SKU: HL.155676

ISBN 9781495056734. UPC: 888680601256. 8.5x11.0x0.146 inches. The Music Achievement Council.

Tips for Success will help answer a range of questions, from how to prepare an instrument replacement plan to how to expand the learning power of music. These tips are complemented by short videos and will enhance the user's experience. The future of our music education landscape continues to warrant the proactive efforts of everyone. The Music Achievement Council has once again come to the forefront with their latest/greatest edition of Tips for Success. Let us all pledge our heartfelt efforts - and energies - to the most positive, beneficial music making opportunities for today's young artists who are destined to be tomorrow's leaders by incorporating this priceless blueprint for success in our ongoing music advocacy outreach. - Dr. Tim Lautzenheiser.

SKU: HL.234788

UPC: 888680688660. 9.5x12.0x0.455 inches.

Commissione d by the Carpe Diem String Quartet. Reza Vali’s “Calligraphies” series is a set of an ongoing cycle of works based on thePersian modal system, the “Dastgâh”, which he has been composing since 2000. The basic compositional material of the work is derivedfrom a fast tempo genre, called the “Reng”, which is usually performed at the end of a traditional Persian music concert. “Raak” includes meter changes on almost every measure, and will phase quickly between entirely homophonic sections and sections with entirely independent parts writing.

SKU: GI.G-9872

ISBN 9781622773978. English. Text by Adam M. L. Tice.

This fifth collection of texts from Adam M. L. Tice represents the next step in his ongoing journey as a hymn writer. He continues to expand his craft, using a wide variety of forms and topics, many of which focus on issues of peace and justice. In this collection, his collaboration with a wide variety of composers has produced traditional tunes, along with guitar-driven contemporary songs, jazz, and blues.

SKU: AP.28842

UPC: 038081313863. English.

A light bossa nova beat is the groove of this upbeat music number. The lyrics are entirely in English except for the title, Cante una Canción, which means sing a song. Singable vocal lines are supported by an easygoing piano accompaniment. Ideal for general concerts any time of year. Featured on the Hooray for Hollywood! movement DVD #28868.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

SKU: M7.AHW-1630

English.

In this book, Walter Stuart presents a system of how to piece together an unlimited amount of jazz choruses. The accent is on utmost simplicity. This book is designed for wide appeal, for it is directed not only towards the ambitious music student and the professional instrumentalist, but the arranger as well. NO SPECIAL TRAINING REQUIRED This collection of 1080 JAZZ PHRASES has the similarity and simplicity of o jig-saw puzzle. Assembled here within the foregoing text, the Stuart's system reveals the key to an unlimited amount of smooth flowing and professional sounding choruses.

SKU: SU.80300197

This original spiritual has an easygoing style, with dotted rhythms, chromatic interest, finger snaps, and an independent piano part. SSA andpiano. Medium. SSA, piano Published by: Treble Clef Music Minimum order quantity: 8 copies.

SKU: P2.80163

The work is in two parts: Part I is characterized by the soloists playing chant-like melodic lines while the piano is fragmented and, at times, outside of the pulse. Part II is more rhythmically driving and musically together. In this section, there is an exploration of various timbres and effects, including quick dynamic swells, low percussive effects in the solo part, and the muffling of the inside strings of the piano. The juxtaposition these two parts create represents an ongoing interest I have in creating contrasts within large- and small-scale structures.

SKU: ST.W208

ISBN 9790220220494.

The Benedictus and Agnus Dei in B flat is published as part of an ongoing policy to reissue works by Charles Villiers Stanford in the Autograph Edition, in new engravings but as the composer wrote and approved them, with no editing from another hand. Simple in texture but highly effective in performance, these two short movements are a useful addition to the repertoire of music available for a traditional celebration of Holy Communion, and would suit a small church choir with two or three voices per part.

