Par SNEDECOR PHIL. Many years ago, on a suggestion from Marine Band tubist John Cradler, I wrote a quirky collection of tunes set in the lower register of the tuba That book, published in 1991, 'mimics to be popular beyond my wildest dreams with players of all age levels and ability. Its success exposed a void in studies with actual music in the extreme lower part of the tuba range, a part of the instrument that is so important in the music of Prokofiev, Wagner and other composers. The ability to read notes (on sight!) of 4 and 5 ledger lines had only been previously addressed with repetitive exercises and academic method books. The embarrassing gap between that first volume and today's long-awaited and requested second book is only the fault of yours truly, who until recently didn't think there was a sincere desire for a second book. When I did decide to start writing, I was conflicted over which direction to go: Low Vol. 2? Low(er!) Etudes? Higher Lyrical? Orchestral Excerpt-Based Etudes? Duets? I finally decided on this combination of Lou/(er!) Etudes with accompanying duets that give the player a break from the ultra low writing, and provide a chance to revisit the well-loved tunes of the first book with fresh harmonies. I hope you enjoy what I've finally come up with and accept my apologies for taking so long to do it! My sincere thanks to tubists everywhere for making these tunes part of your music-making over the years. This long-awaited Low(er!) Etudes for Tuba includes more of the melodies Phil Snedecor is known for composing. Always harmonically fresh and melodically surprising, these tunes pose challenges beyond the ultra low notes and offer new discoveries upon each reading. Also included are companion duets to the original Low Etudes for Tuba. A great book to keep on the music stand in your studio! / Niveau : 4 / Etudes et exercices / Etude / Trompette

Par WEILL KURT. Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.' The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010)/ Répertoire / Violon et Orchestre d'Instruments à Vent

Par CASTELNUOVO-TEDESCO MARIO. Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492, Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue. It was only when he discovered Schelemo, a rhapsody for cello and orchestra written in 1916 by Ernest Bloch, that he began to understand what ' Jewish music” could be. In the mid-1920s, the young composer found a collection of prayers set to music among his maternal grandfather' s papers. Something clicked, and from then on, Jewish tradition would become a source of inspiration for Castelnuovo-Tedesco. In 1928, two years after publishing the Dances of King David, he wrote this Vocalise-E tude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich, who wanted to include it in the Répertoire moderne de Vocalises-E tudes published by Leduc. The piece became so popular that several instrumental adaptations were soon created, published under the title Chant hébraïque (for violin and piano: AL17 713- for cello and piano: AL 17196). Divided into three sections, this wordless melody opens with a ' sad and impassioned” chant that appears to grieve the tragic fate of the Jewish people. A folk dance follows, in which a ' lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif, allowing the piece to conclude on a hopeful note. The composer himself would adopt this proactive stance, refusing to yield to resignation when, fleeing Mussolini' s anti-Semitic laws, he decided to emigrate in 1939 to the United States, a land of refuge to which he would remain faithful until his death some thirty years later./ Etude / Voix Moyenne et Piano

45 Classic Hymns for Churches, Schools & Choirs. A wonderful collection of the most popular traditional hymns in a handy 10 x 7 inch format. Ideal for Churches, Schools and Choirs making an ideal resource. / Songbooks / Recueil / Voix et Piano

Par CARTER SYDNEY / MOONEY DAVID. / Feuillet / Choeur (SATB), Harpe ou Clavier, Flûte Traversière

Par RUSH. Sur ne présente plus le célèbre trio ' Rush ' mais tout ce qui se dit sur cet album ne sont que des éloges. Pour en savoir plus rendez-vous sur le site auxportesdumeta.com : Vous trouverez dans ce recueil de chansons les transcriptions exactes des parties guitares, normes de notations et tablatures. / Rép International / Tablatures / Guitare Tablatures

Par STORY MICHAEL. A versatile, fun series intended for like or mixed instruments to perform in any combination of instruments, regardless of skill level. All books are in score format with each line increasing in difficulty from Grade 1 to Grade 3--4. Perfect for concerts with family and friends, recitals, auditions, and festivals. Available for brass, woodwinds, strings, and percussion. Titles: Believe * As Time Goes By * Can't Fight the Moonlight * How the West Was Won (Main Title) * If I Only Had a Brain * Nimbus 2000 * You've Got a Friend in Me * Mamma Mia * Batman Theme * Cantina Band * Imperial March * James Bond Theme * Theme from Ice Castles (Through the Eyes of Love * You're the One That I Want * Raiders March. / Ensemble Music, Miscellaneous, Scores / Recueil / Clarinette

Par ALLDRED JOYCE. A stirring march, celebrating the installation of the mighty Wurlitzer theatre organ from the Gaumont (Granada) Cinema, Manchester in 'Projections' formerly part of the Studio Tours Complex./ Répertoire / Orgue