(A Dramatic Musical Presentation for Holy Week). By Mark Hayes. For SATB choir, unison children's choir, alto and tenor soloist, and nine dramatic characters. Cantata. Choral: Easter, Holy Week. Accompaniment DVD. Published by Lorenz Publishing Company

By Jamey Aebersold. Published by Jamey Aebersold Jazz. (JAD) This nearly two-hour presentation features Jamey at the piano demonstrating the fundamental techniques used by all great jazz improvisers. Includes chord/scale relationships, keeping your place, patterns, the blues and pentatonic scales and their application, what and how to practice, articulation, memorizing songs and more! This presentation not only provides the technical information essential to getting started on improvisation, but it also serves as an overview of the entire creative process that even non-musicians can understand. Jamey also provides much needed motivational material and discusses the philosophy of man's need to be creative. A complete presentation!

(Folk Songs from Here, There and Everywhere - A Presentation for Unison and 2-Part Voices). By Sally K. Albrecht. This edition: Performance Pack (Director's Score and 10 Singer's Editions). Children's Musicals and Programs. Choral. Director's Score and 10 Singer's Editions. Published by Alfred Music Publishing

Organ

SKU: AP.12-0571507719

Volume 1. England 1510-1590. Edited by James Dalton. Masterworks; Organ - Method or Collection. Faber Edition: Early Organ Series. Masterwork. Book. Faber Music #12-0571507719. Published by Faber Music (AP.12-0571507719).

ISBN 9780571507719. English.

The Faber Early Organ Series is among the most comprehensive anthologies of early organ music ever published. In 18 volumes it spans two centuries and six geographical regions, presenting a broad and balanced view of the main forms, styles and composers. Within each geographical region the pieces, most of which are for manuals only, are arranged by date of composition or publication.
The presentation is both scholarly and practical; all of the music has been newly edited from the earliest surviving sources according to a systematic editorial method that preserves as many features of the original notation as possible while making it fully accessible to modern players. In every volume, an informative Introduction sets the music in historical context. There are also helpful sections on Ornamentation and Registration, and a Critical Commentary giving detailed information on the sources.

SATB choir, voice solo, organ accompaniment, flute, trumpet in B-flat, trumpet in C, violin 1, violin 2, viola, cello - Early intermediate

SKU: GI.G-4652

Composed by John L. Bell. Iona Community. Sacred. Choral score. 48 pages. GIA Publications #4652. Published by GIA Publications (GI.G-4652).

ISBN 9781579990206. Text by John L. Bell.

The Annunciation - The Nativity - The Presentation - The Rejection - The Cross - The Resurrection - The Assumption .

By James Swearingen, Clement Clarke Moore. Intermediate Wind Band/Ensemble. FJH Developing Band. Narrated by one to five people, this work presents the perfect opportunity to feature students, faculty, support staff, or school administrators. Dress for narrators may include choir robes along with black folders or simply appropriate outfits complimented with Santa hats. Between readings, the ensemble performs seasonal favorites and provides the audience with a few humorous suggestions. Score for this title: B1315S. Extra part for this title: B1315P. Concert Band. Level: 1.5. Score and Set of Parts. Published by The FJH Music Company Inc.

A Holiday Pops Presentation for 2-Part Voices. Arranged by Andy Beck, Alan Billingsley, Greg Gilpin, Mark Hayes, Larry Shackley, and Kirby Shaw. This edition: CD Kit. Classroom Resources; Classroom/Pre- School; Musicals; Musicals and Programs; Reproducible. Christmas; Secular; Winter. Book; Enhanced CD. 88 pages. Alfred Music #00-46827. Published by Alfred Music

A Holiday Pops Presentation for 2-Part Voices. Arranged by Andy Beck, Alan Billingsley, Greg Gilpin, Mark Hayes, Larry Shackley, and Kirby Shaw. This edition: Teacher's Handbook. Classroom Resources; Classroom/Pre-School; Musicals; Musicals and Programs; Reproducible. Christmas; Secular; Winter. Book. 88 pages. Alfred Music #00-46828. Published by Alfred Music

Arranged and Performed by Jerry Willard. Book and CD(s). Published by Music Sales. Since their introduction, Bach's Two-Part Inventions have been an essential resource for developing hand independence and ornamentation technique. Keyboard players have enjoyed these etudes for centuries and for the first time ever this body of work is available to guitarists. Presented in standard music notation and tablature with two specially-designed CDs: Disc One presents Bach's Inventions arranged for two guitars with Guitar One panned left and Guitar Two panned right, and Disc Two presents each Invention performed by one guitar at a time (with a count in). This provides the player with the opportunity to play along with the CD track or study each part individually. Bach Inventions for Guitar Duet is a must for every guitarist.

