Taught by Duck Baker. For Guitar (Fingerpicking). Solos. Grossman-Gtr Workshop. Gospel-Old Time. Level: Intermediate. DVD. Size 5.25x7.5. Duration 82 minutes. Published by Grossman's Guitar Workshop. (GW312DVD) DVD format: Region 1 for use in the USA and Canada.

Taught by Duck Baker. For Guitar (Fingerpicking). solos. Grossman-Gtr Workshop. Swing. Level: Intermediate. DVD. Size 5.25x7.5. 88 pages. Published by Grossman's Guitar Workshop.

(For Percussion Quartet). By Brian Slawson. For Glockenspiel, xylophone, one small marimba (4 octave), one 4.3 octave marimba (low A), temple blocks, triangle (4 players). This edition: Percussion quartet. Concert Percussion Ensembles. NOTE: If needed, both marimba parts may be performed by sharing one 4.3 octave marimba (low A). Easy. Folio parts on CD-Rom. 8 pages. Duration 2:00. Published by Tapspace Publications

Chamber Music Flute(s)

SKU: PR.114423820

Composed by Laurel Zucker. 8 pages. Duration 7 minutes. Theodore Presser Company #114-42382. Published by Theodore Presser Company (PR.114423820).

ISBN 9781491136263. UPC: 680160688746.

Compo sed for her own performances, Laurel Zucker’s DOG TOYS SUITE is a short collection of adorable and jazzy little concert etudes which may be performed as a fast-slow-fast set, or as individual movements. I. Duck Pond is a melody that flows through ornamental variations, II. Moo the Blues is gutsy and less demanding on the fingers, and III. Minimal Donkey is a dazzling toccata-like etude. Zucker has recorded DOG TOYS SUITE for Cantilena Records.

Snare Drum Solo - 4-5

SKU: KN.13334

Composed by Joel Smales. Percussion. Snare Drum Solo. Solo Part. Kendor Music Inc #13334. Published by Kendor Music Inc (KN.13334).

UPC: 822795133349. 9 x 12 inches.

A collection of 8 grade 3-5 solos for the percussionist looking for challenging, interesting and fun solos.

Contents:Half Time; Venting The Duck; The Practicing Paradiddler; Brazilian Fever; Twin Tiers; Sweet 16; Black Cat; and Cue The Flamacue.

Guitar - Level 2

SKU: LM.27671

Composed by Pascal Harrand and Patrick Guillem. Mes Premiers Pas de T. Masson et P. Guillem. Pop, jazz. Score. Editions Henry Lemoine #27671. Published by Editions Henry Lemoine (LM.27671).

ISBN 9790230976718.

Blue s Burger - Boogalou Blues - Manhattan - Duck - On a Blue Day - Blues for Chloe - Start it now - Dooley - Pick up the Blues - Sacre petit doigt - Pretty Drummer You Know what I mean ? - Golden Rag - Blue Cha-Cha.

Piano

SKU: HL.14006541

Composed by Carol Barratt. Arranged by Carol Barratt. Music Sales America. Children. Book [Softcover]. 16 pages. Chester Music #CH61105. Published by Chester Music (HL.14006541).

ISBN 9780711956100. 9.0x12.0x0.088 inches.

Twelve easy pieces for piano written and arranged by Carol Barratt. An entertaining selection all about animals: superbly arranged classics plus imaginative original pieces. Includes music from 'Peter And The Wolf', 'Carnival Of The Animals' and Carols Barratt's 'Giraffes'. Suitable for players of grade 1 to grade 2 standard. Contents: Aunty Lizzie's Old Pig * Giraffes * Sheep May Safely Graze * Swan Lake * The Bear * The Cat From Peter and the Wolf * The Cat in the Corner * The Crow * The Cuckoo (Muller) * The Duck (Peter and the Wolf) * The Elephant (Carnival of the Animals) * The Pony (Couppey).

By Duck Baker. For Guitar (Fingerpicking). Solos. Blues. Level: Intermediate-Advanced. Book/CD Set. Size 8.75x11.75. 80 pages. Published by Mel Bay Publications, Inc.

SKU: AP.0571B

Grades 3-6. Composed by Artie Almeida. Classroom/Pre-School; Games; General Music and Classroom Publications; Homeschool Resources; Other Classroom; Resources. Artie Almeida's Music Games. Children. Other. 40 pages. Alfred Music #00-0571B. Published by Alfred Music (AP.0571B).

ISBN 9780757980145. UPC: 654979023098. English.

All games in the Artie Almeida Music Games series were created by Artie Almeida for fun reinforcement and assessment of basic music concepts in general music classes. Games are geared to various elementary grade levels. In this exciting musical trivia game, students compete for colossal cash by answering questions about musical instruments, music vocabulary, and music symbols. Terrific for an end-of-year review of knowledge! Contents of game (packaged in a 9 x 12 plastic ziplock hanging bag): 30 colorful Daffy Duck Bills (11 x 5) with music questions in six different denominations (the higher the denomination, the harder the question), plus directions/answer key.

Piano (Piano)

SKU: HL.14003445

Composed by Carol Barratt. Music Sales America. Tuition. Book [Softcover]. 16 pages. Chester Music #CH55662. Published by Chester Music (HL.14003445).

ISBN 9780711936676. 9.0x12.0x0.073 inches. English.

