Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS83

Composed by David Hinds. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 5+5+8+2+8+3+5+8 pages. Duration 2 minutes, 47 seconds. Carl Fischer Music #FAS83. Published by Carl Fischer Music (CF.FAS83).

ISBN 9780825894572. UPC: 798408094577. 9 x 12 inches. Key: D major.

Williamsburg Variations takes an original theme reminiscent of songs from early nineteenth-century America, and develops it over several variations into a variety of styles. A great introduction to the idea of theme and variations, this will make your developing orchestra sound great at any festival.
This composition was inspired by a visit to Colonial Williamsburg, Virginia. The opening theme is reminiscent of a hymn of the eighteenth century with a hint of Chester in mm. 5 and 15. The variations are indicative of the hustle and bustle of colonial life that required a strong work ethic to survive, and the fife and drums variation shows a glimpse of Yankee Doodle in mm. 34-44. The theme should be played as a legato chorale. The variations are to be played with energy and the D Major Key will enhance that style. In mm. 34-44 the viola, cello and bass quarter notes should be short and accented to imitate field drums.The unison violins are the fifes in this fife-and-drum section. The final variation at m. 52 is a combination of three prior melodies so all lines are equally important.The melodic and moving parts create interest in all the instruments and should provide for an excellent festival or contest piece. I hope your students enjoy playing this music.

By James Swearingen. Band Music Press Concert Band. Score and full set of parts. Published by Band Music Press.

By Kenneth Sarch. For String Orchestra. String Tracks. Grade 3.5. Score and parts

By Kenneth Sarch. For string orchestra. Grade 3.5. Score. Published by Neil A. Kjos Music Company

By John O'reilly. Music by John O'Reilly. For Concert Band. Concert Band. Alfred Concert Band. Conductor Score & Parts. 4 pages. Published by Alfred Publishing.

by William Bay. For Tin Whistle. method. Fun With. All Styles. Level: Beginning. Book/CD Set. Size 8.75x11.75. 40 pages. Published by Mel Bay Publications, Inc.

By Monte, Byrd. Arranged by Dunkley. For SSAATTBB Choir Unaccompanied. Published by Oxford University Press.

by William Bay. For Harmonica (Diatonic). solos. All Styles. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 80 pages. Published by Mel Bay Publications, Inc

By William Bay and Mike Buerk. For Recorder (Soprano). method. You Can Teach Yourself. All Styles. Level: Beginning. Book DVD. Size 8.75x11.75. 80 pages. Published by Mel Bay Publications, Inc.

by William Bay. For Recorder (Soprano). method. You Can Teach Yourself. All Styles. Level: Beginning. Book/CD Set. Size 8.75x11.75. 80 pages. Published by Mel Bay Publications, Inc.

by William Bay. For tin whistle. Fun With. All styles, solos. Level: Beginning. Book. Method. Size 8.75x11.75. 40 pages. Published by Mel Bay Pub., Inc.

By Bernie Hanighen, Music By Cootie Williams And Thelonious Monk. Arranged by Mike Lewis. Words by Bernie Hanighen, music by Cootie Williams and Thelonious Monk / arr. Mike Lewis. For Jazz Ensemble. Jazz Ensemble. Jazz Expressions Series. Level: 2 (Medium Easy) (grade 2). Conductor Score & Parts. 56 pages. Duration 3:46. Published by Alfred Publishing.

By Cootie Williams and Thelonious Monk. Arranged by Dave Barduhn. By Cootie Williams and Thelonious Monk / arr. Dave Barduhn. For Jazz Ensemble. Jazz Ensemble. Jazz Band Series. Level: Medium Easy (grade III). Conductor Score. 12 pages. Published by Alfred Publishing.

By Bernie Hanighen, music by Cootie Williams and Thelonious Monk. Arranged by Mike Lewis. Words by Bernie Hanighen, music by Cootie Williams and Thelonious Monk / arr. Mike Lewis. For Jazz Ensemble. Jazz Ensemble. Conductor Score. 20 pages. Published by Alfred Publishing.

Orchestra

SKU: PR.416415760

For Really Big Orchestra. Composed by PDQ Bach. Edited by Prof. Peter Schickele. Study Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576. Published by Theodore Presser Company (PR.416415760).

