Guitar

SKU: UT.CH-385

Composed by John W. Duarte. Edited by Isabel Siewers. Classical. Score. Ut Orpheus #CH 385. Published by Ut Orpheus (UT.CH-385).

ISBN 9790215328174. 9 x 12 inches.

The Sonatina del Sur (Sonatina of the South) was commissioned by Isabel Siewersâ?? mother as a 34th birthday present for her daughter. Its music pays token, rather than imitative, homage to South American music. Thus the sonata form first movement, whose brief development section accounts for the workâ??s â??diminutiveâ?? title, merely hints at syncopations that are as common in South America as they are in Europe. The Canción de cuna (Cradle Song) is unusual in the fact that it is played entirely in natural harmonics â?? no string touches a fret from start to finish, a compositional challenge I had long planned to face. The third movement was originally titled Milonga, but when the dedicatee said that, although it has a South American air over it, and the rhythm is right, it was not really like a milonga, it was renamed! Perhaps, though, it captures a little of the happy and lightness-of-touch character of its eponym. The Danza negra, another common South American genre, is energetic, with a variety of percussive gestures that demand extreme agility on the part of the performer.

Composed by Andrew D. Gordon. Arranged by Andrew D. Gordon. Latin Solo Series. Latin. Book/digital audio. ADG Productions #ADG201. Published by ADG Productions

Young Women's Edition. By Various. Vocal Collection. Softcover with CD. 56 pages. Published by Hal Leonard.

For concert band. Carl Fischer Concert Performance Series. Grade 3-3.5. Score and parts. Duration 3:32. Published by Carl Fischer

Edited by Richard Walters. Vocal Collection. Play Along. Softcover Audio Online. 248 pages. Published by Hal Leonard

By Barry Finerty. For all instruments. Instructional book. 200 pages. Published by Sher Music Company.

Composed by Andrii Didorenko. Set of Score and Parts. Duration 11 minutes. Theodore Presser Company #114-42371. Published by Theodore Presser Company

Jazz Ensemble - Grade 3

SKU: KN.61203S

Composed by Jeff Jarvis. Jazz Journey. Kendor Music Inc #61203S. Published by Kendor Music Inc (KN.61203S).

UPC: 822795612035.

Los Angeles-based jazz composer Jeff Jarvis has composed yet another tuneful funk chart for advancing groups that grooves from start to finish. This chart has all the characteristics that make Jarvis' best selling funk charts so popular with jazz bands everywhere. If you like Critical Mass, Honk, Old School, and Mohave Breakdown - then you've got to check this one out! It begins with a contemporary piano introduction, moving into a catchy melody presented initially in a two-part writing technique. Heavily syncopated piano comping, supported by staccato bass lines, will remind you of Tower of Power's bassist, Francis Rocco Prestia. A guitar chord chart by Jim Greeson is included in each set. Duration 5:10.

By Traditional. Arranged by Niehaus. For 4 Bb clarinets. Clarinet Quartet. Level: Grade 3 . Published by Kendor Music Inc.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

(Book)

SKU: HL.49047140

English. Edition Schott. Classical. Softcover. 216 pages. Schott Music #ED23545. Published by Schott Music (HL.49047140).

ISBN 9783795724597. UPC: 196288130925.

The ballets of Paul Hindemith are not that well-known in his musical compositions. Nevertheless, this book intends to attract more attention to the composer's dance works by providing in-depth information on his ballets from the 1930s, namely Nobilissima Visione (1938) and Der Kinderkreuzzug (1939). By showing the origins, developments, and how these two pieces originally came from the same inception, the results of this research impart a deeper understanding and appreciation of these ballets. In Nobilissima Visione, theartistic collaboration and theatrical interpretations of both Hindemith and choreographer Léonide Massine on the life of St. Francisof Assisi are likewise compared and evaluated. In addition, the close study of the music sketches in Nobilissima Visione reveals howthis ballet was possibly composed. Nobilissima Visione and Der Kinderkreuzzug further share another common feature: both have detailed scenarios by Hindemith containing the composer's indications as to where the actions in the text correspond to his music. Because of this text-tomusic connection, it is possible to explore Hindemith’s ideals and visualization of his dance works. This approach similarly emphasizes the significance of incorporating both musical and dance aspects in these investigations. Including Hindemith's last two ballet scenarios, namely Gefühlvolles Ende einer ruhmreichen Laufbahn (1939) and Das Gleichnis von den Blinden (1940), further provided valuable information on how the ballet scenarios from Hindemith had evolved, starting with his Nobilissima Visione drafts. Altogether, these ballet scenarios consistently demonstrate specific features and artistic inclinations.In particular, the composer's personal goal to instruct the audience appears to be of primary importance.

SKU: GI.G-006188

Signs and Symbols. Children. Sacred. Book and CD. GIA Publications #006188. Published by GIA Publications (GI.G-006188).

UPC: 641151061887. English.

Another great year-round resource for teachers, catechists, parents, and anyone who works with and cares about the faith formation of young children (ages 5-10)! Like Catholic Corner Volume 1: Saints & Holy Ones (006186), this book and CD-ROM set includes 30 reproducible pages about signs and symbols of Catholic tradition, as well as hands-on activities. Sharing activities and prayer opportunities invite children and adults into the richness of Catholic life together. Send home with children in school or religious education programs, use as a starting point for lessons on the saints, mail with school or parish newsletters, share as a multi-generational activity in the home. A worthwhile investment in the faith-future of children!

((Opus 3.14159)). Composed by Richard Meyer. Orchestra. Part(s); Score; String Orchestra. Highland String Orchestra. Form: Overture. Grade 3. 124 pages. Published by Highland/Etling

Organ

SKU: SU.80101422

For Organ. Composed by Carson Cooman. Keyboard, Organ. Score. Zimbel Press #80101422. Published by Zimbel Press (SU.80101422).

Suite circulaire (2018) for organ is dedicated to Elisa Williams Bickers. The music takes a free, contemporary approach to the historical genre of circulating (or modulating) compositions, where the basic material moves through a variety of keys before returning home again. The goal is not simply to play a modulation game, but rather to construct a true musical discourse where the varied keys are an essential part of the concept. The first movement, Praeludium, is bright in character. Besides moving through varied keys, the movement is also animated with various looping patterns that provide another link to the circulating concept. The second movement, Ricercare, takes its content very literally from the title, which means to search out. Instead of being a proto-fugue, like many ricercares from the late Renaissance or early Baroque, the music searches through the keys by means of a wandering melody and a modulating accompaniment. The third movement, Toccata, is slightly manic in character. The syncopated theme heard at the start animates the movement as it moves through both tonal, modal, and bitonal/modal harmonies before reaching an excited conclusion. (When the suite is performed on an organ tuned in an unequal, circulating temperament, there is an additional circular effect provided by the quite varied key colors that are heard as the material moves through them.)Organ Duration: 14’ Composed: 2018 Published by: Zimbel Press.