Keyboard

SKU: GI.G-003385

Sacred. GIA Publications #003385. Published by GIA Publications (GI.G-003385).

This collection contains through-composed verses for the common/seasonal psalms of the Lectionary for Mass. Ideal for the more experienced cantor. Refrains are compatible with those found for the Common/Seasonal Psalm in WLP Worship Resources and the other volumes of Lectionary Psalms and Gospel Acclamations. 8. x 11. Spiral-bound.

String Quartet

SKU: HL.14031816

Composed by Jean Joubert. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV12053901. Published by Music Sales (HL.14031816).

8.5x11.75x0.3 inches.

Though conceived as four separate movements, my second string quartet has a single motif which is common to them all. This is the three-note Muss es sein? from Beethoven's last quartet, Op. 135. But whereas Beethoven's theme is notated G E A flat, thus giving it an F minor connotation, I have sued an alternative spelling - G E G sharp - which suggests an ambiguous E minor-major. This ambiguity, in fact, becomes the tonal basis of the whole work, only to be resolved at the end of the final movement. Each movement begins with a variant of the basic motif on the cello. The first has the original form of the theme, while the second has a majorised version which is also expressed as a chord. The third movement, with its scherzoid middle section, reverts to the major-minor ambiguity of the first, and the finale begins with the majorised version as an ostinato accompaniment on pizzicato cello. The slow movement is sub-titled In memoriam DSCH and concludes with a quotation of Shostakovich's motto - D E flat C B - which is basically the same as Beethoven's with the addition of one note. This is not to imply that the work contains no other thematic material. One important theme, a rising fifth and a second, is also common to three of the movements, and is ultimately derived from my first quartet, Op. 1 of 27 years earlier, to which this second contribution to the form is in many ways like a sequel. Like the earlier work, too, this quartet is dedicated to my wife.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500103F

Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F).

ISBN 9781491131763. UPC: 680160680290.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

SKU: AP.1-ADV11207

Principles of Jazz Composition. Composed by Andy Jaffe. Method/Instruction; Reference Textbooks; Textbook - Jazz; Theory. Advance Music. Jazz. Book. Advance Music #01-ADV11207. Published by Advance Music (AP.1-ADV11207).

ISBN 9783892211228. UPC: 805095112078. English.

Something Borrowed, Something Blue is a broad survey of the wider principles of harmony, form, adaptation, and developmental technique underlying jazz composition in its various instrumental formats. This book examines compositions ranging from those for solo piano to large ensemble, from common forms such as blues and 32-bar song forms to extended through-composed pieces, to those based on adaptations of European classical forms such as fugue and rondo. Such topics as individuality of voice, cultural and historical influences, the contrafact, formal appropriation, pantonality, reharmonization, and the use of counterpoint are among those covered. Composers represented include a wide range of stylists, similar to Scott Joplin, Duke Ellington, Thelonious Monk, Charles Mingus, John Coltrane, Gil Evans, Mary Lou Williams, Herbie Hancock, Oliver Nelson, Hermeto Pascoal, and John Lewis, among many others. The extensive bibliography, discography, and end of chapter assignments are designed to provide students and faculty at either the undergraduate or graduate level with a flexible framework for analysis of additional compositions of their choice, as well as a basic set of useful research references and suggested compositional projects. Some questions the book poses are: What formal elements and musical characteristics are common to the diverse stylistic range of jazz composition? Which of these elements exist in any form of musical composition or artistic expression, and which are unique to composition in the jazz tradition? How do composers apply these techniques in a way that enables them to create an individual voice within the context of the jazz tradition?

Chapters: Forward * General Questions and Principles * Motivic Identiy and Reieration * The Blues * Harmony * Form * Compositional Uses of Rhythm * Appropriatiion and Adaption * Analysis of Selected Compositions * Index * Glossary * Bibliography * Discography * Copyright Notices * Acknowledgements of.

Chamber Music Cornet

SKU: CF.O88X

Composed by Narcisse Bousquet. Edited by Joey Tartell Edwin Franko Goldman. SWS. Softcover. With Standard notation. 44 pages. Carl Fischer Music #O88X. Published by Carl Fischer Music (CF.O88X).

