Partial list of songs:JAZZ CLASSICSJohn Coltrane - Giant Steps, Impressions, Naima, Moment's Notice, Bass Blues, Equinox, Wise One, Tunji, Expression, Mr. P.C., Some Other Blues, Bessie's Blues, etc.Horace Silver - Senor Blues, Song For My Father, Ecaroh, Nutville, Moonrays, Strollin', Peace, Nica's Dream, Horacescope, Filthy McNasty, Silver's Serenade, Quicksilver, etc.Bill Evans - Time Remembered, Turn Out The Stars, Peri's Scope, Detour Ahead, etc.Wayne Shorter - Beauty And The Beast, Night Dreamer, MahjongBenny Golson - Killer Joe, Along Came Betty, Stablemates, Whisper NotDuke Ellington - Isfahan, Star Crossed Lovers, Mood Indigo, Sophisticated Lady, etcMiles Davis - Seven Steps To Heaven, Bye Bye Blackbird ...and many more!CHOICE STANDARDSMemories Of YouLet's Fall In LoveShe's The Talk Of The TownAfter You've GoneBody And SoulDay By DayFly Me To The MoonIII WindLullaby Of The LeavesMy ShipBye Bye BlackbirdI'll Be AroundGet Happy Sweet And LovelyMore Than You KnowAin't Misbehavin'The Boy Next DoorExactly Like YouHoneysuckle RoseI'm Glad There Is YouManha De CarnevalOnce In A WhileHarlem NocturneI Hadn't Anyone Til YouWhat A Difference A Day Made While We're YoungUnforgettableI Believe In YouBlack CoffeeCherokeeFlamingoIt's Only A Paper MoonThe Masquerade Is OverThat's AllThem There EyesThere Is No Greater LoveStardust...and many more!CONTEMPORARY JAZZChick Corea - Spain, Windows, Waltse For Dave, Morning Sprite, Sea Journey, Time Track, 500 Miles High, Friends, Got A Match', etc.Billy Childs - Quiet Girl, Midland, Like Father Like Son, etc.Eddie Gomez - Loxodrome, Power Play, Delgado, ForeverJohn Scofield - Wabash III, Time Marches On Michael Brecker - Dogs In The Wine Shop, Choices, Escher Sketch, Peep, Ode To The Doo Da Day, etc.Bob Berg - I Thought About You, Words, etc.John Patitucci - Growing, Baha Bajo, Wind SprintDave Sanborn - Lisa, It's You...and many more!

Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

editor: Bernard Thomas arranger: Bernard Thomas Dance Music Instrumentation: 3-5 recorders (SAT/SATB/SSAT/SAATB/SATTB) Edition: performance score The Schott Recorder Consort Anthology presents a wealth of music from the fifteenth to the seventeenth centuries. Although the bulk of the collection is laid out for a variety of four-part ensembles there are also duets and trios, as well as five- and six-part pieces. The repertoire includes both original instrumental works and transcriptions of vocal pieces. There are lively and stately dances, fantasias, and arrangements of expressive madrigals, catchy chansons and more restrained religious pieces; all are chosen for their effective realization by recorder consorts. 136 Renaissance pieces with notes on sources, editorial technique and interpretation. Volume I contains a valuable introduction to the series and to the art of consort playing. 2-6 recorders: Descant, Treble, Tenor, Bass in various combinations. Anonymous: La Danse de Cleves (SAT) Anonymous: Pavana in passo e mezzo (SATB) Anonymous: Saltarello La barca del mio amore (SATB) Anonymous: Pavana La fasane (SATB) T. Susato: Bergerette Dont vient cela (SATB) J. d'Estrées: Basse danse Bernadine (SSAT) E. du Tertre: Pavane & Gaillarde (SAATB) E. du Tertre: Branle de la guerre (SATB) E. du Tertre: Branle (simple) (SATB) E. du Tertre: Branle (simple) (SATB) P. + B. Hessen: Allemande Jamais n'aymeray masson (SATTB) C. Othmayr: Ein beurisch Tanz (SSAT) Anonymous: Polish Dance (ATTB) G. Mainerio: Putta nera ballo furlano (SATB) G. Mainerio: L'arboscello ballo furlano (SATB) Anonymous: Pavan with Divisions (SSATB) A. Holborne: Pavan (SAATB) A. Holborne: (Nowell's) Galliard (SATTB) C. Negri: Barriera (SATB) C. Negri: Bianca fiore (SATB) G. Zanetti: Passo e mezzo (SATB) G. Zanetti: Ballo de colla (SATB) G. Zanetti: Pavaniglia (SATB) G. Zanetti: La bella pedrina (SATB) P.F. Caroubel: Branle gay I (SAATB) P.F. Caroubel: Branle gay II (SAATB) P.F. Caroubel: Branle gay III (SAATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet des matelotz (SATB) M. Praetorius: Volte (SAATB) W. Brade: Courante (SSATB) after Playford: Grimstock (SATB) after Playford: Goddesses (SATB) after Playford: Heart's Ease (SATB)

C Instruments. The Real Book is an alternative to the plethora of poorly designed, illegible, inaccurate and badly edited volumes which abound on the market today. Clear and accurate, the Real Book series aims to provide a selection of music that is both easy to read and enjoyable to perform. Arranged for C instruments, this volume contains 400 songs, including Moon River, Georgia On My Mind, Fly Me To The Moon, Oye Como Va and many more well-known tunes./ Recueil / Instruments en Do