ISBN 076923688X. With vocal melody, piano accompaniment, lyrics, chord names and instructional text. Gospel and Learn To Play. 9x12 inches. HOW TO PLAY HYMNS AND GOSPEL SONGS IN EVANGELISTIC STYLES, is presented in three sections. The first section presents how to play hymns in Basic Chorale Style. The second section presents how to play hymns in Full Chorale and Accompaniment Styles. The third section is a collection of well-loved standard Gospel hymns, already arranged for you, using the three Styles taught in sections one and two. HOW TO PLAY HYMNS AND GOSPEL SONGS IN EVANGELISTIC STYLES, is not for the beginner. For the beginner there are books in the DAVID CARR GLOVER Sacred Music Library, Primer and Levels I-VI.

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).

By Groeber, Hoge, Sanchez, Welch. For Guitar. Guitar Works, NoteWriter, Composer Corner, and Music Fun sections provide activities to reinforce the concepts presented in this level. Theory. Level: Primer. Book. Published by The FJH Music Company Inc.

Book. Published by Music Sales. (AS10299) A direct modern approach to piano fundamentals. Songs and technical arrangements are presented in an easy and logical manner. This excellent teaching course for piano includes outstanding supplemental material.

Piano - Intermediate

SKU: AP.12-0571542506

Composed by Jóhann Jóhannsson. This edition: Limited. Piano - Personality Book; Piano/Vocal/Chords. Classical; Movie. Book. 104 pages. Faber Music #12-0571542506. Published by Faber Music (AP.12-0571542506).

ISBN 9780571542505. English.

Jóhann Jóhannsson: Piano Works presents transcriptions of the late composer's best and most-loved piano works, brought together in a stunning high-end cloth-bound hardback limited edition book. Featuring 30 accurate transcriptions of piano works from across his albums and films, including the soundtrack for The Theory of Everything, Free the Mind and Flight From the City. Suitable for intermediate pianists, it also includes a wealth of striking photographs and a specially commissioned introduction from American composer, Dustin O'Halloran.

Piano/Keyboard

SKU: HL.221028

Composed by William T. Eveleth. Instructional. Instructional, Blues, Jazz and Rock. Instructional book. With instructional text. 71 pages. Published by Hal Leonard (HL.221028).

ISBN 9780793520916. UPC: 073999210286. 9x12 inches.

This book presents a practical approach to improvising through a system of patterns in a traditional blues style. Because so much of today's popular music has its roots in blues, the material included here is a vital component of jazz, rock, RandB, gospel, soul, and even pop. The author has compiled actual licks, riffs, turnaround phrases, embellishments, and basic patterns that define good piano blues and can be used as a basis for players to explore and create their own style.

SKU: BR.EB-9387

Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387).

ISBN 9790004188576. 0 x 0 inches.

Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

String quartet (P/ST) - difficult

SKU: HL.49033305

Composed by Peteris Vasks. This edition: Saddle stitching. Sheet music. Edition Schott. Score and Parts. Composed 2004. 56 pages. Duration 25'. Schott Music #ED9809. Published by Schott Music (HL.49033305).

ISBN 9790001137911. UPC: 884088408053. 9.0x12.0x0.202 inches.

String Quartet No. 5 consists of two contrasting movements. The first movement, being present, immediately leads to an atmosphere of high emotional tension. The prevailing atmospheric elements of the music are dramatic and passionate, alternating with each other like a kaleidoscope. In contrast to that, a second theme is intoned three times - an invitation, a memory of the existence of another world, a light-house which illuminates the twilight in which we live so often. But this invitation remains unheard. The first movement concludes with dissonances in the upper register - a cry of utter desperation.The second movement, so distant ... yet so near, is the calm, unhurried vocal section of the quartet. A forgiving, loving look at a world tortured by grief and contradictions. Gradually, the singing becomes more personal, more emotional and more dramatic. The rhythmic figure of a funeral march in the recapitulation of the second movement is a gesture of loss. Eventually, the quartet loses itself in an atmosphere of light-filled grief. Peteris Vask.

The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3

In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3

The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3

En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3

The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.” His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.” Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252

Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

Nobuya Sugawa Presents. By Nobuya Sugawa. Composed by Franz Wilhelm Ferling. Arranged by Andre Waignein. For Piano accompaniment. This edition: 155908. Instrumental solos/Ensembles with the same instruments. De Haske Intl Play Along Book. Studies. Level: Grade 6. Accompaniment book for solo saxophone etudes. Text language: English, Deutsch, Francais, Nederlands. Published by De Haske Publications.

For SATB Chorus and Organ. Composed by Nico Muhly. Music Sales America. Classical. Softcover. 36 pages. Chester Music #SRO100073. Published by Chester Music (HL.14047938).

Composed by Thomas Keesecker. Sacred. Octavo. Published by Concordia Publishing House (CR.98-4277).