Melody instruments

SKU: M7.AHW-1608

Composed by Bugs Bower and Charles Colin. Sheet music. Performance book, treble clef. Charles Colin Corp. #AHW 1608. Published by Charles Colin Corp. (M7.AHW-1608).

English.

A wide variety of common jazz rhythms, many in etude form, designed to give the performer instant recognition and accurate response when you run across them in a real playing situation.

Composed by Per Danielsson. Squareback saddle stitch. You Can Teach Yourself. Book and online video. Published by Mel Bay Publications, Inc (MB.20437M).

Tips and Techniques for Becoming a Well-Rounded Player. Guitar Educational. Acoustic, Instruction. Softcover Audio Online. With guitar tablature. 176 pages. Published by Hal Leonard

Composed by Joel Raney. Christmas, Sacred. Octavo. Published by Hope Publishing Company (HP.C6028).

Clarinet Choir

SKU: IS.CC6340EM

Composed by Johann Sebastian Bach. Arranged by Hideaki Iwai. Woodwinds - Clarinet. Kansai Clarinet Society. Metropolis Music Publishers #CC6340EM. Published by Metropolis Music Publishers (IS.CC6340EM).

ISBN 9790365063406.

Jesu , Joy of Man's Desiring is the most common English title of the 10th and last movement of the cantata 'Herz und Mund und Tat und Leben', BWV 147 (Heart and Mouth and Deed and Life), composed by Johann Sebastian Bach in 1716 and 1723. Today, it is often performed at wedding ceremonies as well as during Christian festive seasons like Christmas and Easter, slowly and reverently. This is, however, in contrast to the effect suggested by Bach in his original scoring for voices with trumpet, oboes, strings, and continuo. The music's wide popularity has led to numerous arrangements and transcriptions such as the present one for clarinet octet or choir by Prof. Hideaki Iwai.

Melody instrument

SKU: M7.AHW-200

And Further Concepts. Composed by Jon Gordon. Sheet music. Method. Charles Colin Corp. #AHW 200. Published by Charles Colin Corp. (M7.AHW-200).

English.

This book is a compilation of basic concepts and some common sense ideas from the author, Jon Gordon. It provides some necessary, but sometimes neglected information that is essential to being able to speak the basic language of jazz or improvised music.

By John Mccreary. Arranged by John Mccreary. Text: Book of Common Prayer (1928). For SATB Choir. (Accompaniment: Organ). Sacred. Level: Medium Advanced Adult. 8 pages. Published by Hinshaw Music Inc.

Upper voices, SATB choir & harp (SATB) - Easy to Moderately Difficult

SKU: OU.9780193518247

Composed by Bob Chilcott. Harp part. 16 pages. Duration 10'. Oxford University Press #9780193518247. Published by Oxford University Press (OU.9780193518247).

ISBN 9780193518247. 12 x 8 inches.

For upper voices, SATB, and harp My Perfect Stranger is a captivating setting of Kevin Crossley-Holland's retelling of the Christmas story. The artful harp writing makes for a vibrant accompaniment and a successful alternative to the more common accompaniment for keyboard.

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (CF.YAS13F).

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

By Dan Haerle. For Piano. Piano Method. Jazz. Book. 52 pages. Published by Alfred Publishing.

(Power Licks, High-End Licks and Speed Licks!). Composed by David Barrett. For harmonica. School of Blues. Beginning-Intermediate. Book and online audio. Published by Mel Bay Publications, Inc

(Learn How to Bend the Correct Way). Guitar. Softcover with CD. Guitar tablature. 40 pages. Published by Centerstream Publications

SKU: HL.1197774

Mackie. General Merchandise. Duration 120 seconds. Hal Leonard #2055197-00. Published by Hal Leonard (HL.1197774).

UPC: 663961065336. 23.25x7.5x6.25 inches.

