Recorder - Intermediate

SKU: MB.30963

Saddle-stitched, Solos and Duets. British Isles. Book. 44 pages. Mel Bay Publications, Inc #30963. Published by Mel Bay Publications, Inc (MB.30963).

ISBN 9781513468204. 8.75x11.75 inches.

This exceptional collection of 41 truly beautiful airs and ballads from the British Isles offers both well-known tunes by the prolific blind Irish harpist, Turlough Oâ??Carolan and rarely heard melodies by anonymous composers; all have stood the test of time. Arranged for soprano or tenor recorder, these include Oâ??Carolanâ??s classically influenced â??Lord Inchiquinâ? and â??Eleanor Plunkettâ? as well as â??O Gentle Doveâ? and â??Cuckoo Dearâ?â?? both examples of the strong tradition of song in Wales. Among other tunes, the haunting modal melodies of â??The Dark Slender Boyâ? and â??Enchanted Valleyâ? express the melancholic heart and soul of the British Isles.

A few of these songs have taken on a life of their own in modern times. â??Bonny at Mornâ?, a popular traditional tune of northern England and Scotland, was arranged for soprano voice and harp by the 20th century British composer, Benjamin Britten. â??The Skye Boat Songâ? originally recounted Bonnie Prince Charles Edward Stuartâ??s journey to the Isle of Skye after his defeat at the historic Battle of Culloden. Later, the song evolved into a lilting lullaby and was more recently used as the theme song for the popular Outlander television series.

Departing slightly from recorder notation practice, author Marcia Diehl has judiciously arranged these melodies complete with spare slur markings to aid the amateur player in authentically and musically rendering these tunes.

Piano Solo

SKU: IS.PN7495EM

Composed by Louis Anthony deLise. Keyboards - Piano. Metropolis Music Publishers #PN7495EM. Published by Metropolis Music Publishers (IS.PN7495EM).

ISBN 9790365074952.

Loui s Anthony deLise is an American composer, pianist, and percussionist. The compositions in A Gift of Moments are typical of deLise’s composing style that often features the juxtaposition of disparate musical elements like serial technique, frequently changing meters, the urgency and drive of rock and roll, and the lush harmonies of 1960’s West Coast Jazz. Dr. deLise was Adjunct Lecturer of Theory and Composition at the Boyer College of Music and Dance (in Philadelphia, Pennsylvania). He is the author of The Professional Songwriter, a textbook on songwriting. The title, A Gift of Moments, comes from something a friend wrote about her deceased husband. She described their too-short time together as, a gift of moments. (Time with someone you love is always too short, isn’t it?) Since February 2020, (since I’ve been locked down at home with my patient and loving wife, Theresa), like the rest of us, I’ve been reminded each day of just how delicate life is. My friend’s comment about her lost love has gradually revealed itself as a worthy title for the collection of music I was creating during this time of lockdown. All of the pieces in this collection are in some way about love: of a mate, of family, our way of life, and those beliefs we consider particular to us. The compositions are varied in style as they encompass musical gestures reflective of the many disparate musical traditions alive in my soul. With this unapologetically sensitive, perhaps even nostalgic, music of mine I intend to blur the arbitrary boundaries of genre classification, like classical or pop; ambient or orchestral. Special thanks to Vivian Barton Dozor, a wonderfully talented cellist who provided insight into bowing and phrasing for the cello parts.

by William Bay. For all guitars. Gospel-old time, strum/sing. Level: Beginning-Intermediate. Book. Solos. Size 8.75x11.75. 112 pages. Published by Mel Bay Pub., Inc.

50 years of legendary guitar. By John McClellan and Deyan Bratic. For Guitar (Fingerpicking). Transcribed solos. Country. Level: Advanced. Book. Size 8.75x11.75. 208 pages. Published by Mel Bay Publications, Inc.

Piano (Piano Solo)

SKU: HL.349166

For Solo Piano. Composed by Richard Wilson. Peermusic Classical. Classical. Softcover. Duration 540 seconds. Peermusic Classical #70300-501. Published by Peermusic Classical (HL.349166).

ISBN 9781705103265. UPC: 840126932133. 9.0x12.0x0.092 inches.

