(Fundamental chord progressions and modes) Written by Bruce Emery. Instructional book for guitar. 86 pages. Published by Skeptical Guitarist Publications.

An Innovative Method Enhanced with Audio and MIDI Files for Practice and Performance. By Kenon D. Renfrow, E. L. Lancaster. For Piano. Piano - Alfred's Group Piano for Adults. Alfred's Group Piano for Adults. Book and CD-ROM. 360 pages. Published by Alfred Publishing.

(The Grown-Up Approach to Playing Rock Guitar). By Tobias Hurwitz. For Guitar. Book; CD; Guitar Method or Supplement; Method/Instruction. Rock. 96 pages. Published by Alfred Music Publishing

(The Thinking Musicians Guide to Incredible Guitar Soloing) Written by Kevin Dillard. Instructional book and examples CD for guitar. Series: National Guitar Workshop Book - Approved Curriculum. 96 pages. Published by Alfred Publishing.

By Richard E. Brown. Young Band. FJH Young Band. Modal Menagerie is a suite of four very short, fun pieces that are intended to introduce young students to modal tonalities. Each movement musically depicts an animal whose name alliterates with the mode being demonstrated: Lydian Lions, Phrygian Pheasants, Dorian Donkeys, and Mixolydian Monkeys. Score for this title: B1305S. Concert Band. Level: 2. Score and Set of Parts. Composed 2006. Published by The FJH Music Company Inc.

by Dana Roth. For electric bass. All styles, notes and tab. Level: Multiple Levels. Book. Technique. Size 8.75x11.75. 104 pages. Published by Mel Bay Pub., Inc.

(The Grown-Up Approach to Playing Bass). By Dave Overthrow. For Bass Guitar. Bass Guitar Method or Supplement; Book; CD; Method/Instruction. For Adults. Beginner. 96 pages. Published by Alfred Music Publishing

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

By Matt Turner. For string orchestra (violin I, violin II, violin III (viola T.C.), viola, cello, bass, drums, piano). Score and parts. Duration 3 minutes, 06 seconds. Published by Carl Fischer

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

SKU: CF.CAS85

Composed by Matt Turner. Concert String Orchestra. Set of Score and Parts. With Standard notation. 16+4+16+10+10+10+3+2+16 pages. Duration 3 minutes, 5 seconds. Carl Fischer Music #CAS85. Published by Carl Fischer Music (CF.CAS85).

ISBN 9780825899140. UPC: 798408099145. 9x12 inches. Key: D major.

The title Lucky Seven is a play on the fact that portions of this piece are in 7/8 time grouped in 2+2+3. It gives it a really fresh groove as the piece floats in and out of this 7/8 riff into regular 4/4 time. There is even a nice solo section with a sample solo if some of your students want to take a stab at improvisation. Matt Turner always provides teachers with interesting alternative music that can teach students how to groove and improvise. This is an infectious piece that students will like to play.
Lucky Seven is in arch form (ABCBA). The A-section begins in and moves to a pop-music feel in the B- section (m. 21). An Afro-Cuban tumba bass-line figure is introduced in the C-section (m. 33). A sample solo (m. 53) is provided, but soloists are encouraged to improvise using an A-Mixolydian mode (A, B, C≥, D, E, F≥, G, A). The improvisations should be rhythmic. Feel free to borrow ideas from any of the composed material to assist in creating the improvisations. Perform with energy!

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

A cappella,SATB choir

SKU: GI.G-005834

Composed by Brett C Ballard. Christmas, Epiphany, Advent 4 Year A. Tune Name: Graduale Romanum. Sacred. Octavo. GIA Publications #005834. Published by GIA Publications (GI.G-005834).

Latin.

The striking choral writing will instantly touch you in this succinct and moving interpretation of Virga Jesse Floruit (The rod of Jesse has blossomed) by Kentucky composer Brett Ballard. The haunting opening choral statement in E-minor seamlessly leads to an unmetered unison chant section in G mixolydian mode. An ingenious two-subject canon follows in a musical dialogue between the higher voices and the lower voices in B-flat minor. The two choral closing statements bring us back to the original tonality and musically paint the phrase ima summis . . . (reconciling in himself the lowest with the highest). The work concludes as calmly as it began. Quite a journey in thirty measures!

