Composed by Dave Black and Mark Powers. For Drumset. Artist/Personality; Book; CD; Method/Instruction; Percussion - Drum Set Method or Collection. Alfred's Drumset Method. 48 pages. Published by Alfred Music

SKU: HL.337556

Rock & Roll Hall of Fame. Gift Item. Hal Leonard #14-RR01. Published by Hal Leonard (HL.337556).

UPC: 400396914156. 3.0x4.0x0.14 inches.

Celebrate the Rock Hall with LONG LIVE ROCK souvenirs previously only available at the Rock and Roll Hall of Fame.

A Practical Guide To Jazz Improvising For Strings. Composed by Martin Norgaard. Squareback saddle stitched. Book and Online Audio. 96 pages. Published by Mel Bay Publications, Inc

Piano - easy

SKU: HL.50600649

Facsimile with CD. Composed by Gyorgy Kurtag. Contemporary Music. EMB. Classical, Facsimile, Hungarian. Softcover with CD. Composed 2016. 122 pages. Editio Musica Budapest #Z15000. Published by Editio Musica Budapest (HL.50600649).

ISBN 9790080150009. UPC: 888680895518. 10.25x13.5x0.622 inches. Hungarian, English. Gyorgy Kurtag.

In the autumn of 1974 György Kurtág began to copy selected pieces from the series Games into a music notebook for Zoltán Kocsis who had been his student in earlier years and who, even today, is one of its most authentic performers. Kocsis played from this notebook in the first public performance of Games in 1974. The gradually expanding series of piano pieces also appeared in print in the course of later decades; however, since then he has used this collection - expanded over 32 years since by Kurtág - whenever he plays pieces from Games in concert. Since the time of this 1974 concert, as he writes: 'I didn't know that the spiral notebook I received at the premiere would later become, as it were, my permanent companion. That I would take it with me from Japan to Canada, from Australia to Iceland, travelling to the world's most prominent concert halls, surviving fire damage, flood, transport catastrophes, theft attempts, forced landings and so on, and that - well beyond the intention of its being 'copied with love' - it would include works and sketches for which this notebook would become the principal source.' The manuscript gives a glimpse into Kurtág's workshop from the viewpoint of both performers and musicologists. The former can understand more from Kurtág's handwriting about the composer's intentions than from the printed score. The musicologists, however, can study the historical origins of the works: some works can be found here in more than one version, others appear in a version different from the printed score. The publication is accompanied by a booklet and a CD supplement. The booklet contains Kocsis's own personal preface, as well as András Wilheim's essay providing information about the collection and the pieces contained therein. On the CD we hear 11 works performed by Kocsis, from a recording made in 1982 which has not previously been commercially issued.

SKU: HL.337687

Large. Rock & Roll Hall of Fame. Clothing Items. Hal Leonard #LLRSHIRTLG. Published by Hal Leonard (HL.337687).

UPC: 400396075444. 7.0x12.0x1.0 inches.

Celebrate the Rock Hall with LONG LIVE ROCK souvenirs previously only available at the Rock and Roll Hall of Fame. This unisex short sleeve cotton/polyester tee features a small museum logo on the front and a large LONG LIVE ROCK logo across the back.

Euphonium & piano - advanced

SKU: CY.CC2613

Composed by Felix Bartholdy Mendelssohn. Arranged by Ralph Sauer. Romantic. Solo part & piano accompaniment. Published by Cherry Classics (CY.CC2613).

Ralph Sauer has transcribed six of Mendelssohn's many Songs Without Words for Euphonium. Mendelssohn wrote eight volumes of songs for the Piano throughout his life. These pieces became popular immediately because of their beauty and accessibility technically . The Songs are mostly lyrical and of utmost beauty. Mr. Sauer has found a previously unmined resource and added immeasurably to the Euphonium repertoire.

For advanced performers in Bass Clef.

