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.

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By ABRSM. For clarinet, piano. Published by ABRSM (Associated Board of the Royal Schools of Music).

String orchestra

SKU: BO.B.3292

Composed by Jordi Cervello. Instrumental Sets. Duration 17:35. Published by Editorial de Musica Boileau (BO.B.3292).

English comments:
This is the definitive version of Biogenesis, a piece that Cervello had written in 1976, together with his friend Jorge Wagensberg, and which was awarded the First Prize at the Spanish Ministry for Education and Science's Permanent Composition and Musical Research Competition. The new version was made at 1984-85 Lux et umbra is written for a string group consisting of four first and four second violins, three violas, three cellos and a double bass. The conceptual battle between darkness and light is represented by the instability between the notes B and C, and by the compartmentation of the group of fifteen strings into divisi that provide an independent arrangement for each instrument, thus bestowing great substance upon the texture of the music. A cello cadence emerges from a slow and straightforward beginning. A process of contrasts then begins, culminating in a molto vivace passage of a scherzando nature, which alludes to the Baroque concerti grossi. The music once again plays with chiaroscuro until reaching its climax, from which point the conclusion slowly begins, establishing itself in the high register until fading away. The work was first performed at Barcelona's Palau de la Musica by the English Chamber Orchestra, directed by Enrique Garcia Asensio, in 1987. That same year, in the newspaper El Pais, the observations of the composer and critic Francesc Taverna-Bech paid tribute to the work's intelligence as regards the use of and search for instrumental resources (in this case, string instruments, about which Cervello knows a great deal), the skill involved in endowing the lyrical line with tension, and a singular touch that confers formal essence upon the musical discourse. In La Vanguardia, Jordi Llovet wrote that this is a work in which, as is the case with most of Cervello's compositions, the listener finds something covertly religious, a mysterious secret, a transcendence linked to the origins of communication requiring more than a single being, which provides excitement. In 1990, when the Orquesta de Granada (Orchestra of Granada) performed the work at Barcelona's Grec festival, the critic Cesar Calmell opined, in the same newspaper, that inch by inch, surely and imperturbably, Cervello built up a perfect world that reflects the image of the craftsman who, so astonished at the delights of his trade, is unable to do anything but turn the very backdrop of tragedy into something pleasant. Lux et umbra was recorded by the Orchestra Estatal of the Hermitage, conducted by Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Music critic

Comentari os del Espanol:
Se trata de la version definitiva de Biogenesis, obra que habia escrito en 1976 en colaboracion con su amigo Jorge Wagensberg y que obtuvo el Primer Premio, en el ano de su creacion, en el Concurso Permanente de Composicion e Investigacion Musical del Ministerio de Educacion y Ciencia. La nueva version fue realizada en 1984-85. Lux et umbra esta escrita para un grupo de cuerda integrado por cuatro primeros violines, cuatro segundos, tres violas, tres violoncelos y un contrabajo. El combate filosofico entre la oscuridad y la luz lo lleva a cabo la inestabilidad entre las notas si y do y la compartimentacion del grupo de quince cuerdas en unos divisi que llegan a una escritura independiente para cada instrumento, otorgando una gran importancia a la textura sonora. De un principio lento y descarnado emerge una cadencia del violonchelo. A continuacion da comienzo un proceso de contrastes que culmina en un pasaje molto vivace de caracter scherzando que alude a los concerti grossi del barroco. La musica juega de nuevo con el claroscuro hasta llegar a la cumbre sonora iniciando el final lentamente que se instala en el registro agudo hasta desvanecerse. La estreno en el Palau de la Musica de Barcelona la English Chamber Orchestra en el ano 1987 bajo la direccion de Enrique Garcia Asensio. Ese mismo ano, en el periodico El Pais, el compositor y critico Francesc Taverna-Bech reconocia en sus comentarios la inteligencia en el uso y la busqueda de los recursos instrumentales -en este caso la cuerda, de la que Cervello es profundo conocedor-, la destreza para revestir de tension la linea lirica y un tacto particular para conferir entidad formal al discurso sonoro. Jordi Llovet, en La Vanguardia, escribia que en esta obra, se encuentra, como en la mayor parte de la produccion de Cervello, algo secretamente religioso, un arcano misterioso, una trascendencia vinculada a los origenes de la comunicacion impracticable con el ser unico que resulta apasionante. En el ano 1990, cuando la Orquesta de Granada la toco en el Grec de Barcelona, era el critico Cesar Calmell quien, en el mismo periodico consideraba que Cervello construyo palmo a palmo, segura e imperturbablemente, un mundo perfecto que refleja la imagen del artesano que, de tan admirado con las delicias de su oficio, no puede hacer otra cosa que convertir en agradable el fondo mismo de la tragedia. Lux et umbra esta grabada por la Orquesta Estatal del Hermitage, dirigida por Alexis Soriano (CD SA01210 Fundacion Autor). --Xavier Casanoves Danes Critico musical.

