Par LIEBMAN DAVID. For Bb soprano saxophone or clarinet and viola or Eb alto sax South Africa was originally written to feature the texture of the soprano saxophone with viola, the performance can be adapted to other instruments as indicated on the score or others within the written range. Although the piece is not specifically by African music, it is dedicated to Nelson Mandela upon his release from prison. The writing alternates between counter and synchronized lines - the same is true for other pairings such as dissonance/consonance, changing tempos and dynamics. The challenge is to get the piece to flow through these many shifts of texture. Towards the conclusion there is some space (optional) for improvising using the suggested written notes and intervals as the source material for both instruments. Medium advanced/ Répertoire / Saxophone Soprano (Clarinette ou Violon) et Alto

Written for the Miami Children's Chorus, players from the New World Symphony and Dance Now!, this is a spirited and energetic composition from David Brunner. Reflecting the flavour of the text 'the world full of life...? David's music is full of life and energy and the spirit we have come to expect from him. / Choeur SSA Et Piano

This mega-pack features the book/CD pack written by David Hamburger from String Letter Publishing (HL00695648) combined with the 2-DVD set also featuring David Hamburger from Homespun (HL00641892). A $50 value for only $44.95!

Par HENEKER DAVID. David Heneker’s musical, Half a Sixpence, was written as a vehicle for British pop star Tommy Steele and was later turned into a film. It was based on H. G. Wells’ novel Kipps: The Story of a Simple Soul./ Recueil / Vocal Score

David Matthews's Y Deryn Du (The Blackbird) for Piano Quartet.The Blackbird for piano quartet was written in 1998 and is based on the Welsh folksong Y Deryn Du. In the song the blackbird gives advice to a young man in search of a wife. After rejecting the first three of the bird's suggestions he willingly accepts the fourth the bailiff's daughter. So in this instrumental setting the tune appears appropriately four times: on the viola then the cello then the violin and piano in canon. - David MatthewsCommission made possible by Mrs Elizabeth Salmon.

Cello Time Sprinters is the third book in this hugely successful series, building on the firm technical and stylistic foundations of Joggers and Runners by featuring extended pieces in first position, and fourth position pieces. The book includes original pieces in different styles, pieces by a range of composers, and duets with parts of equal difficulty, together with CDs of performances and backings. Straightforward piano accompaniments are available in a separate volume.
Difficulty : Easy
32 pages
21 July 2005
Kathy Blackwell and David Blackwell
Kathy Blackwell is an experienced peripatetic string teacher, currently teaching privately after many years working for Oxfordshire County Council. She has a special interest in teaching the violin and viola to young children, both individually and in groups. Her determination to find the very best pieces - well written and accessible, tuneful and catchy - led directly to the creation of the Fiddle/Viola/Cello Time series.
David Blackwell has worked in publishing for Oxford University Press and ABRSM. He has conducted both adult and children's choirs, and published several fine choral arrangements. He has contributed pieces to several instrumental tutor books as well as co-writing Fiddle/Viola/Cello Time.

Of Scott Joplin James Scott and Joseph Lamb-The great ragtime pieces of the early 20th century were written mostly for Piano but many translate superbly for the Guitar and David Laibman will show you how.Here's a mystery: if the great ragtime pieces of the early 20th century were not written for Guitar and if they weren't player on the Guitar at all (until some of us started doing so half a century ago) then why do they work so will on Guitar?Well thumb vs. three fingers on the right hand (we'll leave out thepinky for now) creates that subtle antagonism between steady bass and syncopated melody - the 'twinkle in the eye' of Ragtime. There is a theory that the original borrowing actually went in the other directed from three-finger Banjo to Piano. Who knows? But I'm finding that the 'educated thumb' is only one neat thing about ragtime Guitar. Classic rags are very expressive with moods and tempers hills and valley. You can capture some of this with left-hand notes (slides hammer-ons pull-offs) with right-hand brushes rolls nail strokes with clever use of open strings and natural harmonics. This works. It is it's own story - not an imitation of a Piano or of a dixieland or jazz band. It is simply - ragtime Guitar.In these lessons I have tried for the most part to meet two goals. First to create versions of some of the most beautiful classical rags that 'lay down' well on Guitar so when you play them you are working with the instrument not fighting it. I have tried to pitch and arrange the pieces so that a lot of the action is in first position rather than high up on the neck and to keep left hand gymnastics to a minimum. Second I didn't want these arrangements to sound like 'student' arrangements too elementary to be believable. It is all about striking a balance. I am generally pleased with the result and I hope