ISBN 9781491153406. UPC: 680160910908. 9 X 12 inches.

These studies are a staple of the advanced trumpet method repertoire. Each etude is an exploration of a wide variety of registers, articulations and tonalities. While going through these 36 etudes the trumpeter will develop an even sound in all registers while tackling the musical and melodic challenges that lie within.
IntroductionTi ps on Musical PracticeStarting a new study can be overwhelming. Using Etude No. 1, here’s an example of how to approach working on these etudes with both musicality and technique in mind.Bousquet’s first study can be broken down into three large musical sections:Section 1: from the beginning to the downbeat of m. 26.Section 2: from the upbeat of 2 in m. 26 to the downbeat of m. 51.Section 3: from the downbeat of m. 51 to the end.Each one of those sections can be broken down into two smaller sections:Section 1a: from the beginning to the downbeat of m. 16.Section 1b: from the downbeat of m. 16 to the downbeat of m. 26.Section 2a: from the upbeat of 2 in m. 26 to the end of m. 35.Section 2b: from m. 36 to the downbeat of m. 51.Section 3a: from the downbeat of m. 51 to the downbeat of m. 59.Section 3b: from the downbeat of m. 59 to the end.To get started playing, choose a slow tempo that allows you to play Section 1 all the way through without stopping. If that is problematic, just play through 1a.Remember to focus on the music. Section 1a is light, moving in four-measure phrases to the ninth measure, where it cadences in G. From there, retain the lightness through the arpeggiation that concludes with the trill that brings an arrival point at Section 1b. Here the style changes completely, alternating two measures of fluid, connected sixteenth notes with two measures of scalar staccato sixteenths before finally cadencing on the downbeat of m. 26.Section 2 begins with a melodic line of eighth notes, punctuated by sixteenths in the third full measure before returning to the original line for only a measure before driving forward with a flourish to finish Section 2a. Section 2b starts back in C with four-measure phrases in which the line moves up for two measures, then down for two measures, ending in G. The last seven measures of Section 2 stay light as they work their way back to C.Section 3 is very exciting, starting with a fiery cornet solo-like passage in 3a. 3b brings the piece to a dramatic conclusion outlining C major for the first four measures before arpeggiating C major and G dominant for two measures, finally finishing with the C-major scale.The next step is to isolate any of the parts that proved troublesome. Examples could include missed notes or figuring out where to breathe. Once you have practiced the troublesome sections in isolation, play the section all the way through without stopping again. Even if there are still problems, you are now practicing in a way that is preparing you to perform musically.The next day, play through Section 1 again, at a tempo that allows you to do this without stopping. Now go on to Section 2, and follow the same three steps:Play all the way through, at a tempo that allows you to do so without stopping,Isolate and practice the troublesome passages, thenPlay all the way through, at a tempo that allows you to do so without stopping.Now play from the beginning to the end of Section 2.The next day, play Section 1. Now play Section 2. Then play Section 3 and apply the same three steps outlined above.Now play the whole study. At this point you have spent time on each section, making musical decisions and correcting mistakes. Increase the tempo as you gain confidence and control of the material. As you work towards performing the entire study as a piece of music, record yourself playing the entire study as a performance each day. Review the recordings to reveal what still needs work. Be honest with yourself! When you are happy with the recording of your performance, it’s time to move on to the next study.About the Goldman PrefaceThese studies will be an excellent practice, especially for the lower register of the Cornet, which is somewhat neglected in other instruction books. It is recommended that the pupil should practice one of this series of Studies now and then to repose his lips, and acquire facility in difficult fingering.— Edwin Franko GoldmanIn his original preface, Edwin Franko Goldman is absolutely correct that these studies are excellent practice and will help with the dexterity demanded of today’s player. Although the low register is certainly explored throughout the book, it does not appear to be the focus of these studies. There are many books available now that concentrate on the low register. The suggested fingerings have been removed. Using alternate fingerings was more common to cornet players to aid in the fluidity of a passage. This practice is not nearly as common today, especially with trumpet players, as the difference in timbre caused by the alternate fingerings is disruptive to the musical line. Published for cornet, as it was the solo instrument of choice in the 1920s, these etudes are just as useful to today’s trumpet player. When playing these studies on trumpet, the performer should strive for a fluid line while maintaining a full and clear sound. Because of the musicianship and technique demanded, this book remains as useful today as it has ever been.— Joey TartellAbout Narcisse Bousquet and the 36 EtudesNarcisse Bousquet (c. 1800–1869) was French by birth, active as a composer, editor and arranger in both France and England in the early nineteenth century. Bousquet was respected as an accomplished performer of the French flageolet, a high-pitched woodwind instrument much like a recorder, although later outfitted with the Boehm key system like the modern flute. Although obsolete in modern times, the instrument once enjoyed great popularity with a variety of composers and performers, both amateur and professional. Purcell and Handel composed for the instrument, and Berlioz was purportedly an accomplished amateur performer of the flageolet. The Scottish author Robert Louis Stevenson, likewise, was a proficient performer of the instrument and composed a number of pieces for it.Little is known today of Bousquet’s life. He composed a large variety of music, including works specifically for the flageolet, which were widely appreciated in their day. The 36 Etudes for flageolet are undoubtedly the most well known of his works. Published in 1851, the Etudes explore a variety of techniques, such as scales, arpeggios, ornamentation, breath control and expressive playing, and their technically demanding writing confirms Bousquet’s prowess as a flageolet performer. However, the date of the arrangement of the etudes for cornet and their arranger remain speculative. Edwin Franko Goldman is credited as the arranger of the 1890 publication by Carl Fischer, although Goldman would have been only twelve years old at the time; his work on these pieces surely came at a later time. Bousquet himself may have arranged these pieces for cornet at the request of an accomplished cornet player at some point after their publication.