SKU: P2.W0011

The Concerto for Tuba: Three Furies is a version for wind ensemble of the 1995 Three Furies for Tuba and Orchestra, itself an orchestral incarnation of the 1993 Three Furies for Solo Tuba. That original unaccompanied work was composed at the request of tubist Mark Nelson, and it spawned an ongoing series of commissioned works for low brass composed over the last two decades. All three versions of the Furies (unaccompanied, with wind ensemble or orchestra, and with piano) celebrate the surprising -- indeed, remarkable -- flexibility possessed by the tuba, and offer a music that is immediate, good-natured and fun, requiring of the soloist both keen musicianship and physical stamina.

This version for wind ensemble of the Furies concerto, penned in November and December of 2011, was commissioned by and is gratefully dedicated to tubist James Shearer, conductor Monty Hill, and the musicians of the New Mexico State University Symphonic Winds, all of whom joined forces to premiere the work at the February 2012 Southwest Honor Band clinic in Las Cruces, NM.

Each of the Three Furies is virtuosic in its own right, offering a multiplicity of distinct rhythms, melodic figures and articulations:

F ury I is marked decidedly jocular and is a pleasant ramble through the registers of the tuba, featuring angular arpeggios and tonguing demands that one does not usually associate with the instrument.

Fury II, in form somewhat reminiscent of a minuet with trio, contrasts series of long, arching arpeggiated figures with a congenial central waltz marked gently inebriated.

Fury III is relentless and powerful, exploiting the full dynamic and articulative range of the tuba. Again, the performer is met with virtuoso demands not normally encountered in the tuba literature.

SKU: CL.032-4959-01

This relaxed bossa chart will have your youngest jazz musicians playing together in no time! The easygoing feel and memorable melodies are sure to be a favorite of your students and audience. A perfect vehicle for beginning improvisation, the Bb concert scale works well over the simple yet utilizes interesting chord changes. Your band will sound great on this tune!

SKU: PR.UE036508

ISBN 9783702472979. UPC: 803452070092.

Rihm' s powerful one-act opera deals with one man's slow deterioration into schizophrenia. Most impressive is the fact that Rihm composed this opera at the age of 25. Jakob Lenz now joins the ongoing Universal Edition Study Score Series. Based upon Georg Buchner's novella, Rihm's opera depicts a 19-day episode in the life of the 18th-century poet Jakob Lenz, a friend of Goethe and member of the Sturm und Drang movement, who suffered from what would now be diagnosed as schizophrenia. It's a graphic musical portrait of a man's mental disintegration and a huge dramatic challenge for the baritone in the central role of Lenz. - Andrew Clements, The Guardian.

SKU: BR.CHB-5297-02

Marker's Urtext edition is based on the first edition of the score from 1835.

ISBN 9790004412237. 7.5 x 10.5 inches.

One can truly say that Mendelssohn's St. Paul oratorio is a genuine work in progress - such as one finds repeatedly in the composer's works. After the world premiere in Dusseldorf in 1836, the composer sighed: Since I changed a number of things after the performance, notably in the recitatives, and omitted a few pieces entirely, I really don't know how these changes can be made in the quartet parts that have already been engraved.Luckily, the score had not yet been printed at this point in time. It was published not long afterwards (1837) and served as the basis for the old Complete Edition, where, however, it was mixed together with other sources.Michael Marker's present Urtext edition uses the first edition of the score as the main source for the first time. Its inconsistencies were emended by the editor in agreement with other contemporary sources.By forgoing the version transmitted by Julius Rietz (1878), on which all later reprintings were based, in favor of the score of the first edition of 1835, which was personally supervised by the composer, a new Paulus has come to light: freed from a number of conventionalizing, adulterating retouchings, at times more angular in detail and thus more characteristic. (Michael Marker about his New Edition, 1997)

Marker's Urtext edition is based on the first edition of the score from 1835.

SKU: BA.BA11242-49

ISBN 9790006563630. 15 x 21 cm inches.

The acclaimed percussionist Christian Dierstein has joined forces with a research group at the Basel Academy of Music to examine the techniques of percussion playing from an innovative perspective. The main focus falls less on the instruments than on their sound producers: beaters, mallets, sticks, bows, specific manual techniques up to and including electronic pulse generators. This book describes all of them in detail and illustrates their range of application in carefully selected and annotated examples from the repertoire.