Pre-Grade 1 to Grade 1. Progressing from specific hand positions to wider range of notes, the 18 pieces include works by Haydn, Kabalevsky, and Czerny. Contents: Black and Blues (Barratt) * Bugles (Gurlitt) * Chester Wins Again (Barratt) * Clowns (Barratt) * Duck Song (Folk) * Gavotte * Minuet * On the Move (Barratt) * On the Wing * Outdoors (Kohler) * Presto (Turk) * Quadrille (Haydn) * Study (Czerny) * Tara's Rag (Barratt) * Two Russian Pieces (Kabalevsky) * Where Are You Going, My Pretty Maid * Whoopee-Ti-Yi-Yo (Cowboy Song).

As Recorded by Alan Baylock Jazz Orchestra. Composed by Eddie Harris. Arranged by Alan Baylock. Jazz Ensemble; Score; SmartMusic. Premier Jazz Series. Jazz. 20 pages. Published by Alfred Music (AP.43701S).

Accent on Gillock Volume 1. (Early to Mid-Elementary Level). By William L. Gillock. Willis. Early Elementary. Book only. 16 pages. Willis Music #11835. Published by Willis Music (HL.405993). ISBN 0877180768. 9x12 inches. The Accent on Gillock series includes all of William Gillock's best-loved piano solos. Volume 1 includes early to mid-elementary pieces, all written in the remarkable Gillock style: ? Fog at Sea ? Prowling Pussy Cat ? Autumn Is Here ? Happy Holiday ? My Toy Duck ? Tom Toms ? Pow Wow ? Toyland.

((The Duck, The Panther)). Composed by Christine Donkin. SATB. Pavane Choral. 12 pages. John Rich Music Press #JR0102. Published by John Rich Music Press

By Eddie Harris. Arranged by Mark Taylor. (Score and Parts). Young Jazz Classics. Published by Hal Leonard.

SATB Choir a Cappella

SKU: HL.14023282

The Disturbing Duckling. Composed by Adolph Wolfli and Per Norgard. Music Sales America. Hymns & Chorals. Vocal Score. Composed 2002. 38 pages. Edition Wilhelm Hansen #WH30421. Published by Edition Wilhelm Hansen (HL.14023282).

ISBN 9788759809471. UPC: 884088607319. 12x8.25 inches. International (more than one language).

Alternat ive Title: The Alarm Duckling (Den Foruroligende Aelling). Work for Mixed Chorus and Bird Song. A CD of Bird Song is available separately - use product code KP00830.

Electronics

SKU: HL.14023281

Performance CD. Composed by Per Norgard. Music Sales America. Tuition. CD. Music Sales #KP00830. Published by Music Sales (HL.14023281).

ISBN 9788759889718. Danish-Swedish.

The CD of bird voices to accompany Norgard's choral work: D'Monstrantz Voogli (The Disturbing Duckling). Alternative Title: Den Foruroligende Aelling (The Alarm Duckling). Work for Mixed Chorus and Bird Song. The vocal score is available separately - product code WH30421.

Voice

SKU: BT.MUSAM993817

Hardback. By Ann Barkway. Book with CD. Wise Publications #MUSAM993817. Published by Wise Publications (BT.MUSAM993817).

ISBN 9781847725783.

A beautifully presented and colourful collection of songs, poems and stories that celebrate the natural world, and all creatures great and small.

Read about the adventures of the Ugly Duckling, or the tales of TheTownMouse And The Country Mouse. Inside you will find lyrics to more than twenty-five songs that explore the worlds of our furry, feathered or slimy friends.

The included CD contains performances of every song byachildren's choir and also contains stories and poems featured in the book.

Performed by Ernie. By Jeff Moss. Arranged by Roger Emerson. (Showtrax Cd). Youth Sing Out (Choral). CD only. Size 5x5 inches. Published by Hal Leonard.

3 to 5 flutes - Level 2

SKU: LM.VV250

Composed by Isabelle Ory. Musique d'Ensembles. Classical. Score. Editions Van de Velde #VV250. Published by Editions Van de Velde (LM.VV250).

ISBN 9790560052502.

ANON YME : Heiduckentanz (quatuor) - Death and the lady (quatuor) - BEETHOVEN : Andante (quatuor) - CORELLI : Concerto pour la nuit de Noel (quatuor) - MOZART : Divertimento (trio) - Adagio (trio avec flute alto) - Menuet (trio avec flute alto) - GURLITT : Les chasseurs (trio avec flute alto) - HAUSSMANN : Intrada (trio) - Danse (quintette) - LULLY : Menuet extr. Bourgeois gentilhomme (quintette) - PEZEL : Intrada (trio) - GRETRY : Marche des Janissaires (trio) - TRADITIONNEL : House of the rising sun (trio) - Quand le marin (trio) - Dans les gardes francaises (trio) - Chant bohemien (trio) - Nobody knows the trouble l've seen (quartuor).

Performed by Ernie. By Jeff Moss. Arranged by Roger Emerson. (2 part). Youth Sing Out (Choral). Size 6.75x10.5 inches. 8 pages. Published by Hal Leonard.

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3

SKU: CF.CPS256F

Composed by Chris Campbell. Full score. 21 pages. Carl Fischer Music #CPS256F. Published by Carl Fischer Music (CF.CPS256F).

ISBN 9781491159729. UPC: 680160918317.

As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhap s a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3

SKU: CF.CPS256

Composed by Chris Campbell. Set of Score and Parts. 21+8+8+4+8+8+4+4+10+4+4+1 6+8+12+6+4+8+2+4+14 pages. Duration 2 minutes, 36 seconds. Carl Fischer Music #CPS256. Published by Carl Fischer Music (CF.CPS256).

ISBN 9781491159712. UPC: 680160918300.

As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhap s a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!