Partial list of songs:JAZZ CLASSICSJohn Coltrane - Giant Steps, Impressions, Naima, Moment's Notice, Bass Blues, Equinox, Wise One, Tunji, Expression, Mr. P.C., Some Other Blues, Bessie's Blues, etc.Horace Silver - Senor Blues, Song For My Father, Ecaroh, Nutville, Moonrays, Strollin', Peace, Nica's Dream, Horacescope, Filthy McNasty, Silver's Serenade, Quicksilver, etc.Bill Evans - Time Remembered, Turn Out The Stars, Peri's Scope, Detour Ahead, etc.Wayne Shorter - Beauty And The Beast, Night Dreamer, MahjongBenny Golson - Killer Joe, Along Came Betty, Stablemates, Whisper NotDuke Ellington - Isfahan, Star Crossed Lovers, Mood Indigo, Sophisticated Lady, etcMiles Davis - Seven Steps To Heaven, Bye Bye Blackbird ...and many more!CHOICE STANDARDSMemories Of YouLet's Fall In LoveShe's The Talk Of The TownAfter You've GoneBody And SoulDay By DayFly Me To The MoonIII WindLullaby Of The LeavesMy ShipBye Bye BlackbirdI'll Be AroundGet Happy Sweet And LovelyMore Than You KnowAin't Misbehavin'The Boy Next DoorExactly Like YouHoneysuckle RoseI'm Glad There Is YouManha De CarnevalOnce In A WhileHarlem NocturneI Hadn't Anyone Til YouWhat A Difference A Day Made While We're YoungUnforgettableI Believe In YouBlack CoffeeCherokeeFlamingoIt's Only A Paper MoonThe Masquerade Is OverThat's AllThem There EyesThere Is No Greater LoveStardust...and many more!CONTEMPORARY JAZZChick Corea - Spain, Windows, Waltse For Dave, Morning Sprite, Sea Journey, Time Track, 500 Miles High, Friends, Got A Match', etc.Billy Childs - Quiet Girl, Midland, Like Father Like Son, etc.Eddie Gomez - Loxodrome, Power Play, Delgado, ForeverJohn Scofield - Wabash III, Time Marches On Michael Brecker - Dogs In The Wine Shop, Choices, Escher Sketch, Peep, Ode To The Doo Da Day, etc.Bob Berg - I Thought About You, Words, etc.John Patitucci - Growing, Baha Bajo, Wind SprintDave Sanborn - Lisa, It's You...and many more!

Apple Records was a noble experiment created in the spirit of the 1960s by four musicians who came to represent everything that was best about those tumultuous, experimental, and liberating times. The Beatles started out with the greatest of intentions, but reality soon got in the way. Much has been written about this period in the history of The Beatles' evolution and dissolution---some of it true, some of it wildly exaggerated, but not much of it first-hand. The Longest Cocktail Party is a rare exception. Written by Richard DiLello, who served as Apple Record's 'House Hippie' from 1968 to 1970, this unusual first-hand glimpse into The Beatles' empire humorously chronicles the stranger-than-life stories that were to become legendary, including visits by the Hell's Angels and endless tales of celebrity antics. Alfred Music is proud to offer this latest edition, which features a new and insightful foreword by the author. Originally published by Playboy Press in 1972, The Longest Cocktail Party has proven itself a timeless chronicle of this most colorful period in pop history. / Divers

This recent hit by the Baha Men has been heard at just about every sporting event across the country. The optional vocals will help you get the crowd really involved.

From the movie hit of the year, this Caribbean tune by the Baha Men is a joyful showcase for all types of choirs. Super easy and super fun! / Voix Mixtes

24 Favourite Pieces Arranged For The Moderately Advanced Guitarist. Par COLES PAUL. 'From Folk to Classical 2” is a mouth-watering collection of 24 arrangements for classical guitar by Paul Coles. The classical pieces include many favourites, including a few you would not expect to hear on the guitar, such as 'Habanera” from 'Carmen” and Saint-Saën's famous 'Swan” but they really work! Traditional folk numbers are not neglected, with 'Michael Row the Boat” and 'Londonderry Air” among the best known. The arrangements are for moderately advanced players (UK grade 5-6) and Paul has offered fingering help for both left and right hands. It follows Book 1 (UE 21673) which was published in 2017 (Grades 3-4). Try it, perhaps as a warm up for Book 2 if you don't already know it and then try Paul's '26 Melodic Studies” (UE 21670) or his 'Momentos Españoles” (UE 21671)./ Recueil / Guitare

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Le Fort Fincastle fut érigé en 1793 à Nassau capitale des Bahamas. Le constructeur Lord Dunmore alors gouverneur de Virginie fut plus que déçu par la structure ronde à l?arrière du bâtiment alors que l?avant se présentait en pointe comme la proue d?un navire. Les premières mesures de Fincastle Overture reflètent la forme du magnifique système de défense alors que survient un thème héroïque : le fort est attaqué et les vaillants soldats sont amenés à se défendre. Le Fort résiste orgueilleusement !

