time signature, this piece utilizes beginning band concepts. Most instruments play within a 5 to 8 note range so your wind players can have success. I also wrote several percussion parts that you may substitute with other instruments depending on your situation. Make sure the students play all note durations to the rest or next note. There are multiple opportunities for expression with simple dynamic changes and shapings below the line.

Flex-It Series for Variable Instrumentation Concert Band. Arranged by Colin Cowles. (Score and Parts). Fentone Play Along Books. Published by Fentone Music.

Flex-It Series for Variable Instrumentation Concert Band. Arranged by Colin Cowles. (Score and Parts). Fentone Play Along Books. Published by Fentone Music.

SKU: HL.438863

EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0224. Published by Hal Leonard (HL.438863).

UPC: 852940000837. 4.75x7.0x2.5 inches.

For the new improved Red Repeat 2016 Edition, Carl has added a couple features that various players have asked about. To begin with, we have added a Tap Tempo function. For those familiar with delay pedals, the Tap Tempo allows the player to tap in the tempo he choses to use with his playing. Simply flip the switch that says Manual Time toward the name Red Repeat and with your toe, tap the footswitch marked Tap Tempo to the beat of the song. This allows your echoes to be spaced precisely with the tempo of the song, faster or slower, depending on your style. When The Manual Time switch is flipped away from the Red Repeat 2016 Edition decal, the pedal goes back to setting the space between echoes with the Time knob. The second special feature is the Modulation switch. By engaging this switch, and adjusting the black mini-pots marked Depth and Speed...you can modulate the echoes of your notes so that they mimick the 'wow and flutter' of a vintage tape echo! This subtle effect can bring a whole new dimension to your solo's, especially if you want them to sound 'old'.

(Windows / Macintosh). For Guitar. Teaches 10 monumental blues songs by artists such as Stevie Ray Vaughan, B.B. King and Muddy Waters. Includes original artist recordings synched to an animated fretboard with Interactive Feedback and performance evaluation. Learn through complete, note-fo. CD-ROM. Published by eMedia Music

Thirtieth Anniversary Edition. Composed by Marty Haugen. This edition: Assembly edition. Sacred. Assembly edition. 12 pages. Published by GIA Publications (GI.G-9170A).

SKU: HL.1117962

Lewitt Audio. Microphone. Hal Leonard #LCT1040US. Published by Hal Leonard (HL.1117962).

UPC: 847986002228. 9.5x20.0x17.5 inches.

Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Imagine getting the perfect sound every time. Like a painter who uses his color palette, the LCT 1040 gives you the power to create the sound you envision. •Record with premium sound from high-end components and 1″ true condenser capsule •Create the perfect sound for different vocalists and instruments using 4 all-analog tube characteristics and a crystal-clear FET circuit •Adjust all settings from your sweetspot via the remote control A wide range of outstanding tube tones developed in close cooperation with world-renowned engineers and producers. •Clear - Tube works at technical optimum •Warm - Smooth and pleasant high-end •Dark - Tamed highs for bright sources •Saturated - Rich harmonics and subtle compression Together, these 100% all-analog tube characteristics are designed to cover all applications and styles recorded in the studio - from the finest violin to roaring Rock voices. They are the result of LEWITT's close cooperation with industry professionals and the global audio community. Extra punch and precision with the blendable FET circuit. Tweak your sound to perfection. You can dial in the FET circuit via the Circuit control whenever you're looking for that extra punch or precision for your voice or instrument. Tweak all settings from your sweetspot via the remote control Set up the LCT 1040 in the recording room where the artist performs. Detach the remote control from the PSU and connect them via your standard 3-pin XLR cable. Now you can finetune your sound from your sweetspot via the remote control, ensuring a smooth-running session. Seamless polar pattern control to get exactly what you want. Set the directivity with the seamless polar pattern control of the LCT 1040, giving you exactly what you were looking for. Additionally, you can also freely define the front of the mic depending on your recording scenario using the Default/Reverse flip switch. Two XLR outputs for full flexibility in post-production. To prepare you for all possible scenarios, the LCT 1040 features two XLR outputs with Neutrik connectors. •The Mix output delivers the ratio set with the Circuit control, a combination of the tube and FET circuit. •The FET output delivers 100% pure FET independent from the Circuit control. Shock mount with carbon fiber elements and quick release mechanism •Quick release mechanisms for the microphone and the adjustment of the angle. •Carbon fiber elements support efficient decoupling of the microphone. •The microphone can be turned by 360 degrees when inside the shock mount. Dual-layer magnetic pop filter for clean recordings. The high-performance magnetic pop filter of the LCT 1040 protects your capsule from unwanted plosives and moisture. Its double-layer desig.

SKU: HL.1753728

Royer Labs. Microphone. Hal Leonard #SF-12. Published by Hal Leonard (HL.1753728).

The SF-12 stereo coincident ribbon microphone combines high quality audio performance with outstanding stereo separation and imaging. It is a modern ribbon design with no audible diffraction effects or cavity resonance. An SF-12 is actually two matched ribbon microphones placed one above the other; each aimed 45 degrees from center in the classic Blumlein configuration. The frequency response is excellent regardless of the angle of sound striking the ribbons and off-axis coloration is negligible. The SF-12 utilizes two 1.8-micron ribbons, each weighing approximately 1/3 milligram and producing superb transient response. The two ribbon transducers are magnet/pole piece structures that produce a wide, uniform frequency response with no substantial peaks or dips. The case is ingot iron and forms part of the magnetic return circuit, an effective system with low leakage flux which accounts for the relatively high sensitivity in a trim package. The SF-12's extension cable comes with a Y adapter that splits into separate 3-pin male XLR connectors labled “Upper” and “Lower,” for the upper and lower capsules of the microphone (when held vertically). The SF-12 is uncanny for creating “you-are-there” stereo recordings that capture not only the instrument being recorded, but, depending on positioning, the acoustic environment as well. If you pay carefull attention to the sound of an instrument or ensemble in the recording environment, you will likely find a place where it sounds best to you. Position the SF-12 in that place and you will capture that sound.