For Fingerstyle Guitar. Composed by Doug Young. Perfect binding, Theory and Harmony. Book and online audio. Published by Mel Bay Publications, Inc (MB.21166M).

Band Bass Clarinet, Bass Drum, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle and more. - Grade 2.5

SKU: CF.YPS244F

Composed by R. Alan Carter. Full score. 19 pages. Carl Fischer Music #YPS244F. Published by Carl Fischer Music (CF.YPS244F).

ISBN 9781491159866. UPC: 680160918454.

Brass town Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft.  It is located in the northeastern part of the state and is part of the southern Appalachians.  The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.

By Steve Winogradsky. Book; Reference Textbooks; Textbook - General. 408 pages. Published by Alfred Music

Bar Chords composed by Phil Black. For guitar. This edition: Paperback. Reference. Educational. Color poster. Text Language: English. 1 pages. Published by Santorella Publications

A Step-by-Step Guide to Writing Lead Sheets and Chord Charts. By Robin Randall and Janice Peterson. Musicians Institute Press (Instruction taken from the curriculum of MI). Book and CD package. With notes and tablature. Size 9x12 inches. 120 pages. Published by Musicians Institute Press.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Flute 2, Hi-hat Cymbal, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Tom-tom, Trombone, Trumpet, Tuba, alto Saxophone and more. - Grade 1

SKU: CF.BPS128

Composed by Peter Sciaino. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+6+2+3+1 +1+2+2+16 pages. Duration 2 minutes, 25 seconds. Carl Fischer Music #BPS128. Published by Carl Fischer Music (CF.BPS128).

ISBN 9781491156223. UPC: 680160914760. 9 x 12 inches.

