SATB choir, cantor, assembly, keyboard accompaniment, oboe or C instrument - Intermediate

SKU: GI.G-006279

Psalm 25. Composed by Rudy T. Borkowski. Lent 1 B, Advent 1 C, Advent 1 A. Sacred. Octavo. With guitar chord names. GIA Publications #006279. Published by GIA Publications (GI.G-006279).

UPC: 641151062792.

Rudy has composed yet another harmonically appealing psalm setting that captures the essence of the text of Psalm 25. The simple, almost hypnotic motif in the refrain repeats while the supporting harmonies quietly shift beneath. The verses feature solo cantor with two-part choir, an oboe or instrument in C adds color and variety throughout. The verses end with a fluent, cascading figure in the piano that leads logically back to the refrain.

Piano solo

SKU: NR.90995

For piano solo, 2009-2012. Composed by Carlos Peron Cano. Keyboard instruments. Score. Composed 2009-2012. Noten Roehr #90995. Published by Noten Roehr (NR.90995).

Instantes perdidos, 2009, Juegos, 2012, Doliente, 2012, Hypnotic, 2012, Vertigo, 2012, Rebotes, 2012, Reflejos, 2012.

Guitar - Intermediate

SKU: DY.DO-1522

Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. Les Editions Doberman-Yppan #DO 1522. Published by Les Editions Doberman-Yppan (DY.DO-1522).

ISBN 9782897963026.

Fran cis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.
Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �tats-Unis.
Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.
Parallèle ment, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. � Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.
Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.
Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.
Progressivem ent, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.
Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !
Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.
Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.

Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.
We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.
After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.
In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.
Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.
He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.
Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism.
He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!
Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.
His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

By Glenn Burleigh. Arranged by Jack Schrader. (SAB or Three-Part). Blues/Gospel, Commitment, Dedication, Devotion, Discipleship, Gospel, Guidance, Renewal, Spiritual, Wisdom, Blues-Gospel-Spirituals and Sacred. Print Music Single (SAB w/opt. Rhythm). 12 pages. Published by Hope Publishing Company.

Composed by Robert Sheldon. For concert band. Measures of Success Performance Series. Grade 1. Score and parts. Duration 1 minute, 30 seconds. Published by The FJH Music Company Inc

Composed by Traditional. Arranged by Paul Cook. Concert Band. Concert Band. Belwin Young Band. Christmas; Winter. Grade 2. Conductor Score and Parts. 128 pages. Published by Belwin Music

Performed by Audioslave. Guitar Recorded Versions (Authentic note-for-note transcriptions). With notes and tablature. Size 9x12 inches. Published by Hal Leonard.

Concert Band - Grade 2.5

SKU: AP.44183S

Composed by Joel Spineti. Concert Band; Performance Music Ensemble; Single Titles. Young Symphonic. Form: Dance. Light Concert. Score. 24 pages. Duration 3:20. Alfred Music #00-44183S. Published by Alfred Music (AP.44183S).

UPC: 038081506074. English.

The King Cobra uncoils from a woven basket and flares out its iconic hood. It appears to sway back and forth hypnotically as the snake charmer plays his flute. This type of Cobra Dance has captivated audiences around the world for thousands of years. Timpani solos, a variety of percussion, syncopated rhythms and colorful harmonies are woven together to create an exotic tapestry of sound that your young musicians will look forward to playing at both rehearsal and performance. (3:20).

Piano - Grade 5-6

SKU: ET.PNO63

Composed by Jost Meier. Swiss Composers Series. Contemporary. Composed 2009. Duration 7 minutes. Editions BIM #PNO63. Published by Editions BIM (ET.PNO63).

ISBN 9790207012135.

Four pairs of words separated by an hyphen suggest a relation between each pair (contrast, refinement, conclusion, etc.).
I. Klang - Bild [sound - image]: linear and pointed moments contrasted with a fan-shaped sound.
II. Stille - Nacht [silent - night]: Resonating, soft harmonics create the illusion of silence. The title of this section is a literary reference to the famous Christmas carol, Silent Night.
III. Spinne - Netz [spider - net]: Through the spider’s activity (part one), the net is constructed (part two). The existing differences in the net's fine threads are infinitesimal.
IV. Wald - Licht [forest - light]: Light penetrates sporadically through the branches. And a meadow where there is nothing but light (sounding “A).
Jost Meier, May 2010, Basle, Switzerland.

Concert Band - Grade 5

SKU: BT.DHP-1033505-040

Gulliver's Travels. Composed by Maxime Aulio. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 2003. De Haske Publications #DHP 1033505-040. Published by De Haske Publications (BT.DHP-1033505-040).

9x12 inches.

Duration: 19:00 minutes

Jonathan Swifts satirischer Roman Gullivers Reisen - eine literarische Reise zwischen Vernunft und Verrücktheit - regte auch die Phantasie des Komponisten Maxime Aulio an. Seine Suite für Blasorchester besteht aus mehreren kurzen, teilweise wie eine Kette aneinander gereihten Sätzen. Zyklisch in veränderter Form wiederkehrende Motive und Themen beschreiben Gullivers Gedanken und Gefühle oder auch Landschaften und Personen, die ihm unterwegs begegnen.