Organ solo

SKU: CA.1820200

Composed by Various. Edited by Richard Mailander. Hymns by Martin Luther: Gelobet seist du, Jesu Christ; editions for the new German catholic songbook Gotteslob. Organ music based on hymns, Advent, Christmas. Collection. 80 pages. Carus Verlag #CV 18.202/00. Published by Carus Verlag (CA.1820200).

ISBN 9790007141714.

The first volume of our new series with music to the hymnal Gotteslob assembles 30 pieces for Advent and Christmas, previously unknown pieces between baroque and present times, particularly convenient for liturgical use. About a third of the pieces was composed specifically for this edition. Most of the songs are suitable for ecumenical use.

By Johann Tobias Krebs. Edited by Nicola Sansone. For Recorder Quartet (SATB). Score and Parts. 40 pages

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

By Wolfgang Amadeus Mozart. Arranged by Wilby/Childs. Solo. For Euphonium & Piano. Two varied movements illustrate the flexibility of the instrument. Classical. Level: Advanced. Piano score and parts. Standard Notation. Duration 8:00. Published by Winwood Music (U.K. Import).

(Cello and Piano). Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by Ernst-G�¼nter Heinemann. For Cello, Piano Accompaniment. Henle Music Folios. Softcover. G. Henle #HN1294. Published by G. Henle

Chamber Music 2 Guitars

SKU: PR.UE034493

Fur Zwei Gitarren. Composed by Fernando Sor. New Karl Scheit Guitar Edition. Set of Score and Parts. With Standard notation. Universal Edition #UE034493. Published by Universal Edition (PR.UE034493).

ISBN 9783702472160. UPC: 803452069270.

Havin g previously issued Sor's L'Encouragement for two guitars (PR.UE034491), the New Karl Scheit Edition now tackles another challenging guitar duo, the famous Souvenir de Russie. Composed of an introduction, theme and variations, and an allegretto finale, the Souvenir de Russie is justly a favorite of better guitar duos. For advanced performers.

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

SKU: CF.CAS160F

From Three Short Pieces for Organ. Composed by Samuel Coleridge-Taylor. Arranged by Robert Debbaut. Cas. Full score. Duration 3 minutes. Carl Fischer Music #CAS160F. Published by Carl Fischer Music (CF.CAS160F).

ISBN 9781491165454. UPC: 680160924363. Key: C major.

The story of Samuel Coleridge-Taylor is of a rising star composer, one with a significant gift for melody and a simple lyricism, who embraced the previously unexplored song and dance forms from his father’s native west Africa and incorporated them into his own very European art music. Coleridge-Taylor began playing the violin at age five and by age fifteen wasadmitted to London’s Royal College of Music, where he studied both violin and composition and composed his first works. The simply-titled Melody is taken from Three Short Pieces for Organ - a set of pieces originally published in Novello’s Album for the Organ, No. 3 (1898). While certainly typical of the late 19th century, many of Coleridge-Taylor's creations display inspiration by African musical elements much like spirituals inspired Dvořák’s “New World” Symphony.

Composed by Claude Debussy (1862-1918). Edited by Douglas Woodfull-Harris. This edition: urtext edition. Barenreiter Urtext. Piano reduction. Baerenreiter Verlag #BA 7897-90. Published by Baerenreiter Verlag

Piano

SKU: HL.50603742

For Piano. Composed by Francis Poulenc. Salabert. Classical. Softcover. 8 pages. Editions Salabert #SLB20482. Published by Editions Salabert (HL.50603742).

ISBN 9781705135310. UPC: 840126960693. 9.5x12.5x0.055 inches.

Previously unpublished, Poulenc's Valse has a fascinating history. Written in 1951, the work exists in the form of an autographed manuscript incorporated into a drawing by the painter, Richard Chanlaire. The drawing is based upon the motif of a silk scarf created by the fashion designer, Pierre Balmain. Valse is a charming work, containing many of the characteristic features that we love about Poulenc's music.