Par ASCH GLENN / REINER DAVID. For more than a century, violinists have played jazz, swing, blues and similar improvisational styles. With its rich tone, considerable range, and bowed rhythms and phrasing, the violin offers a unique opportunity for a creative and personal statement as a musician. This book presents a broad sampling of the styles of major jazz violinists, from blues to bebop, from jug band to jazzgrass, from big-band swing to Texas swing. Tunes represent the styles of Stéphane Grappelli, Joe Venuti, Stuff Smith, Eddie South, Mark O'Connor, Benny Thomasson, Jean-Luc Ponty, and Darol Anger. Helpful jazz theory sections with exercises alternate with tunes that show how the theory works inpractice. This book has two objectives: first, to present a broad, roughly chronological sampling of major jazz violinists and the styles associated with them, and secondly, to introduce the basics of jazz theory as applied to the violin. Whether consciously or intuitively, through critical listening or by practicing jazz patterns and exercises, the more knowledge of jazz you acquire, the better you will be able to think about the content of your playing without being bound by technical and theoretical aspects. This anthology was written to help provide that foundation. Interspersed with pragmatic jazz theory lessons, you'll find 28 original tunes in the style of various jazz violin luminaries. The book ends with an extensive discography of recommended jazz recordings with a violin focus. Mandolinists as well as other instrumentalists will find a wealth of useful information in this outstanding collection. Delightful broadcast-quality recordings of the repertoire are available online. Includes access to online audio. Written for intermediate to advanced violinists. / Niveau : Intermédiaire à Avancé / Jazz / Recueil / Violon

Composer's NoteOut Of The Cool was my first work and inspired by the music of Miles Davis and John Coltrane. It was originally written for the flute but may equally well be played on the violin cello or sopranosaxophone.The piece is in three sections - slow/fast/slow. I have not marked many dynamics or phrasings and those shown are suggestions only. The slow sections in particular should be very free rhythmically and eachperformer should feel free to interpret the piece in his own way. The pedalling marks however are more specific as I have used them to show how notes and chords are to be sustained. Some of the blurred effects may seem strangeat first but this pedalling is essential to the style of the piece. Above all Out Of The Cool was written to be enjoyed so have fun with it!David Heath.

50 classic songs to accompany the world-famous justinguitar.com courses for guitar! The Justinguitar.com Acoustic Songbook is for all guitar players who want to progress beyond beginner level. The book starts with beginner level material, before progressing to songs that will teach you how to use more complex chords (including barre chords), riffs, fingerstyle patterns and open tunings. This book contains 50 great acoustic songs by artists such as The Beatles, Eric Clapton, Johnny Cash, Elliott Smith, Crowded House, Ed Sheeran, Coldplay, Sting, Tom Waits and David Gray. Take your playing forward by starting with the 15 beginner level songs, then move on to 15 intermediate songs specially chosen to develop your barre chords. After that you'll learn a further 15 songs which introduce interesting new techniques, chords and rhythms, before finishing off with 5 classic songs written out in full TAB! Every song is accompanied by performance tips and strumming patterns, often with tablature and chord diagrams to help you through any tricky bits. Much more than just a songbook, this book contains valuable tips and tutorials that will help you with every aspect of your playing. This long-awaited volume really is the best Acoustic Songbook ever! 'One of the most influential guitar teachers in history' - The Independent / Guitare et Guitare Tablatures

Brass Accompaniment-David Lantz III has emerged as one of the most recognized names in church music. This Easter anthem has all the majesty joy and vitality to carry the Resurrection message. The text written by J. Paul Williams has the poeticrhythm for which the author has become famous. This anthem is perfect for small to medium sized choirs. Brass Parts Rehearsal CD and Rehearsal CD 10-Pak available.

Recorder Magic Descant Tutor Book 1 takes the beginner Recorder player through the earliest stages of Recorder playing and reading music. The book progresses steadily and by the end the Recorder player will be able to read and play the notes E G A B and high C. There is plenty of reinforcement throughout particularly for the first three notes: B A and G. The melodies are a combination of popular traditional and new inspiring melodies written by the authors Jane Sebba and David Moses. Each track on the accompanying CD contains a Recorder performance followed by a backing track played twice.

Written as a celebration of a wedding anniversary, David Brunner has set this beautiful Rumi text with highly impressionistic harmonies and frequently shifting key centres. The text is full of beautiful sensations: carving gems, dressing the earth, feeling the breeze, scattering gold dust, lighting our path to love. Universal themes from this 13th Century poet that are as relevant today as ever. / Choeur SA Et Piano

This suite for clarinet and string quartet contains creative arrangements and interpretations of jazz and 20th Century art music in a highly original contemporary classical idiom. It consists of four movements one for each season: Les feuiles mortes (Joseph Kosma) The Snow is Dancing (Debussy) It Might As Well Be Spring (Richard Rogers) Variations on Summertime (George Gershwin). The movements in this suite may be performed individually or in seasonal order beginning with any movement. Borrowed Times was written for and dedicated to clarinetist David Shifrin and Chamber Music Northwest.