SKU: FA.MFGT056

8.27 x 11.69 inches.

In 1959, Germaine Tailleferre wrote incidental music for a radio drama based on Philippe Jullian’s « Mémoire d’une bergère » or « Autobiography of an armchair » which traced the owners of this armchair from the court of Louis XV to England after the French Revolution, back to Paris and through the hands of various foreign owners (Arabian, American, German etc.). In illustrating this story Tailleferre used her great knowledge of musical styles to evoke these different settings, from the classical styles of French music of the XVIIIth century to classical, romantic, popular French styles as well as two evocations of American Blues/Ragtime music. These short pieces are interesting in and of themselves, in addition to illustrating Jullian’s story. The first piece may be repeated at the end, as it was in the original radio drama.

SKU: B7.B152

8.5x11 inches.

NOCTURNE FOR PIANO by Marc Douyon is based on the Haitian folk song, Ouangolo. The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part of the colorful musical tapestry as well. The work begins with an accompaniment that has the feel of someone gently rocking a chair and enjoying the relaxation it brings to the body. Among various themes heard in succession, the first is developed through variations and tempo changes. Shortly thereafter follow, new melodic fragments and accompaniment styles, a change of key, a recitative, all which bring a new sense of motion. Near the end, the last theme of the first section returns. The work closes with a coda which suggests that the person in the rocking chair has fallen asleep.

SKU: MB.WBM76M

ISBN 9781736363096. 8.75x11.75 inches.

This comprehensive book contains the solos found in five William Bay guitar solo collections.á The solos range from colorful foot tapping reels, breakdowns, hornpipes, jigs, fiddle tunes and sea chanteys to country and Celtic ballads and waltzes.á Also included are numerous original guitar solos.á All 143 solos in this collection are recorded by the author and online access to the recordings is included. All solos are presented in notation and tablature.

SKU: MB.31103M

ISBN 9781513468792. 8.75x11.75 inches.

Adam Granger self-published the first edition of Grangerâ??s Fiddle Tunes for Guitar in 1979. A second edition was published in 1994. Now Mel Bay Publications presents the third edition of the book.

This 236-page book is the most extensive and best-documented collection of fiddle tunes for the flatpicking guitar player in existence, and includes reels, hoedowns, hornpipes, rags, breakdowns, jigs and slip-jigs, presented in Southern, Northern, Irish, Canadian, Texas and Old-time styles.

There are 508 fiddle tunes referenced under 2500 titles and alternate titles. The titles are fully indexed, making the book doubly valuable as a reference book and a source book.

In this new edition, all tunes are typeset, instead of being handwritten as they were in the previous editions, making the tabs easier to read.

The tunes in Grangerâ??s Fiddle Tunes for Guitar are presented in Easytab, a streamlined tablature notation system designed by Adam specifically for fiddle tunes.

The book comes with a link which gives access to mp3 recordings by Adam of all 508 tunes, each played once at a moderate tempo, with rhythm on one channel and lead on the other.

Also included in Grangerâ??s Fiddle Tunes for Guitar are instructions for reading Easytab, descriptions of tune types presented in the book, and primers on traditional flatpicking and rhythm guitar. Additionally, there are sections on timing, ornamentation, technique, and fingering, as well as information on tune sources and a history of the collection.

Mel Bay also offers The Granger Collection, by Bill Nicholson, the same 508 tunes in standard music notation.

SKU: GI.G-9033

ISBN 9781622775606.

With its commitment to creating independent musical thinkers through the use of folk songs, Conversational Recorder is a visionary approach to recorder that builds music literacy and independence. This highly anticipated component of John M. Feierabend’s Conversational Solfege is a dynamic and engaging method that seamlessly coordinates with Levels 1 and 2 of the curriculum, an innovative 12-step “ear-before-eyeâ� � approach to teaching music literacy. Central to Conversational Recorder are two hundred online audio tracks with coordinating Guided Practice Activities at the beginning of each unit. The online tracks walk students step by step through decoding patterns and songs and are perfectly suited for at-home assignments and virtual instruction. Each of the thirteen units in this resource presents a new rhythm or melody challenge that is reinforced using a series of short musical patterns and songs. To ensure aural mastery before instrumental application, students follow a three-step procedure: (1) sing first, (2) sing while fingering on recorder, and (3) play on recorder. The teacher’s manual includes dozens of recorder activities (techniques) along with an overview of the method, instructions for how to use the online tracks, and tips for teaching fingering, tonguing, and breathing. The appendices also contain sample lesson plans, resources for assessment, fingering charts, and information for teaching recorder to students with disabilities. Conversational Recorder is an ideal program for incorporating recorder instruction into the elementary music classroom. John M. Feierabend, PhD, has spent decades compiling songs and rhymes from the memories of the American people in hopes that these treasures will be preserved for future generations. He is a leading authority on child development in music and movement and served as Professor and Chair of the Music Education Department of the Hartt School of the University of Hartford. Rachel Grimsby is an Assistant Professor of Music Education at Illinois State University and has over fifteen years of experience teaching elementary general music. She is a co-author of First Steps in Music with Orff Schulwerk and Feierabend Fundamentals, and her research interests include professional development for in-service teachers and paraprofessionals as well as teaching music to students with disabilities.