UPC: 680160636532. 9 x 12 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

Orchestra

SKU: PR.41641576L

For Really Big Orchestra. Composed by PDQ Bach. Edited by Peter Schickele. Large Score. With Standard notation. Duration 11 minutes. Theodore Presser Company #416-41576L. Published by Theodore Presser Company (PR.41641576L).

UPC: 680160636549. 11 x 17 inches.

The 1712 Overture stands out in P.D.Q. Bach's oeuvre for two reasons, among others: it is by far the most programmatic instrumental piece among those by the minimeister of Wein-am-Rhein so far unearthed, and 2) its discovery has led to a revelation about the composer's father, Johann Sebastian Bach, that has exploded like a bombshell on the usually serene musicological landscape. The overture is based on an anecdote told to P.D.Q. Bach by a cousin, Peter Ulrich. Since P.U. Bach lived in Dudeldorf, only a few miles down the road from Wein-am-Rhein, he was P.D.Q.'s closest relative, and he was, in fact, one of the few members of the family who was on speaking terms with P.D.Q. The story, related to P.D.Q. (fortunately for us posterity types) in a letter, may be summarized thus: The town of Dudeldorf was founded by two brothers, Rudi and Dieter Dudel, early in the 18th century. Rudi remained mayor of the newborn burg for the rest of his long life, but Dieter had a dream of starting a musicians' colony, an entire city devoted to music, which dream, he finally decided, could be realized only in the New World. In 1712, he and several other bagpipers sailed to Boston, never to return to Germany. (Henceforth, Rudi became known as der deutscher Dudel and Dieter as the Yankee Dudel). Unfortunately, the head of the Boston Musicians' Guild had gotten wind of Dudel's plans, and Wilhelm Wiesel (pron. VEE-zle), known none too affectionately around town as Wiesel the Weasel, was not about to share what few gigs there were in colonial America with more foreigners and outside agitators. He and his cronies were on hand to meet Dudel's boat when it pulled into Boston Harbor; they intended to prevent the newcomers' disembarkation, but Dudel and his companions managed to escape to the other side of the bay in a dinghy, landing with just enough time to rent a carriage and horses before hearing the sound of The Weasel and his men, who had had to come around the long way. The Germans headed West, with the Bostonians in furious pursuit. soon the city had been left far behind, and by midnight so had the pursuers; Dieter Dudel decided that it was safe for him and his men to stop and sleep until daybreak. When they awoke, they found that they were in a beautiful landscape of low, forested mountains and pleasant fields, warmed by the brilliant morning sun and serenaded by an entrancing variety of birds. Here, Dudel thought, her is where I will build my colony. The immigrants continued down the road at a leisurely pace until they came upon a little church, all by itself in the countryside, from which there suddenly emanated the sounds of a pipe organ. At this point, the temptation to quote from P.U. Bach's letter to P.D.Q. cannot be resisted: They went inside and, after listening to the glorious music for a while, introduced themselves to the organist. And who do you think it was? Are you ready for this -- it was your old man! Hey, no kidding -- you know, I'm sure, that your father was the guy to get when it came to testing new organs, and whoever had that one in Massachusetts built offered old Sebastian a tidy sum to go over there and check it out. The unexpected meeting with J.S. Bach and his sponsors was interrupted by the sound of horse hooves, as the dreaded Wiesel and his men thundered on to the scene. They had been riding all night, however, and they were no spring chickens to start with, and as soon as they reached the church they all dropped, exhausted, to the ground. The elated Germans rang the church bells and offered to buy everyone a beer at the nearest tavern. There they were taught, and joined in singing, what might be called the national anthem of the New World. The melody of this pre-revolutionary patriotic song is still remembered (P.D.Q. Bach quotes it, in the bass instruments, near the end of the overture), but is words are now all but forgotten: Freedom, of thee we sing, Freedom e'er is our goal; Death to the English King, Long live Rock and Ross. The striking paucity of biographical references to Johann Sebastian Bah during the year 1712 can now be explained: he was abroad for a significant part of that year, testing organs in the British Colonies. That this revelation has not been accepted as fact by the musicological establishment is no surprise, since it means that a lot of books would have to be rewritten. The members of that establishment haven't even accepted the existence of P.D.Q. Bach, one of whose major works the 1712 Overture certainly is. It is also a work that shows Tchaikowsky up as the shameless plagiarizer that some of us have always known he was. The discovery of this awesome opus was made possible by a Boston Pops Centennial Research Commission; the first modern performance took place at the opening concert of the 100th anniversary season of that orchestra, under the exciting but authentic direction of John Williams.