From gaming to music to movies, having clear, immersive sound is what truly creates a memorable experience. If you are short on desktop space, you don't need to miss out. CR2-X Bar PRO fits neatly under your display and out of the way while providing a full, rich sound for everything that you do on your computer. Innovative BMR driver technology makes it possible to achieve the incredible room-filling sound of CR2-X Bar PRO from such a compact enclosure thanks to its unique flat disc design. And connecting is easy with USB, Analog, and Bluetooth® available plus an onboard subwoofer output. The BMR (Balanced Mode Radiators) drivers make it possible to deliver unbelievably clear, immersive sound from a stealthy, compact enclosure. This innovative, flat disc design eliminates the need for a separate high frequency driver and crossover while also removes any boxy megaphone effects common with traditional speaker cones. Despite their small size, you will experience room-filling dispersion, lifelike stereo imaging, and rich full-range sound normally reserved for much larger speakers. Get the sound just the way you like it. On the right side of the soundbar, there is a button that allows you to select between three different voicing presets. This is also where you can easily select your input source. All four corners of CR2-X Bar PRO light up to give your desktop that extra bit of flair. You can select from a variety of colors.

Composed by Aaron Copland (1900-1990). Arranged by Robert Longfield. Flex-Band Grade 3. Fanfare. Softcover. Boosey and Hawkes #M051664306. Published by Boosey and Hawkes

Jazz Piano Exercises and Etudes with CD * Book 2 composed by Tony Santorella. Arranged by Jonathon Robbins. For jazz piano. This edition: Paperback. Instructional. Exercises. Book and CD. Text Language: English. 48 pages. Published by Santorella Publications

SKU: GI.G-002700

Sacred. GIA Publications #002700. Published by GIA Publications (GI.G-002700).

UPC: 641151027005. English.

In this five-volume series of reflections, Fr. Foley stretches a common understanding of mystagogy beyond the narrow interpretation from the Rite of Christian Initiation of Adults, which sees mystagogy essentially as a period of post-baptismal catechesis. Mystagogy, in its fuller sense, is a treasured way in which Christians have examined their faith over many centuries. It is an embodied, affective, community-based style of reflection that juxtaposes the action of the liturgy with our own experience of that action, and asks a series of often pointed and always essential questions. It demands that we wake up in worship, shake off the passivity that has enveloped us after years of repetition, and look afresh at the sacramental events that define us. The Word Resounds (a discussion of what it means to gather as a community of believers) The talks integrate familiar music with profound insights, and are perfect for use in the RCIA post-Vigil mystagogical process, for a parish staff retreat, or for personal spiritual reflection on the Mass and the Eucharist. Parish liturgy committees and other small groups will benefit from the accompanying booklet, which contains a process for reflection that includes questions to help delve deeper into the Eucharist as mystagogy. Also available as part of a 5-CD set, #002695.

(Music for Common Worship VI). Edited by John Harper. For Unison Voices, Chant. Royal School of Church Music. Sacred. Easy/Medium. 47 pages. Published by GIA Publications

By Jody Fisher. For Guitar. Guitar Method or Supplement. Jazz. Book. Published by National Guitar Workshop Publications.

By Gerald Near (1942-). For SATB chorus and organ, with opt. congregation. Easter, Christ the King. Sacred. Medium. Octavo. 11 pages. Published by MorningStar Music Publishers

By Roger Emerson. (Showtrax Cd). Expressive Art (Choral). Children's Musical. CD only. Size 5x5.5 inches. 64 pages. Published by Hal Leonard.

By Andrew D. Gordon. For Piano/Keyboards. Blues, Latin Funk. Book with DVD. 41 pages. Published by ADG productions.

Guitar Solo

SKU: IS.G6767EM

Composed by Silvio Leopold Weiss. Arranged by Ben Beuming. Plucked - Guitar. Metropolis Music Publishers #G6767EM. Published by Metropolis Music Publishers (IS.G6767EM).

ISBN 9790365067671.

This sonata (WeissSW No. 15, London) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata X comes from Weiss�??s middle �??productive�?? period, thought to have taken place between 1719 and 1725. The original tablature manuscript is in the British Library (London Ms. Add. 30387). The Sonata has six movements: Allemande, Courante, Paisane, Sarabande, Menuet, and it ends with a Gigue. There is a another copy of this Sonata in the Warszawa Biblioteka Uniwersytecka Poland (in its entirety), and a copy in the Sächsisches Landesbibliothek in Dresden (Suite XXVI), which contains three concordant movements: Allemande, Courante, and the Gigue. The Dresden manuscript displays some differences from the London manuscript. This Edition has taken those differences into account in certain details. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weiss�??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -�?� a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.

