Presenter: Daniel Grimwood. Composed by John Field (1782-1837). More than the score ... Score. 16 pages. Edition Peters #EP73155. Published by Edition Peters

By John Field. Edited by Marty Winkler. Classical piano. Published by Edwin F. Kalmus

by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (CF.YAS13F).

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

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

Concert Band Concert Band - late intermediate

SKU: RU.10267S

March. Composed by James Ord Hume. Edited by Timothy Rhea. Arranged by Edited by Timothy Rhea. Contest/Festival. Legacy of the March. Score. RBC Publications #10267S. Published by RBC Publications (RU.10267S).

9 x 12 inches.

The B.B. and C.F. March was commissioned by John Henry Iles around 1923, following the consolidation of the British Bandsman and The Contest Field, two periodicals that were greatly dedicated to brass bands. This outstanding concert march was been published for both wind and brass band.

Concert Band Concert Band - late intermediate

SKU: RU.10267

March. Composed by James Ord Hume. Edited by Timothy Rhea. Arranged by Edited by Timothy Rhea. Contest/Festival. Legacy of the March. Score and Parts. RBC Publications #10267. Published by RBC Publications (RU.10267).

9 x 12 inches.

The B.B. and C.F. March was commissioned by John Henry Iles around 1923, following the consolidation of the British Bandsman and The Contest Field, two periodicals that were greatly dedicated to brass bands. This outstanding concert march was been published for both wind and brass band.

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.

< div>

Old Time, Wire bound. Vocal. Book and online audio. 248 pages. Mel Bay Publications, Inc #31104M. Published by Mel Bay Publications, Inc

(Level 5). Composed by Lang Lang. For Piano. Book; Method/Instruction; Piano Method. Faber Edition. Intermediate. Published by Faber Music

Piano

SKU: AY.PN3099PM

Composed by F. Taverna-Bech. Keyboards - Piano. Sheet music. Duration 10'. Periferia Publishing #PN3099PM. Published by Periferia Publishing (AY.PN3099PM).

ISBN 9790543573550.

This four pieces group can be considered as a study of style. Somehow, one wonders the capacity to assimilate some musical languages that that appeared at the beginning of the XX century, in a very permissive tone concept. The music in each of them is explicit enough to expose this purpose. Stravinski should be, then, understood as an approach to the personal features of Stavinski and polytonality from an ironic and portrait perspective. The Nocturne is inspired on the spirit of the pieces of the Mikrokosmos of Bartok, at the same time that counts on the poetical contributions of the composer John Field for his contributions to the nocturne pianist genre. The Song for Anna seeks protection in the bright and transparent harmonies of Ravel, and the popular song Au claire de la lune is developed in a pentatonical scale and reminds of the harmonical treatment.

Trumpet - intermediate

SKU: BT.AMP-091-400

Arranged by Philip Sparke. Educational Tool. Book with CD. Composed 2004. 24 pages. Anglo Music Press #AMP 091-400. Published by Anglo Music Press (BT.AMP-091-400).

ISBN 9789043153362. English-German-French-Dut ch.

In Classic Hymns, Philip Sparke has taken 10 of the best-loved hymn tunes, popular around the world, and used them as the basis of a collection of short recital pieces, ranging from simple descant arrangements to a full-blown theme and variations. Ideal for concert or contest use, these charming pieces range in mood from triumphal to reflective and can provide that ‘musical moment’ and a time for meditation in church services and religious occasions of all kinds.

Anglo Music PressBij de keuze van de hymnen voor deze verzameling heeft Philip Sparke grotendeels geput uit de grote Engelse hymnen van de 18e en 19e eeuw - melodieën die niet alleen geschikt zijn voor samenzang, maar ook veel muzikalemogelijkheden bieden voor uitbreiding en variatie. De bijgevoegde cd bevat zowel volledige uitvoeringen als begeleidingstracks. Deze hymnen zijn uitstekend geschikt voor het spelen in concert- of wedstrijdverband, of als muzikaalintermezzo tijdens een kerkdienst.

Bei der Auswahl der Hymnen für diese Sammlung bediente sich Philip Sparke größtenteils der großen, englischen Hymnen aus dem 18. und 19. Jahrhundert. Die beiliegende CD enthält sowohl vollständige Aufnahmen als auch reine Begleitversionen. Diese Hymnen eigenen sich perfekt für den Einsatz im Gottesdienst, Konzert und Wettbewerb, aber auch für das Spiel zum eigenen Vergnügen.

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.

(score). Ensemble Collection. Size 9x12 inches. 88 pages. Published by Hal Leonard.