Guitar SKU: BT.MUSAM996996 Arranged by Russ Shipton. The Complete Guitar ...(+)
Guitar
SKU:
BT.MUSAM996996
Arranged by Russ Shipton.
The Complete Guitar
Player. Pop & Rock. Book
with CD. Wise
Publications
#MUSAM996996. Published
by Wise Publications
(BT.MUSAM996996).
ISBN
9781849380140.
English.
Th
e Complete Guitar
Player series
has taught hundreds of
thousands how to play and
the accompanying
songbooks have featured
hits by Paul Simon, Elvis
Presley, The Beatles,
John Denver and many
othertopartists.
N
ow these songbooks are
available in super value
omnibus editions like
this one. The songs are
still graded by ease of
playing and everything is
there... standard
notation, Guitar chord
boxes, full lyrics
andevenstrumming
patterns!
Over 180
great songs! Perfect for
all players and
singers!
The bonus
CD contains backing
tracks to 16 of the songs
in the book.
Score and Parts String Quartet (Score & Parts) SKU: HL.233292 For Stri...(+)
Score and Parts String
Quartet (Score & Parts)
SKU: HL.233292
For String
Quartet. Composed by
John Luther Adams. Music
Sales America. Classical.
Set. Composed 2017.
Chester Music #CH86119.
Published by Chester
Music (HL.233292).
9.0x12.0x0.571
inches.
This work
was commissioned to
celebrate the 50th
Anniversary of Theodore
Front Musical Literature.
It is dedicated to
Christine Clark.
SKU: GI.G-10368 A Document History (1835-1935). Composed by Bryan ...(+)
SKU: GI.G-10368
A Document History
(1835-1935). Composed
by Bryan J. Proksch.
Music Education. 346
pages. GIA Publications
#10368. Published by GIA
Publications
(GI.G-10368).
ISBN
9781622776276.
This
is a fascinating and
important book for
everybody even remotely
interested in the history
of American bands. Bryan
Proksch has done some
painstakingly thorough
research in putting
together an amazing
assemblage of
documents… This is
a must-have book!
—Jon Ceander
Mitchell   The
Wind Music Research
Quarterly:
Mitteilungsblatt der IGEB
  (March 2022),
14–15 For the
scholar, each entry
presents an opportunity
for expansion. For the
teacher, this work
provides source readings
for courses on wind band
history or for
complementing Strunk or
Weiss-Taruskin in
university music history
courses. That said, these
documents stand as an
enriching and
entertaining read in
their own right for
anyone interested in the
subject. —Michael
O’Connor  Â
Historic Brass Today 1/2
(Spring 2022), 32 The
Golden Age of American
Bands is ideally suited
for courses on the
history and literature of
bands in America. Indeed,
this volume could suffice
as a textbook for
adventuresome teachers in
that it touches on the
major musicians,
instruments, ensembles,
and functions expected of
such a course. . . . Both
private and classroom
band instructors will
find compelling glimpses
into the history of their
craft. [It is] bursting
with opportunities to
inspire curiosity in
their students while
effectively supporting
their own curricular
goals. —Benjamin
D. Lawson and James A.
Davis   The
Journal of Music History
Pedagogy Proksch’s
new collection of
documents is a most
welcome step in the
direction of getting [the
story of bands] under
control. The
juxtaposition of
documents from so many
levels and types of
ensembles proves to have
a cumulative effect: one
begins to see the subtle
and long-lasting
connections among them
despite the big
differences. It is easy
to envision it as a
supplemental text in a
course on band history
and literature, but the
book is also just an
absorbing read. There is
much to learn here, and
much to enjoy.
—Ken Kreitner Â
 Notes 79/2 (December
2022): 217-218 This is
the story of the American
wind band, told
chronologically by those
who experienced it in
real time from 1835 to
1935. How did bands
become bands? How did
they rise in popularity?
Which figures had
insights and specific
impacts on the
development of the genre?
Through source documents
and articles, Bryan
Proksch takes us on an
extraordinary journey
from the time of the
first brass bands in the
1830s, through the Civil
War and the golden ages
of Gilmore and Sousa, to
the cusp of the wind
ensemble just before
World War II. Hear from a
young Frederick Fennell
about his efforts to
create the first band at
Eastman. Read the outline
of Allessandro
Liberati’s
unpublished trumpet
method book. Eavesdrop on
Karl L. King as he muses
on the fate of bands
after the death of Sousa.
See Patrick
Conway’s first
undergraduate music
education curriculum.
