By Various. Edited by Joseph Diermaier. Arranged by James Rae. For Violin, Piano. Play Along - World Music. Includes Scotland the Brave, My Love is Like a Red, Red Rose, The Skye Boat Song, Mhairi's Wedding, and 100 Pipers.. Play along; world music. Solo part, accompaniment part, and play along CD. Composed 2001/2008

(A Method Book for Beginning Recorder Students). By Timothy Adams. For Recorder. Book with performance/accompaniment CD. Published by Heritage Music Press

Composed by Jill Gallina and Michael Gallina. Musicals. Published by Shawnee Press (HL.35029498).

(Playing with Children and Mother Goose). By Peggy D. Bennett. Classroom/Pre-School; Other Classroom; Reproducible; Song and Activity Book. Children. Book. 96 pages. Published by Alfred Music Publishing

By Alison Street; Linda Bance. For Children's Voices. Song Book. Voiceworks. Voiceworks. Children's book. 24 pages. Published by Oxford University Press . Children's book. Voiceworks.

By Earlene Rentz. For 2-part choir. (2-part). Octavo. Published by Heritage Music Press. (15/1549H)

March/April 2018. By Emily Bear. By Andrew Lloyd Webber, Benj Pasek, Glenn Slater, John Jacobson, Justin Paul, Roger Emerson, Zoltan Kodaly. Arranged by Emily Crocker, John Higgins. Music Express. Classroom Resources, Choreography, Young Choir, Children's Choir, Elementary, Children, Cross-Curricular. Softcover Media Online. Published by Hal Leonard (HL.234102).

(Easy Guitar Play-Along Volume 14). By Jimi Hendrix. For Guitar. Easy Guitar Play-Along. Softcover Audio Online. Guitar tablature. Published by Hal Leonard

Deluxe Guitar Play-Along Volume 24. By Jimi Hendrix. Deluxe Guitar Play-Along. Rock. Softcover Audio Online. With guitar tablature. 160 pages. Published by Hal Leonard

Chamber Ensemble

SKU: BT.MUSM570362110

2010 version. Composed by Thomas Simaku. Set of Parts. University of York Music Press #MUSM570362110. Published by University of York Music Press (BT.MUSM570362110).

English.

Thomas Simaku's  Reflexions de la Croix for chamber ensemble: Alto Flute, Clarinet (or Bass Clarinet), Piano, Percussion, Violin and Cello. Published 2003 First performance: Concorde Ensemble, Dublin, 7th March 2004. Parts.

Chamber Ensemble

SKU: BT.MUSM570362103

2010 version. Composed by Thomas Simaku. Classical. Score Only. 4 pages. University of York Music Press #MUSM570362103. Published by University of York Music Press (BT.MUSM570362103).

English.

Thomas Simaku's Reflexions de la Croix  for chamber ensemble: Alto Flute, Clarinet (or Bass Clarinet), Piano, Percussion, Violin and Cello. Published 2003 First performance: Concorde Ensemble, Dublin, 7th March 2004. Score.

By Debbie Cracknell. For Guitar tutor. Enjoy Playing Guitar. 64 pages. Published by Oxford University Press

The Ultimate Guitar Lesson Book with Online Audio Tracks. By Jimi Hendrix. Play Like. Softcover Audio Online. With guitar tablature. 136 pages. Published by Hal Leonard

Guitar Play-Along Volume 122. By Crosby Stills and Nash. Guitar Play-Along. Rock. Softcover Audio Online. With guitar tablature. 72 pages. Published by Hal Leonard

By Walter Noona. Piano. Level: Primer. Piano method. Published by Heritage Music Press.

(Best-of-the-Best Creative Extensions Arranged for Voices and Orff Instruments). Arranged by David Asplund. TEACHER ED. Expressive Art (Choral). 48 pages

Tunes, Tones, and Techniques for Drawbar Keyboards. Berklee Guide. Instruction. Softcover Audio Online. 136 pages. Published by Berklee Press

Clarinet

SKU: PR.494031980

Beginner Duets & Trios. Composed by Karen North. Theodore Presser Company #494-03198. Published by Theodore Presser Company (PR.494031980).

UPC: 680160686162.

Young players who are just starting to read music can find it difficult to follow a duet or trio. This book solves the problem with color coded music, making it easy for clarinet beginners to follow their ensemble part.Students only need to know 4 or 5 notes to play the first duets in this book, which covers Beginner and Preliminary levels.The music spans a wide range of composers, as well as traditional tunes from around the world. There is a selection of festive music, a section of rounds, plus there are warm up exercises, each focusing on one aspect of ensemble technique. The arrangements by Karen North have been prepared in consultation with clarinet specialist Sally Lucas.The arrangements work well for two players up to a large clarinet ensemble. Many pieces offer maximum flexibility as they can be played as a Duet (use the two upper parts) or as a Trio.Free recordings of all the duets & trios: https://www.youtube.com/c hannel/UCh0MBwKcJUR75_3wX RyYj5QPreview pages: https://www.theyoungflute player.com/clarinet-music Specifications:• Beginner-Preliminary level• 32 pages• 29 duets and trios• 8 warm-up exercises• 9 rounds• Keys up to one sharp or flat• Time signatures: 2/4, 3/4, 4/4, C, 6/8, 2/2.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2

SKU: PR.11442131S

Composed by Peter Schickele. Full score. Duration 26 minutes. Theodore Presser Company #114-42131S. Published by Theodore Presser Company (PR.11442131S).

UPC: 680160681006.

A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2

SKU: PR.114421310

Composed by Peter Schickele. Set of Score and Parts. 74+21+20+22+19+21+19 pages. Duration 26 minutes. Theodore Presser Company #114-42131. Published by Theodore Presser Company (PR.114421310).

UPC: 680160680993.

A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.

Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawnee Press.

Daily tone and articulation studies from the flutistas repertoire. Arranged by Daniel Dorff. Sws. Theodore Presser Company #114-41983. Published by Theodore Presser Company

Using Generic Modality Compression. Berklee Guide. Instruction. Softcover Audio Online. 104 pages. Published by Berklee Press

(Opera in One Act). Composed by Henry Mollicone (1946-). For voices. Full piano/vocal score. Published by Ione Press

Elements of the Solo. By Tomo Fujita. DVD. DVD . Published by Berklee Press, Rittor Music and Hal Leonard.

Jazz ensemble jazz band - Grade 2

SKU: LO.60-1128H

Composed by Robert Woods. Jazz. Score and set of parts. Heritage Music Press #60/1128H. Published by Heritage Music Press (LO.60-1128H).

UPC: 000308066579.

Here' s a straight-ahead chart reminiscent of Miles Davis' modal playing and writing during the late 1950s. It takes the typical AABA form and compresses it, so the band won't be stranded on one chord for 16 to 24 measures. This, along with the focus on ensemble playing and the excellent suggestions in the IDEAS FOR IMPROV section of the score, makes Play It Cool an excellent vehicle to introduce this important style to your young ensemble. By the way, it does sound cool too!

For keyboard. Includes CD-ROM (Windows and Mac). Learn to play. 9x12 inches. Published by Alfred Publishing.

Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by Lara Downes. Collection. Theodore Presser Company #440-40028. Published by Theodore Presser Company