Orchestra and Cobla

SKU: BO.B.3260

Composed by Josep Ma Ruera. Instrumental Sets. Duration 40:52. Published by Editorial de Musica Boileau (BO.B.3260).

ISBN 9788480207584.

Engl ish comments:
Empuries is the result of the interest Ruera showed throughout his life for the culture and music of ancient Greece. As he himself writes in the introduction to the composition: The motives behind this work were inspired by contemplating and analysing the melos of ancient Greece. The few melodies that have been discovered from those far-off times inspired the composer of Empuries to create this work, conceived with the Greek modal system in mind, and adapted to modern instruments and tastes. The tetrachord and pentachords of these forms are the very bases of this work. The descending drift of the cadence, the harmonic priority of the upper and lower notes of the tetrachords and the displacement of these chords to different acoustic levels, make it impossible to specify the classic concept of a set tonality which, within the improvised musical working of the piece, leads to a naturally intertonal or atonal piece of music. Empuries came to light in 1971, when it won group A of the Ciutat de Barcelona prize. But one must, in fact, go back to the 1930s to find its true origins. Ruera made his first foray into the theme of ancient Greece with the sardana, Empuries, la grega, with which he won first prize in the Jocs Florals in Girona, in 1931. Shortly afterwards, he wrote a piece of organ music entitled Bucolics, in the Greek modal style, which was destroyed during the Spanish civil war. Ruera continued to work on the theme and in 1936 he presented his work Tres moviments simfonics, for a big band, inspired by the ancient Greek modes, at the XIV International Festival of the ISCM held in Barcelona. The work was chosen to debut in the festival's opening concert on 19 April 1936 at Palacio de Bellas Artes in Barcelona. In 1959, Ruera won the Pau Casals Prize at the Jocs Florals de la Llengua Catalana, held at the Sorbonne in Paris, for his work, Empuries: poema per a cobla i orquestra, which would later become the fourth movement of Empuries. Nine years later, in 1968, Barcelona City Orchestra, conducted by Antoni Ros Marba, gave the first ever performance of the symphonic poem Pastoral, written to be the first movement of Empuries, in Granollers. The final step was when he finally completed the work, won the Ciutat de Barcelona prize, opened in Granollers on 2 May 1976 and recorded it for the Columbia de Barcelona label in 1977. Anna Maria Piera