Gawk as trombonist
Fredrick Neil Innes
embarrasses
“world’s
greatest cornetistâ€
Jules Levy at Coney
Island. Explore as Alan
Dodworth revolutionizes
bands. Retreat with a
military band in the
middle of a Civil War
battle. Find out what it
felt like to sit in a
Sousa Band rehearsal. Ask
Herbert L. Clarke why he
thinks you should be
playing a cornet instead
of a trumpet. Find out
how P. S. Gilmore managed
to pull off the biggest
concert events in
American history. The
book includes numerous
rare and unknown
illustrations to show you
the places where band
history happened. The
documents include rare
periodical excerpts,
handwritten letters, and
other writings taken from
archives throughout the
United States. These
first-person accounts are
certain to further refine
and deepen our
understanding and
appreciation of American
band history on a grand
scale. Contents:
Beginnings
(1835–1859) The
Civil War
(1860–1865) The
Jubilees
(1866–1879) The
Gilded Age
(1880–1896) The
Band Age
(1897–1914) World
War I (1915–1919)
Transition and Decline
(1920–1935) Â
Click here to download a
FREE addenda. Bryan
Proksch is a
distinguished faculty
lecturer and associate
professor of music
history and literature at
Lamar University in
Beaumont, Texas. This is
his third book. His A
Sousa Reader: Essays,
Interviews, and Clippings
(GIA Publications, 2016)
explores the documents
relating to the life and
career of John Philip
Sousa.
Bass trombone or tuba and piano SKU: P2.80062 Composed by Johann Galliard...(+)
Bass trombone or tuba and
piano
SKU:
P2.80062
Composed by
Johann Galliard. Arranged
by Micah Everett. Solo
music, 18th century.
Published by Potenza
Music (P2.80062).
These settings
of the Galliard bassoon
sonatas grew out of a
perceived need for more
intermediate-early
advanced solo literature
for the bass trombone, as
well as more settings of
Baroque-period works for
that instrument. While
the sonatas are playable
on the bass trombone in
their original keys
(whether at pitch or down
one octave), by setting
them in lower keys I have
endeavored to make them
useful for developing
tone quality and
technique in the valve
register, while not going
so low that clarity and
facility might be
compromised (as can be
the case when playing in
the original keys down
one octave). The new keys
I have chosen for each of
the sonatas are closely
related to the original
ones, in every case down
a perfect fourth or
perfect fifth, so
something of the sound of
the original keys is
maintained. Other than
the key changes I have
made very few adjustments
to the intervals in the
solo or left hand
keyboard parts; in the
places where I have done
the most editing I have
provided cues for the
original intervals and/or
rhythms so that the
player can choose whether
to perform the simplified
part I have provided or
something closer to the
original. The new keys
(as well as copyright
considerations)
necessitated that I
provide entirely new
figured bass realizations
for the accompanist's
right hand. These are
entirely my own, though
in the early stages of
this project I did
consult with Professor
Stacy Rodgers, my
colleague and
collaborator at the
University of
Mississippi. I have
provided more than a
simple harmonic
accompaniment in my
realization; each
movement has a number of
short melodic passages to
provide interest in the
keyboard part for both
performer and listener.
Still, I have been
purposefully reserved in
writing these parts, and
in no case should the
keyboardist feel
obligated to strictly
adhere to the part as I
have written it. I have
left the figured bass in
the score so that the
performer can modify
and/or build upon what I
have provided,
particularly in the
repeats (as Professor
Rodgers did when playing
and recording one of the
sonatas with me). I have
labeled the accompaniment
part simply as keyboard
with the understanding
that these sonatas were
originally intended for
performance with
harpsichord (assisted by
cello or bassoon) or
organ, though I am sure
that the vast majority of
performances of these
arrangements will have
piano as the accompanying
instrument. My keyboard
part has thus been
written with that
instrument in mind. If
performing with
harpsichord assisted by
cello or bassoon those
players will need to make
adjustments in places
where the bass lines
extend below the ranges
of their instruments.
While I am confident that
my right hand part is a
faithful realization of
the harmonic structure
indicated by the
composer, no attempt has
been made either in my
keyboard realization or
in my light editing of
the solo part to adhere
to present scholarly
conventions regarding the
interpretation of early
music. I have constructed
these arrangements to
meet the needs of
twenty-first-century
student (and
professional) bass
trombonists, and thus I
have provided the
interpretive markings
which I believe will
yield the most pleasing
performances on that
instrument. That said, I
have sought to be modest
in my indications of
tempo, dynamics,
articulation, and
ornamentation, as these
sonatas will admit
varying interpretations
in those respects.