Program Notes Start Your Engines is an exciting concert selection for young band that features the percussion section (with opportunities for doubling parts if needed). The band revs up right from the beginning as the opposing eighth notes in the drums evoke a race car engine at the starting line. As the piece continues, the winds have opportunities to shine in comfortable ranges with reasonable technical demands. The use of the phrase Gentlemen, Start Your Engines became a tradition of the Indianapolis Motor Speedway in the early 1950s. The Greatest Race Course in the world has celebrated over 100 years of competition in motorsports. Note to the Conductor Measures 37-40 require staggered and independent entrances. This is especially the case for the flute, clarinet and trumpet sections. Students should be challenged to enter confidently while performing at a softer dynamic so as to allow for an effective crescendo leading into m. 45. For some younger students, the use of repeat signs and phrases like 2nd time only may not be familiar. This piece presents an excellent opportunity to become familiar with this common device.
Program NotesStart Your Engines is an exciting concert selection for young band that features the percussion section (with opportunities for doubling parts if needed). The band “revs up” right from the beginning as the opposing eighth notes in the drums evoke a race car engine at the starting line. As the piece continues, the winds have opportunities to shine in comfortable ranges with reasonable technical demands. The use of the phrase “Gentlemen, Start Your Engines” became a tradition of the Indianapolis Motor Speedway in the early 1950s. The “Greatest Race Course in the world” has celebrated over 100 years of competition in motorsports.Note to the Conductor Measures 37–40 require staggered and independent entrances. This is especially the case for the flute, clarinet and trumpet sections. Students should be challenged to enter confidently while performing at a softer dynamic so as to allow for an effective crescendo leading into m. 45.For some younger students, the use of repeat signs and phrases like “2nd time only” may not be familiar. This piece presents an excellent opportunity to become familiar with this common device.

Band concert band - Grade 1

SKU: CF.BPS124F

Composed by Joseph Compello. Sws. Bps. Full score. 12 pages. Duration 1:30. Carl Fischer Music #BPS124F. Published by Carl Fischer Music (CF.BPS124F).

ISBN 9781491156155. UPC: 680160914692. 9 x 12 inches.

Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in the Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes The idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.
Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in the Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music.Performance NotesThe idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.

Drumset

SKU: AP.1-ADV13018

Composed by Conor Guilfoyle. Method/Instruction; Percussion - Miscellaneous Educational Books and Manuals; Technique Musicianship. Advance Music. Jazz. Book and CD. Advance Music #01-ADV13018. Published by Advance Music (AP.1-ADV13018).

ISBN 9783892211112. UPC: 805095130188. English.

Rhythmic Reading for Drummers is the essential guide to understanding rhythmic notation. Starting with the basics and working step by step, until all the common rhythmic patterns have been fully explained. The notation is clearly laid out, complete with counting methods and exercises for each example. For the beginner, it's the ideal method to understand, learn and play any rhythmic figure. For the intermediate student, it contains a wealth of exercises and explanations, taking the mystery out of those common, yet rarely explained rhythmic figures. For the advanced student, there are a series of challenging rhythmic solos, as well as new sets of syncopation exercises notated with and without the quarter note. For the teacher, it's the ideal reference book which can also be used as a supplementary study for snare or drum kit. With over 70 explanations and exercises, Rhythmic Reading for Drummers is the ideal addition to every drummer and drum teacher's library.

Band concert band - Grade 1

SKU: CF.BPS124

Composed by Joseph Compello. Folio. Bps. Set of Score and Parts. 8+2+4+4+2+5+2+2+4+4+3+6+2 +3+1+1+2+1+12 pages. Duration 1:30. Carl Fischer Music #BPS124. Published by Carl Fischer Music (CF.BPS124).

ISBN 9781491156148. UPC: 680160914685. 9 x 12 inches.

Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in the Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes The idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.
Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in the Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music.Performance NotesThe idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.

(The Grown-Up Approach to Playing Rock Guitar). By Tobias Hurwitz. For Guitar. Book; CD; Guitar Method or Supplement; Method/Instruction. Rock. 96 pages. Published by Alfred Music Publishing

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Sleigh Bells, Snare Drum, Suspended Cymbal, Timpani and more. - Grade 1.5

SKU: CF.FPS161F

Composed by Joseph Benjamin Earp. Fps. Full score. 16 pages. Duration 2 minutes, 4 seconds. Carl Fischer Music #FPS161F. Published by Carl Fischer Music (CF.FPS161F).

ISBN 9781491161784. UPC: 680160920471.

