SKU: GI.G-CD-438

SKU: BT.9780008353230

ISBN 9780008353230. English.

My First Piano Book introduces young children to the piano and music-making through fun activities, rhymes, songs and pieces. The author’s tried-and-tested progression covers note learning, theory, aural and composing through acreative and holistic approach. Many pieces have simple teacher duet parts to encourage ensemble playing from the start, and the book is illustrated throughout in the charming Get Set! style. This carefully designed tutor willinspire, entertain and, most importantly, nurture a love of music that can last a lifetime. Suitable for children aged 5+.

SKU: BT.MUSME0334

English.

With its 50 Blues rhythms inspired by the biggest hits of the greatest guitarists of all time (Eric Clapton, Buddy Guy, Albert King, Muddy Waters, Stevie Ray Vaughan, Robert Cray, Albert Collins, B.B. King, T-Bone Walker etc.), this tutorial will keep you pleasantly busy for quite a while. But there’s more to it than that! Besides affording pleasure, these rhythms allow you to discover and study the tools required for a good Blues accompaniment: triads, double stops, single notes, bends, barre chords, slides, hammer-ons, pull-offs, rest strokes, binary and shuffle rhythms, etc. All this is included in the guidelines given to you in the preliminary chapter –guidelines regarding the structure, the rhythm, as well as the chords employed. The DVD attached to the tutorial offers you the possibility to mindfully observe all 50 rhythms – first at actual playing speed, then at a slower speed. This again gives you the opportunity to closely follow the movement of the hands, to choose the right fingerings and keep a steady beat(!) For its part, the MP3 CD is composed of as many backing tracks as there are rhythms in the tutorial; the 50 backing tracks are recorded at two different tempi: the intended tempo (actual playing speed) and the rehearsal tempo (slower speed). On the backing track at actual playing speed the Guitar is only present during the first round, then it disappears, yielding the floor to you. The backing tracks provided here are of an appropriate length (about 4 to 5 minutes each, which sums up to almost 7h of musical practice). This means that you have enough time at your disposal to practice under the best conditions.

SKU: MB.GW865

5.25x7.5 inches.

Looking to spice up your repertoire? Or maybe youâ??d just like to add to your toolbox of licks and turnarounds? The best way to do either is to turn to the greats!

In this lesson Ben Gateno guides you through several jaw-dropping instrumentals originally performed and recorded by three of the most legendary acoustic blues and ragtime guitarists: Lonnie Johnson, Blind Blake, and Big Bill Broonzy. Combined, all tunes featured present wildly varying textures, rhythms, techniques, and harmonic language. By the end of the lesson no part of your fretboard will go unexplored. Along the way, Ben offers crucial insights and practice tips that will help you learn not only these numbers faster and better but are sure to ramp up everything you play.

All tunes are performed by Ben at speed and slowed down, with clear, detailed views of both hands. A detailed tab/music PDF file is included on the DVD with note for note transcriptions of the tunes taught. The original recordings are included in the Bonus Audio section. DVD is region 0 playable worldwide.120-minute DVD.

Titles include LONNIE JOHNSON Blues in G, BIG BILL BROONZY House Rent Stomp, and BLIND BLAKE breaks from Hometown Skiffle.

SKU: PR.144407270

UPC: 680160681891. 9 x 12 inches.

My Eighth and Ninth String Quartets, begun in late 2017, are sonic cousins. Akin to real cousins, each piece exhibits differing natures. They were requested by two ensembles that have become asecond familiesa to me: The Jupiter Quartet of Urbana, Illinois and the Amernet Quartet based in Miami, Florida. Their collective dedication to, and care for, our art remains a personal and constant are-fuelinga for me. The quartets were commissioned by, and dedicated to, Margaret and Philip Verleger of Denver, Colorado. Additional financial support was provided by the School of Music at Stetson University, Timothy Peter, Dean. Quartet No.8 is laid out in a classical four-movement design. The work does break somewhat from conventional tradition by often placing quartet members into soloistic roles as the movement titles note. individual The opening piece presents at the outset a three-note motto which is turned over, tumbled, and energetically discussed, primarily by a violin duet. It is a duel. The two players part company only infrequently during the movement's progress, pausing briefly for other commentary by their alower cohortsa, the Viola and Cello do not argue, but abet their friends' aeffortsa. The piece's overall character is fairly bright and dancelike, closing in an unresolvedastandoffa. not Two principal asound-objectsa stitch the second movement scherzo together: sliding hands (glissandos) and a plucked ashufflea (pizzicato) - both instigated by the (solo) cellist. The others are influenced - or are not - by their aleadera, and follow - or interrupt - the cello throughout their four-voiced conversation. The third movement (longest of the set) is an elegy dedicated to the memory of a close personal friend, the American composer David Maslanka (1943 - 2017). Its' genesis is a simple 5-note melody derived from my own name (SaC/DaC/EaC/H). This line commences in the (solo) viola and is obsessively uttered without relief during the movement's lamentations. The closing movement revisits much of that opening three-note material, but now dressed up for the full quartet to view. It is a slowly accelerating romp which - twice - cannot avoid a nod to the Amernet and Jupiter performers by offering a humble bow to the 4th movement of Gustav Holst's PLANETS - Jupiter: The Bringer of Jollity. My quartet serves as an honouring salute of thanks for the talent, respect, and friendship of these two young quartets. STRING QUARTET No. 8 is roughly 22 minutes in duration. It was written as an homage to Franz Joseph Haydn, my adesert-island-composera, and completed in Holly Hill, Florida in early April of 2019. S.H.