SKU: AP.35973S

UPC: 038081411804. English.

As the title suggests, this piece offers an opportunity for players to create a rich and elegant sound by using long, full bows with slurred note passages. Written in 3/4 time using the keys of C and D, there is a short solo section to allow your 1st chair players to shine. All parts stay in 1st position except the 1st violins who have a few notes in 3rd position. There are some accidentals, pizzicato and divisi throughout, and all parts share the melodic lines. A beautiful piece for developing expressive playing in your group!

SKU: GI.G-9033T

ISBN 9781622773954.

With its commitment to creating independent musical thinkers through the use of folk songs, Conversational Recorder is a visionary approach to recorder that builds music literacy and independence. This highly anticipated component of John M. Feierabend’s Conversational Solfege is a dynamic and engaging method that seamlessly coordinates with Levels 1 and 2 of the curriculum, an innovative 12-step “ear-before-eyeâ� � approach to teaching music literacy. Central to Conversational Recorder are two hundred online audio tracks with coordinating Guided Practice Activities at the beginning of each unit. The online tracks walk students step by step through decoding patterns and songs and are perfectly suited for at-home assignments and virtual instruction. Each of the thirteen units in this resource presents a new rhythm or melody challenge that is reinforced using a series of short musical patterns and songs. To ensure aural mastery before instrumental application, students follow a three-step procedure: (1) sing first, (2) sing while fingering on recorder, and (3) play on recorder. The teacher’s manual includes dozens of recorder activities (techniques) along with an overview of the method, instructions for how to use the online tracks, and tips for teaching fingering, tonguing, and breathing. The appendices also contain sample lesson plans, resources for assessment, fingering charts, and information for teaching recorder to students with disabilities. Conversational Recorder is an ideal program for incorporating recorder instruction into the elementary music classroom. John M. Feierabend, PhD, has spent decades compiling songs and rhymes from the memories of the American people in hopes that these treasures will be preserved for future generations. He is a leading authority on child development in music and movement and served as Professor and Chair of the Music Education Department of the Hartt School of the University of Hartford. Rachel Grimsby is an Assistant Professor of Music Education at Illinois State University and has over fifteen years of experience teaching elementary general music. She is a co-author of First Steps in Music with Orff Schulwerk and Feierabend Fundamentals, and her research interests include professional development for in-service teachers and paraprofessionals as well as teaching music to students with disabilities.

SKU: GI.G-9033S

ISBN 9781622773947.

With its commitment to creating independent musical thinkers through the use of folk songs, Conversational Recorder is a visionary approach to recorder that builds music literacy and independence. This highly anticipated component of John M. Feierabend’s Conversational Solfege is a dynamic and engaging method that seamlessly coordinates with Levels 1 and 2 of the curriculum, an innovative 12-step “ear-before-eyeâ� � approach to teaching music literacy. Central to Conversational Recorder are two hundred online audio tracks with coordinating Guided Practice Activities at the beginning of each unit. The online tracks walk students step by step through decoding patterns and songs and are perfectly suited for at-home assignments and virtual instruction. Each of the thirteen units in this resource presents a new rhythm or melody challenge that is reinforced using a series of short musical patterns and songs. To ensure aural mastery before instrumental application, students follow a three-step procedure: (1) sing first, (2) sing while fingering on recorder, and (3) play on recorder. The teacher’s manual includes dozens of recorder activities (techniques) along with an overview of the method, instructions for how to use the online tracks, and tips for teaching fingering, tonguing, and breathing. The appendices also contain sample lesson plans, resources for assessment, fingering charts, and information for teaching recorder to students with disabilities. Conversational Recorder is an ideal program for incorporating recorder instruction into the elementary music classroom. John M. Feierabend, PhD, has spent decades compiling songs and rhymes from the memories of the American people in hopes that these treasures will be preserved for future generations. He is a leading authority on child development in music and movement and served as Professor and Chair of the Music Education Department of the Hartt School of the University of Hartford. Rachel Grimsby is an Assistant Professor of Music Education at Illinois State University and has over fifteen years of experience teaching elementary general music. She is a co-author of First Steps in Music with Orff Schulwerk and Feierabend Fundamentals, and her research interests include professional development for in-service teachers and paraprofessionals as well as teaching music to students with disabilities.