Comentario s del Espanol:
La obra Empuries es fruto del interes que el maestro Ruera demostro a lo largo de su vida por la cultura y la musica de la antigua Grecia. Como el mismo escribe en la cabecera de la composicion: Los motivos generadores de esta obra estan inspirados en la contemplacion y en el analisis del melos de la antigua Grecia. Las pocas melodias que hasta el momento se han podido descubrir de aquellos tiempos remotos sugieren al autor de Empuries la realizacion de esta obra, concebida pensando en el sistema modal griego, adaptado a los instrumentos y gustos modernos. Los tetracordes y pentacordes de dichas modalidades son las celulas en las que se basa la obra. El sentido descendiente de la cadencia, la prioridad armonica de la notas extremas de los tetracordes y el desplazamiento de estos acordes a varias alturas acusticas, hacen que no sea posible precisar el clasico concepto de una tonalidad determinada y que lleven, dentro del funcionamiento contrapuntistico, a una musica naturalmente intertonal o atonal. Empuries vio la luz en el ano 1971, ganando el Premio Ciutat de Barcelona, grupo A, pero en realidad tenemos que retroceder hasta los anos 30 para encontrar sus verdaderos origenes. La primera incursion en el tema de la antigua Gracia la hizo con la sardana Empuries, la grega, con la que gano el primer premio en los Jocs Florals de Gerona del ano 1931. Poco despues escribio una pieza para organo titulada Bucolics, en el estilo modal griego, que fue destruida durante la Guerra Civil espanola. Ruera continuo trabajando en el tema y en el ano 1936 presento su obra Tres moviments simfonics, en version para gran banda, inspirada en las antiguas modalidades griegas, en el XIV Festival Internacional de la SIMC que se celebro en Barcelona. La obra fue escogida para ser estrenada en el concierto inaugural de dicho festival, el 19 de abril de 1936, en el Palacio de Bellas Artes de Barcelona. En el 1959, Ruera gano el Premio Pau Casals en los Jocs Florals de la Llengua Catalana celebrados en la Sorbona de Paris con la obra Empuries: poema per a cobla i orquestra, que sera con el paso del tiempo el cuarto movimiento de Empuries. Nueve anos mas tarde, en 1968, la Orquestra Ciutat de Barcelona, bajo la direccion de Antoni Ros Marba, interpreto en Granollers la primera audicion del poema sinfonico Pastoral, pensado como primer movimiento de Empuries. El ultimo eslabon fue terminar definitivamente la obra, ganar el Premio Ciutat de Barcelona, estrenarla en Granollers el 2 de mayo de 1976 y grabarla para la casa discografica Columbia de Barcelona, en 1977.

By Geoffrey Bush. For Voice. Classical. Sheet Music. Published by Novello & Co Ltd.

Estudio de Estilo. Composed by Jose Fuente. Carisch - Music Sales. Folk Music. Book with CD. 85 pages. Play Music Spain #CARML3360. Published by Play Music Spain

Estudio de Estilo. Composed by Jose Fuente. Carisch - Music Sales. Folk Music. Book with CD. 100 pages. Carisch Edition #CARML3470. Published by Carisch Edition

SKU: GI.G-6814

Composed by Carol A. Doran, James Abbington, and Robert J. Batastini. Edited by Fred Moleck. Sacred. Book. 89 pages. GIA Publications #6814. Published by GIA Publications (GI.G-6814).

ISBN 9781579996352. English. Text source: Contributors: James Abbington, Robert Batastini, Carol Doran, David Eicher, Scott Kumer, David Music, Don Saliers, Paul Westermeyer.

Pastor al music makers have talents that translate across denominations, and every now and then a musician might find him- or herself playing in unfamiliar territory (different order of service, different rituals, different traditions, different musical styles, etc.). The question of how to adapt to another pattern of worship may arise, creating a great deal of confusion or stress for the musician. A Primer for the Visiting Organist, edited by Fred Moleck, provides a comprehensive answer for anyone in this situation. This book includes insightful chapters by some of the foremost experts on music in worship that describe, in detail, what the visiting organist can expect when playing for one of the following eight religious traditions: African American Protestant: Dr. James Abbington Baptist: Dr. David Music Episcopalian: Dr. Carol Doran Reform Jewish: Mr. Scott Kumer Lutheran: Dr. Paul Westermeyer Presbyterian: Mr. David Eicher Roman Catholic: Mr. Robert Batastini & Dr. Fred Moleck United Methodist: Dr. Don Saliers A Primer for the Visiting Organist covers everything from the order of service to the question of receiving communion. There is a wealth of information here—no organist should travel without it.

A Primer for the Visiting Organist covers everything from the order of service to the question of receiving communion. There is a wealth of information here—no organist should travel without it.

For piano. Piano. Method. Level: Primer. Music Book. Published by Neil A. Kjos Music Company.

