By Jamey Aebersold. For any C, Eb, Bb or bass instrument. Jamey Aebersold Play-A...(+)
By Jamey Aebersold. For
any C, Eb, Bb or bass
instrument. Jamey
Aebersold Play-A-Long
series. Jazz; play along.
Book and 2 CDs. 90 pages.
Published by Jamey
Aebersold Jazz
By Paul Simon. By Paul Simon and Simon And Garfunkel. Arranged by Russ Shipton. ...(+)
By Paul Simon. By Paul
Simon and Simon And
Garfunkel. Arranged by
Russ Shipton. Chord
Songbooks. Pop and Rock.
Book Only. 40 pages. Paul
Simon Music #MUSPS10818.
Published by Paul Simon
Music
A Child's Prayer Chorale SATB SATB [Octavo] Jackman Music Corporation
By Janice Kapp Perry. Arranged by Ann Kapp Andersen. Text: Janice Kapp Perry. Fo...(+)
By Janice Kapp Perry.
Arranged by Ann Kapp
Andersen. Text: Janice
Kapp Perry. For SATB
Choir with children.
Level: Easy / Medium Easy
(accompaniment). Duration
3:10. Published by
Jackman Music
Corporation.
Arranged by George M.
Cohan and ed./arr. by
William Ryden. Full
Orchestra, Conductor
Score & Parts. Nostalgia
Series. Score and
Part(s). LudwigMasters
Publications #36-A900490.
Published by
LudwigMasters
Publications
(AP.36-A900490).
UPC:
659359874383.
English.
George M.
Cohan (1878-1942),
getting an early start in
vaudeville with his
family act The Four
Cohans, soaked up every
facet of show business.
He acted, composed, sang,
danced, produced and
wrote plays. One of his
most celebrated songs,
OVER THERE, became
America's most beloved
patriotic anthem during
World War I. He wrote it
on April 6, 1917,
immediately upon learning
that the United States
had declared war on
Germany. Charles King
first sang it at a Red
Cross benefit concert in
New York. Enrico Caruso,
Billy Murray, and Arthur
Fields made vocal
recordings, but the most
successful, sang by Nora
Bayes, sold one and a
half million copies. This
version has been
orchestrated by William
Ryden. Instrumentation:
2+Picc.2.2.2: 3Saxes
(AAT; opt.): 4.3.3.1:
Timp.Perc(4): Str
(9-8-7-6-5 in set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Arranged by George M.
Cohan and ed./arr. by
William Ryden. Full
Orchestra, Conductor
Score. Nostalgia Series.
Score. LudwigMasters
Publications #36-A900401.
Published by
LudwigMasters
Publications
(AP.36-A900401).
ISBN
9798892704175. UPC:
659359760785.
English.
George M.
Cohan (1878-1942),
getting an early start in
vaudeville with his
family act The Four
Cohans, soaked up every
facet of show business.
He acted, composed, sang,
danced, produced and
wrote plays. One of his
most celebrated songs,
OVER THERE, became
America's most beloved
patriotic anthem during
World War I. He wrote it
on April 6, 1917,
immediately upon learning
that the United States
had declared war on
Germany. Charles King
first sang it at a Red
Cross benefit concert in
New York. Enrico Caruso,
Billy Murray, and Arthur
Fields made vocal
recordings, but the most
successful, sang by Nora
Bayes, sold one and a
half million copies. This
version has been
orchestrated by William
Ryden. Instrumentation:
2+Picc.2.2.2: 3Saxes
(AAT; opt.): 4.3.3.1:
Timp.Perc(4): Str
(9-8-7-6-5 in set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370).
ISBN
9781491135075. UPC:
680160686247.
Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022.
Piano Transcriptions. Performed by Thelonious Monk. Artist Transcriptions (Authe...(+)
Piano Transcriptions.
Performed by Thelonious
Monk. Artist
Transcriptions (Authentic
note-for-note
transcriptions). Size
9x12 inches. 96 pages.
Published by Hal Leonard.
Cello and piano SKU: BR.EB-9391 Urtext based on the Complete Edition J...(+)
Cello and piano
SKU:
BR.EB-9391
Urtext
based on the Complete
Edition Jean Sibelius
Works (JSW). Composed
by Jean Sibelius. Edited
by Anna Pulkkis. Solo
instruments; stapled.
Edition Breitkopf.
Late-romantic; Early
modern. Score. 28 pages.
Duration 12'. Breitkopf
and Haertel #EB 9391.
Published by Breitkopf
and Haertel (BR.EB-9391).
ISBN 9790004188651. 9
x 12 inches.
Jean
Sibelius composed far
less music for the cello
than for the violin.