(8 Festive Holiday Arrangements for 2 or 4-Mallet Marimba and CD). By Kandis Taylor. For marimba (2 or 4-mallet) and CD (Marimba (4.3-octave) CD accompaniment *Optional Vibraphone, Bells, and/or Xylophone). Medium easy to medium. Duration 17:30. Published b

SKU: HL.374736

Bluetooth MIDI Foot Controller (4 Switches). Hotone Pedals. Guitar Pedal. Hal Leonard #EC-4. Published by Hal Leonard (HL.374736).

UPC: 888506080036. 2.75x16.75x2.75 inches.

Ampero Control is a compact, sturdy, fully programmableBluetooth MIDI controller, that gives musiciansflexible MIDI-based control via MIDI port, USB jackand Bluetooth. It features 4 footswitches – with eachfootswitch, you can send up to 16 different MIDImessages by different actions. You can also attachexpression pedals or more footswitches to your AmperoControl depending on your needs. Ampero Control supports a wide range of MIDI messages including PC, CC, Note On/Off, and others via MIDI, USB and Bluetooth.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 4

SKU: CF.CAS98

Composed by Bud Woodruff. SWS FS. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 16+4+16+10+10+10+2+16 pages. Duration 2 minutes, 54 seconds. Carl Fischer Music #CAS98. Published by Carl Fischer Music (CF.CAS98).

ISBN 9781491146583. UPC: 680160904082. 9 x 12 inches. Key: G major.

Composer Bud Woodruff takes his musical inspiration for Adventurer's Dream from a rooster named Wally. Mr. Woodruff turns this charming four-note crow into the main thematic material for this piece that is reminiscent of classic movie scores.
The principal theme to this piece has an interesting history . We had a very young rooster named Wally . He had a quite rhythmic four-pitched crow, which was very unique and consistent . As he aged, his crow settled into pitches and the opening melodic figure of this piece is the very pitches and rhythm of Wally’s crow . However, Wally had a touch of a glissando between the last two pitches, which I chose to eliminate, for musicality’s sake . Wally's crow is spun out in different ways and used one way or another in all the sections of the piece . Wally was a very energetic, if not egotistical, young bird, and the piece should be performed accordingly, in a dashing, swashbuckling, heroic style, which Wally would appreciate greatly and agree that it was very appropriate!Rehearsal suggestions:The most difficult thing to accomplish in this work will be deciding if you want the repeated eight-note figure on the string or off the string . I don’t care as long as it sounds staccato . On the string, it needs to be played at or by the camber point; off the string, that point will change depending upon your tempo, but the stroke itself should remain consistent .Although the basses never have the melody, they are a critically important section and can make or break this piece . Their part counters the others and fills in rhythmic gaps in a number of places . It needs to be played aggressively and metronomically; they are the glue that makes the piece work . The cellos need to sing for all they are worth at m . 63 and do so with joy in their hands . Their theme needs to be very lyrical and smooth . The countermelody at m . 79 should be understated, yet not buried while being intertwined with the cellos’ theme . It harkens back to the main theme and needs a dreamy quality to it .The piece was written as a string orchestra piece . The optional harp part was added later and is not necessary for an effective performance of the piece . However, it does add some extra variety and color to the piece, and reinforces the basses when they fill in those rhythmic gaps to which I referred earlier .A very special thanks goes to harpist Jane Minnis for the great and insightful suggestions for this part .Thank you for playing this piece . I trust you will enjoy it as much as I do .

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Piano - Intermediate

SKU: YM.GTP01100873

Composed by Various. Piano Educational. Yoshiko Kurokawa. Studies, Exercises. Method Book. Yamaha Music Media #GTP01100873. Published by Yamaha Music Media (YM.GTP01100873).

ISBN 9784636106282.

The scale training exercise complete book, supervised by Yoshiko Kurokawa. This is a revolutionary collection of all-key scale exercises designed to help both aspiring and practicing pianists practice essential scales efficiently. The major and minor (harmonic and melodic minor) scales in the 12 keys are an important part of the practice for learning tonality and training the muscles and joints of the hand. The human hand is flexible, and the thumb and other fingers bend in different directions, making it easy to turn and play a wide range of notes. However, it is important to learn scales from an early age because the correct playing style is required, such as knowing how to turn the fingers when playing speed is faster, the position of the black keys and white keys, and how to use the wrist. To play scales smoothly with all five fingers (one hand), the turn of the first finger is significant. It is advisable to practice scales from an early age to improve the turns. The fingering of the scale changes depending on the key. It takes a lot of time to learn them because fingering is different for the right hand and the left hand as well. Also, although the scale is written in two-fourths time, if you are not used to it, you may end up playing one octave at a time. Various exercises are described in this book to help you solve these problems. It takes a lot of time to play scales well by nature, but that is why it is important to practice efficiently.

Composed by Lloyd Larson. Arranged by Jay Rouse. Choral, cantatas. Eastertide, Holy Week. Choral score. Lorenz Publishing Company #55/1196L. Published by Lorenz Publishing Company

Composed by Lloyd Larson. Arranged by Jay Rouse. Choral, cantatas. Eastertide, Holy Week. Choral score. Lorenz Publishing Company #55/1194L. Published by Lorenz Publishing Company