Voice(s) and orchestra (solo: T - 0.0.0.1. - 0.0.0.0. - vl.vc/db - bc)

SKU: BR.PB-4660

Cantata previously attributed to J. S. Bach (BWV 160). Composed by Georg Philipp Telemann. Voice; stapled. Partitur-Bibliothek (Score Library). Baroque period. Full score. 16 pages. Duration 15'. Breitkopf and Haertel #PB 4660. Published by Breitkopf and Haertel (BR.PB-4660).

ISBN 9790004205013. 9 x 12 inches.

Choral (SATB)

SKU: HL.382769

SATB chorus. Composed by Lennox Berkeley. Choral. Concert. Octavo. 8 pages. Duration 180 seconds. Chester Music #CH88199. Published by Chester Music (HL.382769).

ISBN 9781705153635. UPC: 196288020929. 6.75x10.5x0.019 inches.

A previously unpublished choral work by Lennox Berkeley, written in 1943, sets words by John Donne for SATB choir unaccompanied.

Chorus with inst.

SKU: BR.PB-5387

Canzona. Composed by Sigfrid Karg-Elert. Choir; stapled. Partitur-Bibliothek (Score Library). During his middle creative period, Karg-Elert developed his own, unmistakable choral style. His few choral works, which stem from the years 1912 and 1913, unquestionably belong to his major works from this period. Cantata; Early modern; Late-romantic. Full score. 18 pages. Breitkopf and Haertel #PB 5387. Published by Breitkopf and Haertel (BR.PB-5387).

ISBN 9790004211182. 9 x 12 inches.

Oliver Hilmes's four new editions of Karg-Elert's most substantial choral works are being published with the same consistency and compactness shown by Karg-Elert when he wrote them in 1912/13. The reception of Karg-Elert's works, which has been quite strong in the organ domain, now obtains decisive impulses in a new direction. Joining the previously published choral canzonas Benedictus Op. 82 No. 1 and Vom Himmel hoch Op. 82 No. 2 are Naher, mein Gott, zu dir Op. 81 and the Passion Canzona Op. 84. Particularly charming is the unique instrumental color with which Karg-Elert sensitively enhances the choral sound in each work of this little group.

During his middle creative period, Karg-Elert developed his own, unmistakable choral style. His few choral works, which stem from the years 1912 and 1913, unquestionably belong to his major works from this period.

Soprano voice, alto voice & basso continuo

SKU: HH.HH542-FSP

Composed by Diogenio Bigaglia. Score and parts. Edition HH Music Publishers #HH542-FSP. Published by Edition HH Music Publishers (HH.HH542-FSP).

ISBN 9790708185574.

Thes e previously unnoticed chamber duets for various pairs of voices and basso continuo are among the most original compositions from the pen of Diogenio Bigaglia (1678–1745), the Venetian monk who was also a skilled and imaginative composer. They are set to texts taken from the famously chromatic madrigals of Carlo Gesualdo published over a century earlier. The purpose of this choice was not to commemorate Gesualdo but to assemble a homogeneous group of short poems suitable for Bigaglia’s evident main aim, which was to produce a cycle of vocal duets imitating the structural layout and musical processes of the contemporary trio sonata.

Piano

SKU: SU.28050030

For Piano. Composed by Alisa Bair. Keyboard, Piano/Harpsichord. Score. Subito Music Corporation #28050030. Published by Subito Music Corporation (SU.28050030).

Lively rendition of the hymn tune by Giovanni Giacomo Gastoldi, In dir ist Freude. Adapted from Alisa Bair's previously published SATB, handbell and flute arrangement. Perfect for worship service postludes or wedding recessionals. Piano Duration: 3' Composed: 2017 Published by: Distributed Composer YouTube:.

Solo voices, choir, orchestra (3Soprano Voice Solo, Mezzo Voice Solo, 2 Bass Voice Solo, SATB Choir, 2 Ob, bassoon, 2 Hn, 2 Trp, timpani, Str, Continuo)

SKU: BA.BA04070

Opera in three acts. Composed by George Frideric Handel. Edited by Terence Best. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Series II, Volume 41. Complete edition, Score. HWV 42. Duration 3 hours. Baerenreiter Verlag #BA04070_00. Published by Baerenreiter Verlag (BA.BA04070).