SKU: GI.G-10383

SKU: GI.G-8161

ISBN 9781579998837. English.

Just who was John Philip Sousa? This intimate portrait brings Sousa to Life—who he was, why he was driven to succeed, his love of country—and explores his life and times through hundreds of photos, cartoons, short stories, news clippings, quotes, sheet music covers, and magazine ads collected in family scrapbooks, the Sousa Archive in the Library of Congress, and the U.S. Marines archives. This book reveals a quintessentially American story: It is the story of being born to poor immigrant parents and through immeasurable hard work, talent, and self-motivated drive succeeding beyond dreams. But it is also a very personal story of a man with a vision: a man who saw great music ultimately as being from the heart and who sought to bring this music—not just his own—to the world. This book also includes a bonus compact disc recording featuring The March King's most beloved works performed by his successors with The President's Own U.S. Marine Band as well as a rare archival track of Sousa's own voice introducing his band and playing his beloved The Stars and Stripes Forever. John Philip Sousa IV is the only living direct namesake of John Philip Sousa. I would like to think that in some small way I have continued my Great Grandfather's love of and service to our country. He served in the Air Force for four years and currently serves as Honorary Chairman and board member of The Enduring Freedom, Killed in Action Fund. He is also a painter and sculptor whose work is in numerous private collections in the U.S and South America. Sousa has worked for years as an investment and insurance consultant to banks, and has helped businesses with sales, distribution, and planning. One of his greatest joys and privileges is narrating Sousa or patriotic concerts for community bands, university bands, orchestras, and ensembles throughout the U.S. Loras John Schissel is the senior musicologist at the Library of Congress. As a composer and conductor, he has traveled throughout North America, Europe, and Asia conducting orchestras, bands, and choral ensembles in a broad range of musical styles and programs. As a composer and arranger, Schissel's catalog of works number more than 500. Long a favorite conductor with the world-class Cleveland Orchestra, Schissel was honored to conduct this group in a special September 11th memorial concert in 2011. He is a leading scholar on the life and work of John Philip Sousa.

SKU: CA.2702100

ISBN 9790007181642. Language: Latin.

Although Charles Gounod is well-known for his operas, church music forms a considerable part of his output. Within his church music the Messes breves, short masses for unaccompanied choir or with organ accompaniment, form a significant group of works. The present first Messe aux orpheonistes was composed for the Paris Orpheon, a choral society of male workers; Gounod became its chairman in 1852 and wrote numerous works for male voice choir for them. The work was premiered under the composer's direction on 12 June 1852 by 400 choral singers (adults and children), who formed a large tutti chorus and a small choir with solo parts. The scoring for three unaccompanied male voice parts can be expanded ad libitum by the addition of two soprano parts and organ.

SKU: PR.16400222S

UPC: 680160037841.

This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection.   The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour.   In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature.   The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales.   The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey.   Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.

SKU: CA.2702105

ISBN 9790007186265. Language: Latin.

Although Charles Gounod is well-known for his operas, church music forms a considerable part of his output. Within his church music the Messes breves, short masses for unaccompanied choir or with organ accompaniment, form a significant group of works. The present first Messe aux orpheonistes was composed for the Paris Orpheon, a choral society of male workers; Gounod became its chairman in 1852 and wrote numerous works for male voice choir for them. The work was premiered under the composer's direction on 12 June 1852 by 400 choral singers (adults and children), who formed a large tutti chorus and a small choir with solo parts. The scoring for three unaccompanied male voice parts can be expanded ad libitum by the addition of two soprano parts and organ. Score available separately - see item CA.2702100.

SKU: GI.G-DVD-500

UPC: 785147050032.