Primer. Arranged by Wesley Schaum. Educational Piano. Sacred. Softcover Audio Online. 24 pages. Duration 7200 seconds. Schaum Publications, Inc. #0950. Published by Schaum Publications, Inc.

Composed by Sammy Nestico. For jazz ensemble. Sammy Nestico Young Jazz Series. Jazz Feel. Easy. Score and set of parts. Published by Kendor Music Inc

Primer Piano - Early Elementary

SKU: HL.645895

Primer Level. Arranged by Wesley Schaum. Educational Piano. Folk, Supplementary. Softcover. 24 pages. Duration 7200 seconds. Schaum Publications, Inc. #0835. Published by Schaum Publications, Inc. (HL.645895).

ISBN 9781495081781. UPC: 008148008353. 9.0x12.0 inches.

When they originated, folk songs were passed along from one generation to another without written music. Many times they were sung unaccompanied. The melody of a simple accompaniment may also have been played on fiddle, guitar, banjo or whatever instrument was available. Over time, different performers made little changes in both melody and words. In some instances, there are now six or more variations of the same song. The tunes and lyrics in this book may be a little different than what is familiar to the teacher or student. Changes to music or words may certainly be made; however it is recommended that any revised notes and lyrics be written on the pages where they are used. Duet accompaniments offer many possibilities for recitals and school events. The duets help provide valuable rhythmic training and ensemble experience. The duets are recommended for use at home as well as at the lesson. This volume includes 11 folk favorites: Alouette * Camptown Races * Lightly Row * Little Nut Tree * Mexican Clap-Hands Dance * Old MacDonald * On the Bridge at Avignon * Row, Row, Row Your Boat * She Wore a Yellow Ribbon * When the Saints Go Marching In * Yankee Doodle.

Jazz Ensemble - Grade 2

SKU: KN.SN70028S

Composed by Sammy Nestico. Sammy Nestico Young Jazz Series. Kendor Music Inc #SN70028S. Published by Kendor Music Inc (KN.SN70028S).

UPC: 822795700281.

Obtai ning a good blend is always difficult with an open sax voicing such as the one in measure 73it may take several attempts to achieve this. This arrangement also uses the voicing of 1st Alto Sax in prime unison with 1st Trumpet during ensemble sections. As for dynamics, remember to increase volume when ascending the scale and decrease it when descending the scale.

Orchestra

SKU: HL.14027979

Composed by Poul Ruders. Music Sales America. Score. 111 pages. Edition Wilhelm Hansen #KP00695. Published by Edition Wilhelm Hansen (HL.14027979).

ISBN 9788759888780. English.

Corona - The Solar Trilogy No. 3 for Orchestra was composed by Poul Ruders in 1995. Programme note: CORONA makes the final part of the SOLAR-TRILOGY, a huge symphonic triptych about the life and behavior of the Sun. The first'panel' GONG depicts the birth, life and final collapse of our nearest star, the second ZENITH describes in its ultra-slow tempo the patient rise of the Sun toward midday ferocity and its subsequent setting. CORONA, then, is a symphonic 'portrait' of the phenomenally hot whispy brim encircling and radiating from the Sun, a sizzling halo of electrons and photons visible only during a total eclipse. Formally CORONA follows the process of such totalityin progress:the gradual eclipsing by the Moon - total darkness with thefierce, sparkling outer corona - the gradual 'rebirth' of the light toward the full gl.ory and warmth of the Sun.Besides the obvious astronomical narrative of the SOLAR-TRILOGY there's a metaphysical angle too, underlying each of the three compositions: GONG, in spite of its apparent energy, may be the most pessimistic of them all, epitomizing the death and ultimate annihilation of the prime source of Life itself. ZENITH is a hommage to human aspiration and spiritual endurance and CORONA ends with Hope and Glory after a journey from depression throughtotal despair. Super-structurally, the zenith of ZENITH makes the zenith of the entire trilogy, i.e. when the E- flat of the unisone horns in ZENITH is heard, we are exactly halfway through the collected work. Poul Ruders.