I attended a birthday party for my friend, the writer Gail Godwin, at the home of another friend, Frances Halsband. Frances played for me the birdsong of a Wilson's Warbler, a new species to me. Attracted by this sound I proceeded to compose a set of pieces called Mimesis, the individual movements of which are related to creatures of nature. The first movement, Warblemusic, is written for Frances Halsband, remembering Robert Kliment; Owls is for Gail Godwin, remembering Robert Starer; Snail and Parakeet, remembering Richard W. Zingler (my grandfather, who had a parakeet); and Frog Chorus, remembering John Thompson's First Grad Book out of which I studied at age seven, its Frog's Chorus being my favorite selection. -Richard Wilson.

Jazz Piano Solos Series Volume 42. By Dave Brubeck. Jazz Piano Solos. Softcover. 96 pages. Published by Hal Leonard

Piano and orchestra

SKU: FG.55011-372-5

Composed by Matthew Whittall. Study score. Fennica Gehrman #55011-372-5. Published by Fennica Gehrman (FG.55011-372-5).

ISBN 9790550113725.

Imag es of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss.
Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water.
The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound.
It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.

(Melody, Lyrics and Simplified Chords in the Key of C). By Various. For C Instruments. Easy Fake Book. Softcover. 256 pages. Published by Hal Leonard

Choral SATB choir

SKU: CF.CM9700

Composed by Hungarian Folk. Arranged by Stacy Garrop. 20 pages. Duration 4:44. Carl Fischer Music #CM9700. Published by Carl Fischer Music (CF.CM9700).

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

How To Play Button Accordion * Volume Two with CD composed by Henry Doktorski. For diatonic button accordion. This edition: Paperback. Instructional. Method. Instructional book. Text Language: English. 48 pages. Published by Santorella Publications

(34 Selections for Weddings, Funerals, and Other Services). Arranged by Victor Labenske. For Piano. Book; Piano Collection; Piano Supplemental. Sacred Performer Collections. Baptism; Communion; Funeral; Sacred; Wedding. Intermediate; Late Intermediate. 128 pages. Published by Alfred Music

15 Classics Arranged with a Touch of Jazz. Arranged by Phillip Keveren. Piano Solo Songbook. Ragtime, Jazz. Softcover. 48 pages. Published by Hal Leonard

SATB choir, cantor, voice solo, assembly, piano accompaniment, guitar, C instrument - Beginning

SKU: GI.G-8595

Calling Me Home. Composed by Sally Ann Morris. OT 14 A, Sacred Heart of Jesus A. Celebration Series. Tune Name: Rainstar. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #8595. Published by GIA Publications (GI.G-8595).

UPC: 785147859505. English. Text by Adam M. L. Tice.

With a relaxed lilt, a 4-note motive makes up the first portion of the verses by cantor or unison voices. Verse 3 offers an altered echo for two soloists, with the same material repeated for the choir on the last verse. Additional instrumentation was originally conceived for soprano recorder or pennywhistle, but works well with flute, oboe, or other C instrument. The text of comfort is particularly suited to the Fourteenth Sunday in Ordinary Time, Year A.

For voice and piano. Format: easy piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics and chord names. Gospel. 160 pages. 9x12 inches. Published by Hal Leonard.

Easy Guitar with Riffs and Solos (Includes Tab). Performed by Lynyrd Skynyrd. Easy Guitar (Simplified arrangements for guitar). With notes and tablature. Size 9x12 inches. 80 pages. Published by Hal Leonard.

Piano - Grade 4-5

SKU: ET.PNO67

Composed by Julien-Francois Zbinden. Contemporary. Piano (original). Editions BIM #PNO67. Published by Editions BIM (ET.PNO67).

ISBN 9790207024251.

The time had come to pay homage to someone who has been a faithful companion to me for 65 years and has witnessed of the joy and pain I have endured during the writing of all of my opuses, from 8 to 111. Today he still shares my fervor for jazz music and our wonderful complicity has been preserved on my piano solo album, The Last Call...?* which I recorded at the age of 93. This “someone is my instrument, an old grand piano over 100 years old: Blüthner No. 89293, model 190, constructed in 1910 in Leipzig, Germany, and to which I dedicate this Opus 111, the very last of my series of works for piano.
The Blüthner-Variationen were composed starting with a theme I had imagined during recording sessions which were done in my home. I named it Blues in Three, since it was related to the traditional harmonic chord progressions of the 12 bar blues, but in 3/4 time. The simple theme, repeated twice, generates 8 variations, each one requiring different pianistic means.
It is my hope that future performers will like the undeniably jazzy orientation of this work.
Julien-François Zbinden, Lausanne – Valombré, 23 juillet 2012

* The Last Call...?, piano solo album, TCB The Montreux Jazz Label No. 43102.