Edited by Drew Andrews. For Guitar (Finger). Solos. Guitar Journals. Blues. Level: Intermediate. Book/CD Set. Size 9.x11.25. 120 pages. Published by Mel Bay Publications, Inc.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2.5

SKU: CF.YAS107

Composed by Matt Turner. SWS FS. Young String Orchestra. Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+6+16 pages. Carl Fischer Music #YAS107. Published by Carl Fischer Music (CF.YAS107).

ISBN 9780825889202. UPC: 798408089207. 8.5 x 11 inches. Key: G major.

Matt Turner's impressive list of award-winning compositions will just keep growing as he adds pieces like this to his repertoire! Zydeco Zephyr starts out with some boogie-woogie and then moves to a fiddling style in the second half. Not only can you hear the train within the music, but this work also includes an opportunity for a soloist to improvise. An example solo is provided, but this is a great way to get your kids to express themselves musically.
Zydeco Zephyr combines elements of zydeco and bluegrass. Zydeco is a combination of many styles including Cajun, blues, and rock, and is known for its use of accordion, fiddle, and washboard. The first section of Zydeco Zephyr is influenced by doo-wop, a style zydeco musician Clifton Chenier used in his songs. The cellos introduce the second section with a “train” groove in m. 27. A solo section offers students the opportunity to improvise using a D mixolydian mode (D, E, F≥, G, A, B, C, D), and a sample solo is provided. This piece uses straighteighths (no swing!) and should be performed with a great deal of energy. Who knows, you may just make people in the audience get up and dance!Suggested listening: Clifton Chenier, King of the Bayous on Arhoolie Records.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

(E-flat Instruments). Composed by Bob Mintzer. For E-flat Instruments. Book; DVD; Instrumental Series; Play-Along. Belwin Jazz Play-Along Series. Jazz. Grade 3.5. 60 pages. Published by Belwin Music

By Jody Fisher. For Guitar. Guitar Method or Supplement. 0. Jazz. Book and CD. 96 pages. Published by Alfred Publishing.

By Jody Fisher. For Guitar. Guitar Method or Supplement. Jazz. Book and DVD. Published by Alfred Publishing.

(Beginning Jazz Guitar). By Jody Fisher. For Guitar. This edition: Standard Notation Only. Book; CD; Guitar Method or Supplement; Method/Instruction; Technique Musicianship. Complete Method. Jazz. Beginner. 96 pages. Published by Alfred Music

By Jody Fisher. For Guitar. Guitar Method or Supplement. Jazz. Book. 96 pages. Published by Alfred Publishing.

Orchestra - Grade 2

SKU: AP.38463

Composed by John O'Reilly. Performance Music Ensemble; Single Titles; String Orchestra. Sound Innovations for String Orchestra. Score and Part(s). 72 pages. Alfred Music #00-38463. Published by Alfred Music (AP.38463).

UPC: 038081434599. English.

Explore two modes, first in a chant-like E Aeolian section reminiscent of early Medieval music, followed by a dance-like G Mixolydian section. What a great change of pace that includes dialogues between parts of the orchestra as they move through less familiar modes! Correlates to Sound Innovations for String Orchestra, Book 1 Level 5.

Orchestra - Grade 2

SKU: AP.38463S

Composed by John O'Reilly. Performance Music Ensemble; Single Titles; String Orchestra. Sound Innovations for String Orchestra. Score. 8 pages. Alfred Music #00-38463S. Published by Alfred Music (AP.38463S).

UPC: 038081434605. English.

Explore two modes, first in a chant-like E Aeolian section reminiscent of early Medieval music, followed by a dance-like G Mixolydian section. What a great change of pace that includes dialogues between parts of the orchestra as they move through less familiar modes! Correlates to Sound Innovations for String Orchestra, Book 1 Level 5.