Performers and teachers
are welcome and
encouraged to experiment
in order to find the
interpretations which
they think most
effective. Although I
originally created these
arrangements with the
bass trombone in mind, I
am sure that they will
work equally well on
tuba. Due to range
considerations similar to
those I mentioned above
for the bass trombone,
they might be
particularly
better-suited to
performance on the F or
E-flat tubas than
previous editions of
these sonatas. I am
looking forward to using
these arrangements with
my students on both
instruments, and hope
that others will find
them useful, as well.
Violin Solo. Composed by John Luther Adams. Music Sales America. Classica...(+)
Violin Solo.
Composed by John Luther
Adams. Music Sales
America. Classical.
Softcover. 10 pages.
Chester Music #CH86130.
Published by Chester
Music (HL.236805).
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
Cello, Piano Accompaniment - Grade 4 SKU: HL.248688 For Solo Cello...(+)
Cello, Piano
Accompaniment - Grade 4
SKU: HL.248688
For Solo Cello.
Composed by John Luther
Adams. Music Sales
America. Classical.
Softcover. Composed 2017.
12 pages. Chester Music
#CH86735. Published by
Chester Music
(HL.248688).
UPC:
888680729080. 9x12
inches.
English.
“Gor
don Wright was the friend
of a lifetime. For thirty
years Gordon and I shared
our two greatest
passions: music and
Alaska. Gordon was my
musical collaborator, my
next-door neighbor, my
fellow environmentalist
and my camping buddy.
These miniatures are
musical sketches of three
moments and places in our
friendship. Like Alaska,
Gordon was larger than
life. He always lived his
own way. And he died just
as he would have wanted.
We found him lying on the
deck of his cabin in the
Chugach Mountains, curled
up against his favorite
birch tree, looking
across the waters of
Turnagain Arm toward the
Resurrection Valley and
the tiny settlement of
Hope.” - John
Luther Adams
This
music contains no normal
stopped tones. All the
sounds are produced as
natural harmonics or on
open strings. There are
no harmonics higher than
the sixth. So these
sounds should be clear
and resonant. Even so,
balancing the harmonics
with the open strings
requires careful
attention.
The
durations of the
individual pieces are
given at the end of
each.
The total
duration of the set is
about ten minutes.
For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L).
UPC:
680160039531. 11 x 17
inches.
Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland.
Descant recorder (S) - very easy SKU: HL.49007510 Tutor book for desca...(+)
Descant recorder (S) -
very easy
SKU:
HL.49007510
Tutor
book for descant
[soprano] recorder (with
baroque fingering
style). Composed by
Gerhard Engel, Gudrun
Heyens, Hans-Martin
Linde, and Konrad
Huenteler. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Tonumfang von c1 - d2,
ohne chromatische
Halbtone. Konsequente
Arbeit an Atmung und
Tonbildung. Entwicklung
von rhythmischer
Sicherheit mit den
Notenwerten (viertel,
halbe, punktierte halbe,
ganze, achtel).
Classical. Student book.
80 pages. Schott Music
#ED 7770. Published by
Schott Music
(HL.49007510).
ISBN
9783795750664.
9.0x12.0x0.171 inches.
German. Christa
Estenfeld-Kropp.
Th
is successful tutorial
book for descant
[soprano] recorder is now
available in a revised
new edition. The German
text has been revised in
the light of recent
spelling reforms and the
layout in four colours is
now even clearer. For
many of the songs
harmonic symbols have
been added to facilitate
accompaniment on the
guitar or piano. The
first volume places
emphasis on correct and
musical breathing and
tonguing technique.
Plenty of space is given
to ideas for little
improvisations and a
selection of well-known
songs and pieces
encourage motivation and
enjoyment as children
learn. This
child-friendly,
practically tested
introduction to the
recorder is suitable for
children from the age of
about 5.
Online Audio and Video Included!. Percussion. Bossa Nova, Brazilian, Samba. S...(+)
Online Audio and Video
Included!. Percussion.
Bossa
Nova, Brazilian, Samba.
Softcover Video Online.
96
pages. Hudson Music
#HDBK55.
Published by Hudson Music
Compiled by Russ Shipton. Fake book for voice and guitar. With vocal melody, lyr...(+)
Compiled by Russ Shipton.
Fake book for voice and
guitar. With vocal
melody, lyrics, chord
names and guitar chord
diagrams. 167 pages.
Published by Music Sales.
Replaces HN119. Composed by Johannes Brahms (1833-1897). Edited by Katrin Eich. ...(+)
Replaces HN119. Composed
by Johannes Brahms
(1833-1897). Edited by
Katrin Eich. Arranged by
Andreas Boyde. Sheet
Music. Paperbound. Henle
Music Folios. Revised
edition of HN 119.
Classical. Softcover. 28
pages. G. Henle #HN1251.
Published by G. Henle