(The Drummer's Guide to the Genre and the Legends Who Defined It). By Rich Lackowski and John O'Reilly, Jr.. For Drumset. Artist/Personality; Book; CD; Method/Instruction; Percussion - Drum Set Method or Collection. On the Beaten Path. Jazz. 108 pages. Published by Alfred Music Publishing

By Cootie Williams and Thelonious Monk. Arranged by Mike Smukal. Jazz Ensemble. Jazz Ensemble; Part(s); Score. Young Jazz Ensemble. Jazz. Grade 2. 90 pages. Published by Alfred Music Publishing

An Opera in 4 Acts. Composed by Robert Ward. Full Length Opera. 20th Century and Opera. Vocal score. With translations and plot synopsis. 288 pages. Galaxy Music Corporation #7.0028. Published by Galaxy Music Corporation

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.

By Thelonious Monk, Cootie Williams. Edited by Pete Barenbregge. Arranged by Victor Lopez. Jazz ensemble. Level: grade 3. 74 pages. Published by Alfred Publishing.

Trumpet

SKU: BT.HITPCPTTROMPRAMA01

Composed by Dominique Le Guern. Collection Rama. Book with CD. Composed 2015. 96 pages. Hit Diffusion #HITPCPTTROMPRAMA01. Published by Hit Diffusion (BT.HITPCPTTROMPRAMA01).

Le Petit Trompettorama est un répertoire de morceaux pour violonistes débutants permettant de jouer aussi bien du classique que des musiques de films ou de la variété et du traditionnel. L’ouvrage réunit Dominique Le Guern, pédagogue chevronnée, et Gérard Boulanger, sommité de la trompette, largement reconnu pour son travail pédagogique et pour ses qualités de soliste, notamment l’Orchestre philharmonique de Radio France. Le CD accompagnant l’ouvrage de qualité supérieur a été enregistré par Gérard Boulanger lui-même. Cet enregistrement exceptionnel donnera un exemple et un plaisir musical de choix tous les apprentis trompettistes ainsi qu’ tous les mélomanes.Chaque morceau est le fruit d’un travail d’arrangement précis adapté l’instrument et au niveau de l’élève. Ce volume progressif présente un niveau de difficulté très faible et aisément accessible pour l’élève. La mise en page en couleur et très aérée assure une grande lisibilité. Et toujours, dans l’esprit de la collection ...RAMA : originalité qualité des arrangements progressivité variété des styles. 30 morceaux pour trompette dont : True story (Ibrahim Maalouf), Beirut (Ibrahim Maalouf), Michelle (Lennon & Mc Cartney), Mistral gagnant (Renaud Sechan), Summertime (Gershwin), Strangers in the night (Sinatra), Mack the Knife (Weill), Arizona dream (Bregovic), Starwars (Williams), Pirate des Cara bes (Zimmer), La Strada Gelsomina (Nino Rota), Les trompettes d’A da (Verdi), Berceuse (Brahms), Sarabande (Haendel), Go down Moses (traditionnel), Water Music (Haendel), Barcarolle (Offenbach)... Avec cahier d'accompagnement piano séparé.

Piano Solo. By Various Artists. This edition: 080689395383. Book (not sheet music). Softcover. 144 pages. Published by Word Music.

By Cootie Williams and Thelonious Monk. Arranged by Mike Smukal. Jazz Ensemble. Jazz Ensemble; Score. Young Jazz Ensemble. Jazz. Grade 2. 16 pages. Published by Alfred Music Publishing

Score and Parts. By Cootie Williams, Thelonious Monk. (Set). Boosey and Hawkes Chamber Music. Published by Boosey & Hawkes.