PROGR AM NOTES Santa's Majesty is inspired by the promise and grandeur presented by Santa Claus. Many of us place our faith in legendary figures hoping for good to be shared with those around us in our lives. The intention of this work is to capture the majesty surrounding our beloved Saint Nicholas. NOTES TO CONDUCTOR The duration of the composition is two minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work. The entire work should be felt in two even though it is marked in common time. Be sure not to breathe after any crescendo throughout the work. Measure 73 through measure 75 should give focus to the tenor voices. The last three quarter notes of the piece should be emphasized a little heavier with some space.
PROGRAM NOTESSanta’s Majesty is inspired by the promise and grandeur presented by Santa Claus. Many of us place our faith in legendary figures hoping for good to be shared with those around us in our lives. The intention of this work is to capture the majesty surrounding our beloved Saint Nicholas.NOTES TO CONDUCTORThe duration of the composition is two minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work.The entire work should be felt in two even though it is marked in common time.Be sure not to breathe after any crescendo throughout the work.Measure 73 through measure 75 should give focus to the tenor voices.The last three quarter notes of the piece should be emphasized a little heavier with some space.

Guitar (all) - Intermediate

SKU: MB.97884

Polyrhythm in Harmony. Composed by Bret Willmott. Theory and Reference - Other, Theory and Reference, Technique, Theory, Reference and Rhythm, Technique, Theory and Reference, Perfect binding. Jazz. Book. 240 pages. Mel Bay Publications, Inc #97884. Published by Mel Bay Publications, Inc (MB.97884).

ISBN 9780786652808. UPC: 796279075428. 8.75 x 11.75 inches. By Bret Willmott.

Many polyrhythms and polymeters simultaneous combinations of more than one rhythmic pattern exist in todays music, with some being so common they could be referred to as rhythm licks. This book presents a unique and comprehensive approach to polymetric applications of various rhythms over common chord progressions and song forms in 3/4 and 4/4, written primarily for instruments with chordal capabilities. Non-chordal instrumentalists interested in rhythmic development and contemporary phrasing may also benefit. Polymetric rhythms will force a variety of harmonic anticipations and delays which can have a profound and beneficial effect on harmonic, melodic, and improvisational phrasing. In addition, the focused attention and expanded awareness needed to master these exercises can also help in your sensitivity and response to the surrounding environment and your interactions with other musicians and audience.

By Albert De Vito. Misc. Size 6x9 inches. 112 pages. Published by G. Schirmer, Inc.

Grade 2

SKU: CL.024-4685-00

Composed by Robert W. Smith. Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR396). Score and set of parts. Composed 2018. Duration 2 minutes, 6 seconds. C.L. Barnhouse #024-4685-00. Published by C.L. Barnhouse (CL.024-4685-00).

Divergence can be defined as drawing apart as lines from a common center. Divergence for the young band is based on that concept with melodic lines that draw apart from a common musical center. Melodic lines pull apart and interact within choirs. Woodwinds diverge from brass providing contrasting and interacting harmonic effects. Divergent lines continue to develop throughout the piece leading to a powerful and exciting conclusion. An excellent selection for concert and festival performance.

(The Easiest Ukulele Method Ever!). By Ron Manus and L. C. Harnsberger. For Ukulele. Book; CD; Method/Instruction; Ukulele Method or Supplement. Alfred's Kids Course. Children. Beginner. 120 pages. Published by Alfred Music Publishing

Master Class. Musicians Institute Press. Softcover Media Online. With guitar tablature. 64 pages. Published by Musicians Institute Press

(25 Great Easy Piano Movie Hits). Arranged by Dan Coates. For Piano. Book; CD; Method/Instruction; Piano Collection; Piano Supplemental. Complete Idiot's Guide. Movie. Easy Piano. 208 pages. Published by Alfred Music Publishing

SATB Chorus, soloists, Organ & Brass (SATB chorus, soprano & baritone solos, organ, brass [2 trumpets, 2 trombones])

SKU: SU.91480041

For SATB Chorus, soloists, Organ & Brass. Composed by Dan Locklair. Vocal/Choral, Sacred Choral, Keyboard, Organ, Brass, Brass Ensemble. Choral, sacred. Choral Octavo. Composed 1975. Duration 15'. Subito Music Corporation #91480041. Published by Subito Music Corporation (SU.91480041).

Text: The Standard Book of Common Prayer.

SATB chorus, soprano & baritone solos, organ, brass [2tpt, 2tbn] Duration: 15' Text: The Standard Book of Common Prayer Composed: 1975 Published by: Subito Music Publishing Minimum order quantity: 8 copies. To order quantities fewer than 8.