Piano

SKU: BT.BWHBRM7833

MP3 CD. Piano Gefällt Mir! Tuition. CD Only. Composed 2016. Bosworth & Co. #BWHBRM7833. Published by Bosworth & Co. (BT.BWHBRM7833).

German.

Dies ist der sechste Band unserer außergewöhnlich populären Serie Piano gefällt mir!. Die leichten Arrangements von Hans-Günter Heumann bieten wie gewohnt ein unkompliziertes Spielvergnügen. Die Kombination aus absoluten Top-Titeln, der nutzerfreundlichen Ringbindung und dem günstigen Preis ist einfach unschlagbar.

Chamber Music Bass, Violin

SKU: PR.141401040

Composed by Ellen Taaffe Zwilich. Set of Score and Parts. 8 4 pages. Duration 4 minutes. Merion Music #141-40104. Published by Merion Music (PR.141401040).

ISBN 9781491136379. UPC: 680160688913. English. Comments by guests of Soup Kitchen.

This theatrical miniature has carved a unique place in music literature, thanks to many warm hearts and minds. In 2005 the distinguished violinist Kelly Hall-Tompkins started a project called Music Kitchen where the homeless and needy, after a meal provided by a soup kitchen, were treated to a concert performed by some of the best musicians in New York. After these concerts, Hall-Tompkins asked the listeners for comments. This became inspiration for Zwilichâ??s MUSIC KITCHEN INTERPLAY, which includes vocal settings of listenersâ?? comments in musical counterpoint with reworked fragments of her Fantasy for Solo Violin.
In 2005 the wonderful violinist, Kelly Hall-Tompkins, started a project called Music Kitchen where needy (often homeless) people, after a meal provided by a Soup Kitchen, were treated to a concert performed by some of the best musicians in New York. After the concerts, Kelly asked the listeners if they had any comments, and she saved these.To celebrate of 10 years of the project, in 2015 Kelly asked a number of composers to write a composition for Music Kitchen. I loved the idea, and I was particularly inspired by the comments that the listeners had made.The premiere of Music Kitchen Interplay featured Kellyâ??s performance, based on my Fantasy for Solo Violin, with audience comments (like â??never been so close to a violinâ?) given voice by the outstanding Bass, Mark Risinger. The music is meant to celebrate the receptiveness and understanding of our fellow humans who, like me, need music to enrich our lives.

Alfred's Basic Jazz/Rock Course Lesson Book. (Level 4). By Bert Konowitz. For Piano. Method/Instruction; Piano - Alfred's Basic Jazz/Rock Course. Alfred's Basic Piano Library. Book. 32 pages. Published by Alfred Music Publishing

Patriotic Songs for Solo Guitar with CD by Various. Arranged by Larry McCabe. For guitar. This edition: Paperback. Collection. Patriotic. Book and CD. Text Language: English; Standard notation and tablature. 32 pages. Published by Santorella Publications

Clarinet

SKU: BT.9781408105306

Composed by Jonathan Rutland. Abracadabra. Method. Book with CD. 64 pages. Collins Music Publishing #9781408105306. Published by Collins Music Publishing (BT.9781408105306).

ISBN 9781408105306. English.

The perfect book for pupil and teacher.

• Tunes you know and want to play.
• Technique carefully graded.
• Clear fingering diagrams.
• Concise theory explanations.
• New Duets.
• Fresh new look.

Transcribed by Steve Garner. For Banjo 5 String. Transcribed Solos. Smithsonian/Folkways. Bluegrass. Level: Beginning-Intermediate. Book. 80 pages. Published by Mel Bay Publications, Inc.

(18 Expressive Suites Arranged for Solo Piano Correlated with Scriptural Themes). For Piano. Piano Suite. Sacred Performer Worship Suites. Sacred. Late Intermediate / Advanced. Book. 196 pages. Published by Alfred Music Publishing