ISBN 9790006495870. 33 x 26 cm inches. Text Language: Italian. Text: Paolo Antonio Rolli.

Handel� ��s “Deidamia” was premièred on 10 January 1741 only a few weeks after “Imeneo”.
The librettist Paoli Rolli , a previously unsucessful librettist for Handel, delivered with his finest work “Deidamia”. On 10 February 1741 the third and final opera performances of this work took place under Handel’s direction. Oddly enough “Deidamia” would not be performed again until the beginning of the 20th century. This opera is based on the themes of humour and seriousness. The personal harmonising of Heroism (Achilles) and Love ( Deidamia ) build on the essential dramatic features of this work. “Deidamia” is the last great opera in a series of masterpieces: “Orlando”, “Poro”, “Ezio”, “Ariodante”, “Alcina”, “Serse” and “Imeneo”. The vocal score is based on the Urtext of the Halle Handel Editon.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Voice, Piano

SKU: FG.042-08585-1

Composed by Armas Jarnefelt. Edited by Matti Tuloisela. Album. Published by Fennica Gehrman (FG.042-08585-1).

ISBN 979-0-042-08585-1.

The collection of the main solo songs by Armas Jarnefelt was accelerated by a donation made by his son, Arvi, in Stockholm to the University of Helsinki: dozens of previously unpublished manuscripts thus found their way home to Finland. Sweden was father Jarnefelt's second home, since he spent a couple of decades as conductor of the Royal Opera in Stockholm. He concentrated almost exclusively on solo songs, the reason no doubt being that his father-in-law was Jean Sibelius, a master of large-scale form. Jarnefelt's vocal lyrics spring from the National-Romantic ethos nurtured on the archaic rune-singing of the national epic, the Kalevala, and the distant lands of Karelia. The folk-like elements of his youthful songs were in time joined by Impressionistic and in places even Expressionistic timbres. This collection is edited by Matti Tuloisela. Contents: Aallon kehtolaulu / Vagens vaggsang / Der Welle Wiegenlied * Am stillen Dorfe erhebt sich * Berceuse / Kehtolaulu * En spel- och dansvisa * Hamara / Skymning / Dammerung * I solnedgangen / Im Sonnenuntergang * Isanmaan kasvot * Kanteleelle * Kehtolaulu / Vaggsang (Liekku liiku) * Kehtolaulu / Vaggsang (Hiljaa, hiljaa) * Laula, laula! * Leivo / Larkan * Liina / Lina / Line * Milloin muistelet minua? / Sag, nar minnes du mig? / Sag', gedenkst Du meiner? * Nar alla klockor klamtat tolf / Wenn alle Uhren zwolf geschlagen * Sina / Du * Solsken / Sonnenschein * Sunnuntaina / Sondag * Suvirannalla / Sommarnatt pa stranden * Titania * Toivoni / Onskan * Uneksijan laulu elamalle / En drommarens sang till livet / Eines Traumers Sang an das Leben * Unelma / Drom * Viel' ois virtta tieossani / An en visa vill jag sjunga.

Basso (cello/double bass) (solo: A - campanella (2 bells) - str - bc)

SKU: BR.OB-4553-26

Funeral Music - previously attributed to J. S. Bach (BWV 53). Composed by Melchior (fruher J. S. Bach) Hoffmann. Voice; stapled. Orchester-Bibliothek (Orchestral Library). Cantata; Baroque. Part. 4 pages. Duration 10'. Breitkopf and Haertel #OB 4553-26. Published by Breitkopf and Haertel (BR.OB-4553-26).

ISBN 9790004314616. 10 x 12.5 inches.

Mozart * Beginner to Intermediate Piano Solos composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Erika Feuchtner Macris. For piano. This edition: Paperback. Collection. Classical Composer Series. Classical. Beginner to Intermediate. Book. Text Language: English. 64 pages. Published by Santorella Publications