Malinconia (op. 20) -
published in 1911 but
composed in 1900 under
the title Fantasia -
remained his only
opus-numbered work
exclusively for cello and
piano. The Fantasia for
cello and piano, an early
stage of Malinconia , was
premiered at a soiree in
the Solemnity Hall of the
University of Helsinki on
12 March 1900 and was
given positive press
reviews: The work, which
mainly drew attention
with its logical and
clear structure, begins
with a powerful and
substantial cello solo,
to which the piano
responds with a
glimmering series of
arpeggiated chords. At
the end where the
instruments unite in a
harmonious, deeply
emotional song, the
harmonic impression they
create is very bright and
lovely. The autograph
manuscript of Fantasia
shows that Sibelius
omitted a larger passage
of music between the
present bars 24 and 25
and that he made further
revisions to the work,
either before the
publishing process or in
the proofs he read in
April 1911 for
Breitkopf.
Recorder and Harpsichord (or Piano) - Intermediate SKU: FP.FPJ01 Composed...(+)
Recorder and Harpsichord
(or Piano) - Intermediate
SKU: FP.FPJ01
Composed by Jim Parker.
Sheet Music and Books.
Take a South American
Journey with Jim Parker,
award-winning TV & Film
composer, with this
imaginative suite of
pieces for recorder and
piano. Classical.
Collection. Forsyths
Publications #FPJ01.
Published by Forsyths
Publications (FP.FPJ01).
ISBN
9790570504015.
Jim
Parker's TV, film and
theatre scores are much
loved, with credits
including Foyle’s
War, House of Cards,
Midsomer Murders and
House of Elliott. He has
won the British Academy
Award for Best TV Music
on no less than four
occasions.
South
American Journey shares
Parker's genius for
painting musical pictures
and weaving memorable
melodies. He'll even have
you believing your
recorder is a Peruvian
pan-pipe! The piece was
written as a tribute to
the memory of his friend
and near-neighbour
Stephen
Dodgson.
Tango
Cinco and Pueblo
Tranquilo were first
performed in a concert
celebrating the life and
work of Stephen Dodgson
in the Cosmo Rodewald
Concert Hall, Manchester
University, on April 5th
2014, by John Turner
(recorder) and Pamela
Nash (harpsichord), and
the premiere of the
complete suite was given
by John Turner (recorder)
and Harvey Davies
(harpsichord) at
St.Bartholomew's Church,
Church Minshull,
Cheshire, on May 17th
2014. It is available in
recorded form on the
album Travelling Light:
Music of Jim Parker on
the Divine Art label.
Let Us All Press On Chorale SSAATTBB [Octavo] - Intermédiaire Jackman Music Corporation
Composed by Evan Stephens. Arranged by Richard Elliott. For SSAATTBB choir and o...(+)
Composed by Evan
Stephens. Arranged by
Richard Elliott. For
SSAATTBB choir and organ.
General Conference
series. Difficulty:
medium. Octavo. 16 pages.
Duration 4 minutes, 40
seconds. Published by
Pioneer Music Press
Piano Solo SKU: YM.GTP01100553 Composed by Hirotaka Izumi. J-Pop. Artist ...(+)
Piano Solo
SKU:
YM.GTP01100553
Composed by Hirotaka
Izumi. J-Pop. Artist
Folio. Score. Yamaha
Music Media #GTP01100553.
Published by Yamaha Music
Media (YM.GTP01100553).
ISBN 9784636103830.
8.5 x 12
inches.
This is a
collection of piano
pieces that perfectly
match the first solo
piano albumFORGOTTEN SAGA
released in 1997 by
Hirotaka Izumi, who
passed away in April2021.
11 piano pieces,
including masterpieces
written for T-SQUARE,
newly writtenpieces for
this album, improvised
piano pieces, and more.
We hope that manypiano
lovers will continue to
play the infinitely
beautiful, poignant,
warm, andnostalgic sounds
of the piano.
SKU: CA.1290100 Composed by Various. Edited by Gunther Kretzschmar. This ...(+)
SKU: CA.1290100
Composed by Various.
Edited by Gunther
Kretzschmar. This
edition: Paperbound.
Choral collections for
children's choir; Hymns
by Martin Luther:
Ausgaben mit mehreren
Luther-Liedern. Musik fur
Gottesdienst, Spiel und
Fest. Psalms, German,
Songs for children,
Secular choral music,
Special days, Ascension,
New year, Easter and
Eastertide, Whitsun,
Reformation day, Praise
and thanks, Morning,
midday, evening.
Collection. Composed
1992-96. 160 pages. Carus
Verlag #CV 12.901/00.
Published by Carus Verlag
(CA.1290100).
Chamber Music Flute(s) SKU: CF.WF230 The Art of Staying in Shape. ...(+)
Chamber Music Flute(s)
SKU: CF.WF230
The Art of Staying in
Shape. Composed by
Robert Stallman. With
Standard notation. 144
pages. Carl Fischer Music
#WF230. Published by Carl
Fischer Music (CF.WF230).
9th Grade and Higher Edition. By William Bay and Mike Christiansen. For Guitar (...(+)
9th Grade and Higher
Edition. By William Bay
and Mike Christiansen.
For Guitar (All).
Methods. Mastering
Guitar. All Styles.
Level: Beginning. Book.
Size 8.75x11.75. 136
pages. Published by Mel
Bay Publications, Inc.