Concert Band Baritone

SKU: FJ.BB211BTC

Composed by Chip DeStefano and Timothy Loest. Band Supplement; Method/Instruction. Chorales and Beyond. Book. The FJH Music Company Inc #98-BB211BTC. Published by The FJH Music Company Inc (FJ.BB211BTC).

ISBN 9781619281882. UPC: 241444377444. English.

This incredible resource is an ideal way to expand or vary the daily routine of your ensemble while developing essential fundamental concepts of sound and intonation. Daily routines cover breathing, long tones, pitch matching, intervals, scales, arpeggios, chords and chorales. All chorales are written in four-part harmony with all parts appearing in each instrument book for ultimate flexibility with instrumentation. Centered around 10 common major and minor keys, each includes a daily routine and three cycles that can be used to provide constant variety and freshness. Personal warm-ups and musical terms are also included along with vibrant and engaging percussion writing from longtime master educator and percussionist Kevin Lepper!

Flute, Percussion

SKU: PR.16400248S

Composed by Dan Welcher. With Standard notation. Duration 14 minutes. Theodore Presser Company #164-00248S. Published by Theodore Presser Company (PR.16400248S).

UPC: 680160038244.

This work is my second for a solo woodwind and a solo percussionist, following Firewing: The Flame and the Moth for oboe and percussion by nine years. The earlier piece followed a specific story line, and pitted the oboe against the percussionist as both adversary and lover. In Spirit Realms, my aim was not only to juxtapose the very different sounds of flute (plus alto flute and piccolo) against a large array of percussion, but also to attempt three different meditative spaces, each named for a different type of spiritual practice. The musical means of expression is very different for each of the three movements (as is the instrumentation), although they share a common scale-source: the looped pentatonic scale I have been developing over the last several years.   The first movement is called Prayer Tunnel, and is named for the Eskimo practice of solo meditation within a tunnel of ice blocks. This is said to be a means of overcoming demons within, and in my musical rendering it takes the form of an unaccompanied alto flute solo. The flute begins rather angrily, full of tension, but in the course of the solo passage manages to slowly unwind. The percussionist then plays the exact same music the alto flute had played....on seven tuned cymbals. Toward the end, the alto flute re-enters, its original meditation having fused with its mirror.   Kiva represents the circular, subterranean pit in which the Anasazi practiced their religion, a form of which still can be found in the Hopi tribes of the American southwest. These are not spaces for solo meditation, but rather a group meeting place in which only the sanctified are permitted. After an introductory invocation (dove call), the music begins. At first, it is flowing, in a repetitive double-five meter. It then traces several sections, with metric shifts forcing the pulse to race faster and faster, until it halves itself in the coda and returns to the exact pulse of the beginning. The flutist here uses the C flute, and the percussionist plays on both pitched (marimba) and unpitched instruments (various drums and struck sources).   Zendo is the meditation room used by Zen Buddhists. My music begins with another invocation (wind chimes, temple cup gongs, and temple blocks), then moves on to a slow subject stated by the flute. The subject is taken up by the vibraphone, and after several modulations and tempo changes, the flutist takes up the piccolo. The music continues higher and higher, and faster and faster (Zen meditation is NOT all about becoming lost!) until it breaks free at the very end. The percussionist is put through his paces in this movement, having to reach a staggering number of instruments in a short time.   Spirit Realms was commissioned by, and is dedicated to, the Armstrong Duo. -- Dan Welcher.

2nd violin part (picc.2.2.2.2. - 4.2.3.0. - timp.perc - str)

SKU: BR.OB-5273-16

Urtext. Composed by Antonin Dvorak. Edited by Klaus Doge. Stapled. Orchester-Bibliothek (Orchestral Library). Picc.2.2.2.2. - 4.2.3.0. - timp.perc - str. Dances/marches; Romantic. Part. 20 pages. Duration 35'. Breitkopf and Haertel #OB 5273-16. Published by Breitkopf and Haertel (BR.OB-5273-16).

ISBN 9790004332504. 10 x 12.5 inches.

In his Slavonic Dances Op. 46, Dvorak did not draw on pre-existent music, but created something original and new, projecting his own compositional will into the creative process. What we hear are Dvoraks melodies,and that it is due to his creative will that he cast them as in Dance 3, for example in the form of a melodic four-tone model which is common to many folk songs and childrens songs. Finally, it is his rhythmic invention and shaping of the musical character of each dance that breathe life into the elements of Slavonic dance music.