The Rosegarden Of Light - String Sextet Score-Gulistan-e Nur: The Rosegarden of Light for String Sextet and Youth Ensemble. Instrumentation: Professional String Sextet (2 Vlns 2 Vlas 1 Cello 1 Db). Youth/amateur ensemble (Interludes only): open instrumentation (5 treble alto bass parts (transpositions available) Keyboard). The Three Interludes are supplied separately. The sextet movements/Three Interludes can also be performed separately. I Bahar-e nastaran-bihag (Radio Piece) Interlude 1/ Introduction (Youth ensemble) Sextet Movement 1 (Professional) II - Shirin dokhtar-e maldar (Sweet Nomad Girl)Interlude 2 Sextet Movement 2 III - Watan Jan (Dear Homeland) Interlude 3 Sextet Movement 3 Duration: c.26 mins (complete) / c.16 mins (sextet movements only). On 11 December 2014 several young musicians from the Afghanistan National Institute of Music were performing at the Istiqlal School home to the French Cultural Centre in Kabul. The venue was targeted by a suicide bomber with devastating results leaving a number of students (and ANIM’s founder and Director Dr. Ahmad Sarmast) with severe injuries. Despite these most challenging of circumstances ANIM continues to provide an extraordinary learning environment for all its students regardless of gender ethnicity or social circumstances. They are committed to assuring musical rights rebuilding lives through music training future music educators establishing intercultural dialogue and to reviving and preserving Afghan Music. Gulistan-e Nur: The Rosegarden of Light is dedicated with great admiration to Dr. Ahmad Sarmast and to the students and staff of the Afghanistan National Institute of Music in Kabul particularly remembering those who were injured in the 11 December attack. The work is also dedicated to Kevin Bishop and members of the pioneering ensemble Cuatro Puntos who are dedicated to global co-operation and

Fort Fincastle was built in 1793 by royal governor 'Lord Dunmore at an unusual location: Nassau the capital of the Bahamas. The name of the fort: Fort Fincastle' comes from Dunmore's second title of Viscount Fincastle '( Earl of Fincastle). He gave the fort a particular shape a circular building with a sharp expansion in the form of a bow or bow of ship. In order to deceive enemy ships. The sounds of the first bars show the contours of a looming majestic stronghold after a heroic theme follows. Soon we hear the threat of hostile elements. Work on the fort means much waiting and lonely but you should always alert and vigilant for the ever lurking attack. After the turn of yet another attack there is a feeling of satisfaction and pride we see the fort are on the hill towering above Nassau.

The Rosegarden Of Light-Sadie Harrison's Gulistan-e Nur (The Rosegarden of Light): Three Interludes.Afghan songs and dances for mixed youth/amateur ensemble of 5 open instrumentation parts (3 treble 1 alto 1 bass instruments).Interlude I - Bahar-e nastaran-bihag (Radio Piece)Interlude II - Shirin dokhtar-e maldar (Sweet Nomad Girl)Interlude III -Watan Jan (My Homeland)Duration: c. 10 minutes.

The Rosegarden Of Light-Sadie Harrison's Gulistan-e Nur (The Rosegarden of Light): Three Interludes.Afghan songs and dances for mixed youth/amateur ensemble of 5 open instrumentation parts (3 treble 1 alto 1 bass instruments).Interlude I - Bahar-e nastaran-bihag (Radio Piece)Interlude II - Shirin dokhtar-e maldar (Sweet Nomad Girl)Interlude III -Watan Jan (My Homeland)Duration: c. 10 minutes.

South African Songs and Games-This is the accompaniment and full performance CD that matches the exciting collection of 8 authentic folk songs and games by Cheryl Lavender. Comes complete with teaching and performance suggestions instrumental accompaniments and movement patterns. These songs arranged for 2-Part 3-Part and 4-Part Treble voices were gathered during her 'teacher to teacher' trip to South Africa in October of 1996. Songs include: 'Impuku Nekati' 'Ra Sila Mielie' 'Thula Thu'' 'Mangwani Mpulele' 'Singabahambayo' 'Siyahamba' 'Jikel' Emaweni' 'N'kosi Sikelel' I Afrika'. Available: Song Collection CD (Performance/Accompaniment). For All Ages!

Cet ouvrage unique contient des accords de piano/chant/guitare des hymnes nationaux de 56 pays, avec des paroles en langue originale et avec une traduction en anglais. Un bonus spécial, notes historiques et une section en couleur montrant le drapeau de chaque pays sont également inclus. / Piano/Vocal/Guitare (PVG)