Many essays by guest authors such as Nicolaus A. Huber, Steven Schick, Fritz Hauser and Bernhard Wulff relate the performance descriptions to ongoing aesthetic debates. They reveal that sound production and interaction with sound-generating objects have moved centre stage in contemporary composition and its expanded concepts of material and performance. The result is a comprehensive reference book for composers and performers that will also serve as a source of inspiration for future innovative approaches in percussion playing.

The authors
Christian Dierstein completed his musical studies with Bernhard Wulff (Freiburg), Gaston Sylvestre (Paris) and Wassilios Papadopulus (Mannheim). A multiple prize-winner at music competitions, he has played percussion withEnsemble Recherchesince 1988 andTrio Accantosince 1994 together with Nic Hodges and Marcus Weiss. In addition he has been professor of percussion and contemporary chamber music at the Basel Academy of Music since 2001.

Michel Roth is professor of composition and music theatre at the Basel Academy of Music and a member of its research department. As a composer he is a regular guest at music festivals, recently with a focus on music theatre. In 2017 Barenreiter published hisTechniques of Trombone Playingco-written with Mike Svoboda. This was awarded theBest Editionprize by the German Music Publishers Association in 2018.

Jens Ruland studied percussion with Carlos Tarcha at the Cologne University of Music (2007-12) where he completed his performance and teaching degree with distinction. Since 2012 he has consolidated his studies with Christian Dierstein in Basel. He is a founding member ofhand werk(Cologne),232 percussion(Cologne),Ensem ble New4Art(Switzerland) and the music theatre duoAkt-tkA(Spain and Switzerland).

SKU: P2.90117

In composing this work, I was very much inspired by Eastern philosophy. The idea of life as an ongoing wheel, as well as the Chinese proverb, the beginning is not the beginning, the end is not the end, can be related to the Buddhist belief of reincarnation. In this piece, the three movements represent faded memories or reminiscence of past lives. Although inspired by Budhhist ideas, the piece is composed in the Western style.

SKU: AP.1-ADV5001

ISBN 9783892215196. UPC: 805095050011. English.

Dialogues is a real virtuoso piece with humor, lyricism, rhythmic drive and a unique blend of contemporary classical and jazz vocabulary. Some basic non-jazz improvisation invites spontaneity and offers the potential for ongoing musical development. Includes a CD, featuring play-along and complete versions: Chris Carbone, tuba; Bill Dobbins, piano. Titles: Duel * Dance * Dream * Denouement.

SKU: GI.G-10619B

SKU: SU.95010370

Text: Elizabeth Macklin.

SSAA Chorus, Piano Duration: Text: Elizabeth Macklin Composed: 2001 Published by: Subito Music Corporation NOTE: Life Cycle (1994-2001) is an ongoing project for women's voices and instruments to poems by women. Other movements include (to date): Friends (#95010450); Kneeling in the Big City [Demeter, Persephone] (#95010380); They Were Women Then (#95010390) Minimum order quantity: 8 copies. Perusal copies are available by contacting perusalrequest@subitomusi c.com (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440.

SKU: CN.R10221

The work has a military feel in the opening fanfare, but settles down to an angular melody with frequent changes in time signature. There is the possibility of adding extra drummers near the end - a drum corps was used behind the Band in the first performance making a stunning effect.

PANACHE was commissioned by Lt. Peter Rutterford who was then Director of Music for the Band of the Royal Marines (FOSNI). Peter was about to leave the Rosyth and wanted to have a celebratory work for his departure. The resulting piece was titled by him and to reflect his outgoing personality, and the first performance was given by Lt. Rutterford with the Royal Marines Band in the Carnegie Hall, Dunfermline, Scotland.

SKU: PR.164002720

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

SKU: PR.UT050407

ISBN 9783850557702. UPC: 800522003288.

Mozar t's KV570 is an ideal teaching piece for advancing pianists. Many of Mozart's style elements are present here, but in approachable form, as an introduction to ongoing study of Mozart's piano works. The popularity of the sonata is a testament to the deceptively simple beauty of Mozart's writing. For intermediate to advanced pianists.