1. Voyage Lilliput • 2. Voyage Brobdingnag • 3. Voyage Laputa/Voyage Balnibarbi; l’Académie de Lagado/Voyage Glubbdubdrib, l’île des Magiciens /Voyage Luggnagg; Les Struldbruggs • 4. Voyage chez les Houyhnhnms / Maxime Aulio a composé Gulliver's Travels (Les Voyages de Gulliver) pour l’Orchestre d’Harmonie du Conservatoire National de Région de Toulouse placé sous la direction de Jean-Guy Olive. L’œuvre a été donnée en création mondiale le 25 avril 2001, l’Auditorium Saint-Pierre des Cuisines de Toulouse, par la formation dédicataire.Vers 1720, lorsque Jonathan Swift (1667-1745), écrivain irlandais d’origine anglaise, envoie Lemuel Gulliver,un vieux chirurgien malicieux, la découverte de contrées extraordinaires, il débute en réalité l’écriture d’un roman satirique sur la vanité, la morale et l’hypocrisie de la société humaine. L’utopie littéraire était alors l'unique moyen d’éviter la censure. Mais en écrivant ce livre, dont la rédaction dura six ans, Swift eut le temps de m rir ses idées, si bien que sa réflexion grinçante sur la condition humaine est toujours d’actualité. Le génie imaginatif, la finesse d’esprit et la prose simple qui caractérisent Les Voyages de Gulliver ont fasciné des générations de lecteurs. Ce voyage littéraire entre raison et folie s’est également arrimé dans l’imaginaire de Maxime Aulio qui nous offre avec sa suite en quatre mouvements, une vision musicale des pérégrinations de Gulliver, la manière d’un kaléidoscope qui juxtapose de petits fragments de couleur dans une trame linéaire.

1-2-3 Jazz, Frank Vignola presents an intuitive approach for learning how to play jazz guitar without a trace of theory, no tedious exercises and no long drawn out hyperbole about modes, altered chords and similar rocket science. DVD. Published by eMedia Music (EI.TF06141).

Composed by Johann Sebastian Bach (1685-1750), edited by Klaus Hofmann. For piano (solo, duet - see contents). Urtext of the New Bach Edition. Format: piano book. With introductory text, performance notes and manuscript facsimiles. Baroque. 156 pages. 9x12 inches. Published by Baerenreiter-Ausgaben (German import).

Piano Solo - Grade 5+

SKU: MA.EMR-18539

Composed by Colette Mourey. Piano Solo. Score and parts. Duration 5'50. Editions Marc Reift #EMR 18539. Published by Editions Marc Reift (MA.EMR-18539).

Piano Solo - Grade 5+

SKU: MA.EMR-18498

Composed by Colette Mourey. Piano Solo. Score and parts. Duration 6'44. Editions Marc Reift #EMR 18498. Published by Editions Marc Reift (MA.EMR-18498).

Piano Solo - Grade 5+

SKU: MA.EMR-18619

Composed by Colette Mourey. Piano Solo. Score and parts. Duration 7'34. Editions Marc Reift #EMR 18619. Published by Editions Marc Reift (MA.EMR-18619).

Piano Solo - Grade 5+

SKU: MA.EMR-18609

Composed by Colette Mourey. Piano Solo. Score and parts. Duration 5'56. Editions Marc Reift #EMR 18609. Published by Editions Marc Reift (MA.EMR-18609).

Piano Solo - Grade 5

SKU: MA.EMR-18614

Composed by Colette Mourey. Piano Solo. Score and parts. Duration 4'16. Editions Marc Reift #EMR 18614. Published by Editions Marc Reift (MA.EMR-18614).

Piano Solo - Grade 6

SKU: MA.EMR-18556

Composed by Colette Mourey. Piano Solo. Score and parts. Duration 6'56. Editions Marc Reift #EMR 18556. Published by Editions Marc Reift (MA.EMR-18556).

Piano Solo - Grade 5+

SKU: MA.EMR-18500

Composed by Colette Mourey. Piano Solo. Score and parts. Duration 6'52. Editions Marc Reift #EMR 18500. Published by Editions Marc Reift (MA.EMR-18500).

Orchestra string orchestra - Level 1

SKU: KJ.SO339C

Composed by Shirl Jae Atwell. Arranged by Shirl Jae Atwell. Score and parts. Neil A. Kjos Music Company #SO339C. Published by Neil A. Kjos Music Company (KJ.SO339C).

UPC: 084027041734.

This lilting and hypnotic melody originates from the oral tradition of 19th-century American boat songs. Set in 3/4 time in the easy key of E-minor, the haunting tune will transport students to the deck of a swaying ship traversing the waves. Travel across time and oceans with this enchanting musical narrative. 1:33.

Piano Solo - Grade 5, Grade 6

SKU: MA.EMR-18623

Composed by Colette Mourey. Piano Solo. Score and parts. Duration 71'00. Editions Marc Reift #EMR 18623. Published by Editions Marc Reift (MA.EMR-18623).

String Ensemble

SKU: HL.50600906

Critical Edition Score. By Antonio Vivaldi. Edited by Alessandro Borin. String Ensemble. Classical. Softcover. 26 pages. Ricordi #PR1443. Published by Ricordi (HL.50600906).

ISBN 9788881920204. UPC: 888680699680. 8x10.75 inches.

Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer's assistance and perhaps even his agreement – these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.

String Ensemble

SKU: HL.50600908

Critical Edition Score. By Antonio Vivaldi. Edited by Alessandro Borin. String Ensemble. Classical. Softcover. 18 pages. Ricordi #PR1445. Published by Ricordi (HL.50600908).

ISBN 9788881920228. UPC: 888680699642. 8x10.75 inches.

Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer's assistance and perhaps even his agreement – these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.

String Ensemble

SKU: HL.50600909

Critical Edition Score. By Antonio Vivaldi. Edited by Alessandro Borin. String Ensemble. Classical. Softcover. 22 pages. Ricordi #PR1446. Published by Ricordi (HL.50600909).

ISBN 9788881920235. UPC: 888680699673. 8x10.75 inches.

Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer's assistance and perhaps even his agreement – these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.