Force d to find a way to correct persistent intonation problems in his own choir, author James Jordan with the help of Matthew Mehaffey embarked on the development of a new method of choral ensemble solfege. Choral Ensemble Intonation: Method, Procedures, and Exercises presents this innovative new method, along with procedures and exercises, sure to improve the aural skills of any choir. Not just a temporary fix, this method encourages the building of intonation skills within the confines of the choral ensemble rehearsal. The method includes overall steps for reading a new work and teaches how solfege syllables can promote good intonation through good diction. In addition, the authors provide techniques for maintaining a consistent tempo, running a choral warm-up, and utilizing the accompanist to achieve better intonation. Jordan and Mehaffey also share listening techniques for the choir and discuss how the use of physical movement can assist intonation and good vocal production. Plus, conductors are given tools for modal analysis that will greatly improve the teaching and learning process. This book, video, and exercise octavos are based on the premise that instructors must teach singers what to hear and what to listen to, helping their choirs to sing with more beauty and less effort, all the while creating better musicians. Choral Ensemble Intonation: Method, Procedures, and Exercises has been created to be used in conjunction with a video demonstrating many of the concepts discussed in the book, and featuring the Westminster Choir College Chapel Choir. Two choral octavos of exercises published under the same title, one with shorter exercises, and the other containing fuller studies in all the modes composed by Roger Ames. The companion video includes rehearsal techniques and teaching procedures for choirs at all levels! James Jordan is one of America's most respected choral conductors and educators. He is associate professor of conducting at Westminster Choir College of Rider University, a leading center for the study and performance of choral music, where he is conductor of the Westminster Chapel Choir. Prior to his appointment to the Westminster faculty, Jordan served as chair for music education at the Hartt School of Music. His study of the psychology of music has been with Edwin E. Gordon. Jordan's conducting text, Evoking Sound, was his first book with GIA Publications, Inc. His second book, The Musician's Soul, is enjoying critical acclaim throughout America. Matthew Mehaffey is assistant professor of music and the director of choral activities at The George Washington University in Washington, DC. As an author, Mehaffey contributed a postscript essay to James Jordan's revolutionary book The Musician's Soul. He holds a master's degree in choral conducting from Westminster Choir College and a DMA in choral conducting from the University of Arizona.

SKU: GI.G-5527

ISBN 9781579991609. English.

Forced to find a way to correct persistent intonation problems in his own choir, author James Jordan with the help of Matthew Mehaffey embarked on the development of a new method of choral ensemble solfege. Choral Ensemble Intonation: Method, Procedures, and Exercises presents this innovative new method, along with procedures and exercises, sure to improve the aural skills of any choir. Not just a temporary fix, this method encourages the building of intonation skills within the confines of the choral ensemble rehearsal. The method includes overall steps for reading a new work and teaches how solfege syllables can promote good intonation through good diction. In addition, the authors provide techniques for maintaining a consistent tempo, running a choral warm-up, and utilizing the accompanist to achieve better intonation. Jordan and Mehaffey also share listening techniques for the choir and discuss how the use of physical movement can assist intonation and good vocal production. Plus, conductors are given tools for modal analysis that will greatly improve the teaching and learning process. This book, video, and exercise octavos are based on the premise that instructors must teach singers what to hear and what to listen to, helping their choirs to sing with more beauty and less effort, all the while creating better musicians. Choral Ensemble Intonation: Method, Procedures, and Exercises has been created to be used in conjunction with a video demonstrating many of the concepts discussed in the book, and featuring the Westminster Choir College Chapel Choir. Two choral octavos of exercises published under the same title, one with shorter exercises, and the other containing fuller studies in all the modes composed by Roger Ames. The companion DVD includes rehearsal techniques and teaching procedures for choirs at all levels! James Jordan is one of America's most respected choral conductors and educators. He is associate professor of conducting at Westminster Choir College of Rider University, a leading center for the study and performance of choral music, where he is conductor of the Westminster Chapel Choir. Prior to his appointment to the Westminster faculty, Jordan served as chair for music education at the Hartt School of Music. His study of the psychology of music has been with Edwin E. Gordon. Jordan's conducting text, Evoking Sound, was his first book with GIA Publications, Inc. His second book, The Musician's Soul, is enjoying critical acclaim throughout America. Matthew Mehaffey is assistant professor of music and the director of choral activities at The George Washington University in Washington, DC. As an author, Mehaffey contributed a postscript essay to James Jordan's revolutionary book The Musician's Soul. He holds a master's degree in choral conducting from Westminster Choir College and a DMA in choral conducting from the University of Arizona.