SKU: PR.11441167S

UPC: 680160016976. 8.5 x 11 inches.

Commissione d by Boston Musica Viva with funds provided by Catherine and Paul Buttenwieser, premiered on March 15, 2002, in Boston, directed by Richard Pittman, Wu Yu is composed for flute, clarinet (doubling bass clarinet), bassoon, violin, cello and percussion (vibraphone, bongo, Japanese high woodblock, cymbal, 2 Chinese gongs, tom-tom and bass drum), in two movements. Wu Yu was a ritual dance in ancient China, which includes song and dance performed with ox tails in hands. It's a ceremony of praying to the deity for rain. In the first movement of my composition Wu Yu, I use the flute, clarinet and bassoon to play in heterophonic style, imitating the tunes played by a group of suona players in a village ceremony (the blowing instrument suona is a shawm, made with wood), while using other instruments to create sheng-like sustained chords (the Chinese traditional instrument sheng is a free-reed mouth-organ, made with a gourd). The music starts slowly, and gets faster and faster towards the coda. In the second movement, I imitate a whole group of Chinese traditional percussion instruments played in the folk ensemble music Shifan Gong-and-drum in Southeast China, which is often used in ceremonies and village gatherings. The music is brought to a climax at the end of the work. The whole piece lasts about 14 minutes. --Chen Yi.

SKU: PR.14440727S

UPC: 680160681907. 9 x 12 inches.

My Eighth and Ninth String Quartets, begun in late 2017, are sonic cousins. Akin to real cousins, each piece exhibits differing natures. They were requested by two ensembles that have become asecond familiesa to me: The Jupiter Quartet of Urbana, Illinois and the Amernet Quartet based in Miami, Florida. Their collective dedication to, and care for, our art remains a personal and constant are-fuelinga for me. The quartets were commissioned by, and dedicated to, Margaret and Philip Verleger of Denver, Colorado. Additional financial support was provided by the School of Music at Stetson University, Timothy Peter, Dean. Quartet No.8 is laid out in a classical four-movement design. The work does break somewhat from conventional tradition by often placing quartet members into soloistic roles as the movement titles note. individual The opening piece presents at the outset a three-note motto which is turned over, tumbled, and energetically discussed, primarily by a violin duet. It is a duel. The two players part company only infrequently during the movement's progress, pausing briefly for other commentary by their alower cohortsa, the Viola and Cello do not argue, but abet their friends' aeffortsa. The piece's overall character is fairly bright and dancelike, closing in an unresolvedastandoffa. not Two principal asound-objectsa stitch the second movement scherzo together: sliding hands (glissandos) and a plucked ashufflea (pizzicato) - both instigated by the (solo) cellist. The others are influenced - or are not - by their aleadera, and follow - or interrupt - the cello throughout their four-voiced conversation. The third movement (longest of the set) is an elegy dedicated to the memory of a close personal friend, the American composer David Maslanka (1943 - 2017). Its' genesis is a simple 5-note melody derived from my own name (SaC/DaC/EaC/H). This line commences in the (solo) viola and is obsessively uttered without relief during the movement's lamentations. The closing movement revisits much of that opening three-note material, but now dressed up for the full quartet to view. It is a slowly accelerating romp which - twice - cannot avoid a nod to the Amernet and Jupiter performers by offering a humble bow to the 4th movement of Gustav Holst's PLANETS - Jupiter: The Bringer of Jollity. My quartet serves as an honouring salute of thanks for the talent, respect, and friendship of these two young quartets. STRING QUARTET No. 8 is roughly 22 minutes in duration. It was written as an homage to Franz Joseph Haydn, my adesert-island-composera, and completed in Holly Hill, Florida in early April of 2019. S.H.

SKU: PR.11441166S

UPC: 680160016945. 8.5 x 11 inches.

Commissione d by Boston Musica Viva with funds provided by Catherine and Paul Buttenwieser, premiered on March 15, 2002, in Boston, directed by Richard Pittman, Wu Yu is composed for flute, clarinet (doubling bass clarinet), bassoon, violin, cello and percussion (vibraphone, bongo, Japanese high woodblock, cymbal, 2 Chinese gongs, tom-tom and bass drum), in two movements. Wu Yu was a ritual dance in ancient China, which includes song and dance performed with ox tails in hands. It's a ceremony of praying to the deity for rain. In the first movement of my composition Wu Yu, I use the flute, clarinet and bassoon to play in heterophonic style, imitating the tunes played by a group of suona players in a village ceremony (the blowing instrument suona is a shawm, made with wood), while using other instruments to create sheng-like sustained chords (the Chinese traditional instrument sheng is a free-reed mouth-organ, made with a gourd). The music starts slowly, and gets faster and faster towards the coda. In the second movement, I imitate a whole group of Chinese traditional percussion instruments played in the folk ensemble music Shifan Gong-and-drum in Southeast China, which is often used in ceremonies and village gatherings. The music is brought to a climax at the end of the work. The whole piece lasts about 14 minutes. --Chen Yi.

SKU: AP.27024

UPC: 029156677614. English.

Morton Gould composed brilliantly for orchestra, Broadway, film, television, ballet and piano. He became nationally recognized through his work in radio, where he introduced many of his own compositions in a light, distinctly American style. This arrangement of his Pavanne, from Symphonette No. 2, is for 2 pianos, and it is unusually bright and sprightly (and almost jazzy) for what is traditionally a slower and statelier dance form. It has distinctly American and popular styling and is appropriate for two late intermediate level pianists. Two scores are included. A Federation Festivals 2016-2020 selection. A Federation Festivals 2020-2024 selection.

SKU: HL.645220

ISBN 9781495082122. UPC: 008148003631. 9.0x12.0 inches. Book/CD Pack.

This series offers students an appealing variety of styles in a single album. A brief paragraph of background information is provided for most pieces. All books include a CD with orchestrated accompaniments. Each piece has two tracks: one at performance tempo and one at practice tempo. An optional duet accompaniment, based on the orchestration, is included for all pieces at the early levels. The intent of the CD is to provide an incentive with a demonstration of the finished piece. The slower practice tempo assists the student in maintaining a steady beat, using the correct rhythm and gaining valuable ensemble experience while making practice more fun. This volume includes 13 classics, including: Anchors Aweigh * Easy Winners * He's Got the Whole World in His Hands * La Cucaracha * Lullaby (Brahms) * March from the Nutcracker * Oh! Susanna * Star-Spangled Banner * Toreador March from Carment * You're a Grand Old Flag * and more.

SKU: ET.PNO68

ISBN 9790207009289.

The 3 Impromptus by Richard Lane are excellent examples of a composer in full possession of his craft, an accomplished musician capable of writing beautiful music at any level of difficulty.
Lane composed Impromptu I (no specified dedicatee but most likely written for one of his students) in December 1972 at the age of 39.
The Impromptu II is dated June 1977 and was written for Eric Neumann who writes: [...] This Impromptu II written for me was a graduation present. I had studied with Richard Lane for three years, starting with composition. After my piano teacher retired, “Dick agreed to teach me piano to prepare for college auditions. With his support, I was accepted at the Eastman School of Music, his alma mater. The work was written as his impression of my finger dexterity in the fast sections and my contemplative spirit in the slower section.
The Impromptu III was written 9 years later (Oct. 1986) and is dedicated to Dahwei Kuo, most certainly also a Richard Lane student. A light, elegant piece with an impish sense of humor and some technical challenges thrown in for good measure.
The numerous unpublished piano works (including those for 2 pianos or 4 hands) by Richard Lane, composer and pianist, are all marvelous gems to be discovered as we proceed with the exclusive Editions Bim publications planned for the coming years.
Pianists interested in these publications can sign up for email information regarding new releases or periodically checking our website: www.editions-bim.com.

SKU: AP.48670

ISBN 9781470643744. UPC: 038081559445. English. Irish Folk Song.

This setting of the popular Irish folk song Londonderry Air begins in the key of B-flat major and modulates to the key of D major. The flowing melody is supported by lush harmonies that span the range of the keyboard. The melody begins in the secondo and moves back and forth between the parts throughout this evenly leveled duet. The piece builds to a dramatic conclusion with rich chords in a slower tempo that is broad and grand.