SKU: PR.114423620

ISBN 9781491137321. UPC: 680160690053.

MAYKA (Serbian for “mother”) is a fascinating collection of 10 short recital pieces, each inspired by Serbian folk-music traditions, enriched through a broad variety of non-traditional techniques. Serbian-born flutist Jovana Damnjanović created these teaching etudes in conjunction with her doctoral thesis introducing Eastern European traditions to Western flutists. Along with its 10 fresh and dazzling concert works, this publication includes a thorough preface on performance techniques and instructions for each etude.
MAYKA attempts to represent the sounds of traditional Serbian music and also make them more familiar and accessible to flute players around the world. The overarching inspiration for the sound is one of the most popular instruments in Serbian traditional music: the frula. Inspirations from the tone colors of other instruments such as duduk, cevara, dvojnice, and kaval are also present. To read more about these instruments, refer to Chapter 1: Introduction (pg. 13-16) in the online dissertation.My intention was to create an original work exclusively for flute that holds characteristics of Serbian traditional music. An imitation of one of the Serbian traditional song forms can be found in “Čоček;â� �� irregular time signatures can be found in “Igra,” “Čоček,â� �� and “Vez.” The style is mostly present through trills, ornaments, and tonality, which are ubiquitous characteristics of Serbian traditional music.Each of the concert etudes has a narrative. The reason for narrative is to bring the style closer to the performer, and to help with understanding each etude’s expressive significance. Some etudes were inspired by people and events, some by specific dances, music, and literature from Serbia. As the etudes are of programmatic nature, they are a great choice for themed recitals. The idea was to write pieces short enough to be good program-fillers, not too hard to put together yet effective, and also suitable for short performances in venues that do not have a piano. To read more about each etude’s narrative, refer to Chapter 3: Performance Guide (pg. 24-75) in the dissertation.The book is titled MAYKA, Serbian for mother, to honor my mother, my mother’s mother, and my Motherland, Serbia. Motherland is represented through the style and tonal language of all of the concert etudes, and my mother and grandmother have been the biggest inspiration for the narrative of “Svila,” “Nana,” and “Uspavanka.”.

SKU: CF.CPS240F

ISBN 9781491157879. UPC: 680160916474. 9 x 12 inches.

Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, itas like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it's like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it’s like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia.  The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through.  As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country.  The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape.  The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix.  Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion.  Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.

SKU: CF.CPS240

ISBN 9781491157862. UPC: 680160916467. 9 x 12 inches.

Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, itas like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it's like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia. The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through. As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country. The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape. The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix. Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion. Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.
Composing this piece was an interesting process. A piece of a melody or an idea takes shape, and after writing it down, it’s like planting a seed that starts to grow and develop. I got a snippet of a western idea and then thought of a monument in my hometown of Wheeling, West Virginia.  The statue is called Madonna of the Trail. The history part of this piece started to take shape as I researched this statue. There are twelve of them located in twelve states where the Old Trail Road, or National Road, passes through.  As the piece developed, I started to think about the travel of a pioneer woman and her family passing through various areas of our early country.  The 3,000 mile coast-to-coast National road was realized in the early 1900s but was based on six trails that date back to the 1700s. After developing the introduction and theme to this concert band piece, the story began to take shape.  The slower 3/4 section melody hints at Greensleeves (What Child Is This) which appropriately weaves itself into the mix.  Finally heading further west into New Mexico, Arizona, and California, the melody takes on a Spanish flavor and returns to the main theme before its conclusion.  Divisi parts that are optional can be utilized to add a richer sound. Feel free to experiment with octave changes in the woodwinds in the fuller sections, if students are comfortable playing up an octave. Always be aware of the musicality, blend, and especially legato playing when required.

SKU: PR.114423500

ISBN 9781491137758. UPC: 680160691531.

Commi ssioned by The Juilliard School’s Music Advancement Program, IMPRESSIONS FROM THE CHINESE ZODIAC is a suite of three characteristic pieces within reach of advanced pre-college saxophonists, and introducing advanced techniques. The work is equally satisfying and impressive for top-level performers. The movements are titled:1. Rooster Singing Out in the Morning2. Monkey Jumping Around in the Forest3. Tiger Walking Down from the Mountain.
Commissioned by The Juilliard School for Juilliard’s Music Advancement Program, Impressions from the Chinese Zodiac was composed for any size saxophone in 2022. It consists of three independent movements featuring different musical characteristics with various performing techniques. The inspiration for the music came from impressions of three animal signs (rooster, monkey, and tiger), from the twelve in the Chinese Zodiac.The first piece begins with a repeated phrase imitating a rooster’s loud singing in the morning; the pitch with fluttertongue sounds like the noise from the rooster’s throat), followed by phrases of a pentatonic melody drawn from The Sun Is Rising With Our Joy, a Chinese folk song from Sichuan province. There are descending passages, simulating the dropping-down sound of the singing. Each passage is different from others, each of which should be played accurately and smoothly. The melody is moved up a step with variation, followed by an echo of the rooster singing at the end of the piece. Now the sky is bright, so the rooster call returns up four scale steps!The second piece includes two Chinese folk songs: Thinking of My Darling (from Shanxi province) and Guessing (from Yunnan province). Both songs have large interval skips spanning different registers, as well as microtonal intervals in their original singing, which show the characteristics of the regional musical languages respectively. The tone colors should be matched when registers are changed. The microtonal pitches (quarter-tone flat or three-quarter-tone flat) may be done by bending the tone with one’s lips. The image is the monkey jumping around lively, and the music is played humorously. The high and long pitch with a yelling-down effect at the end of the piece brings the music to an exciting peak.The third piece features the strong and brave tiger, with accented tones in the lowest register. The first 3-pitch motive is developed throughout the piece, while peristaltic chromatic material is formed in various shapes and directions, to show the gestures of a mighty and fierce image.Getting accustomed to special fingerings for the chromatic passages and trills, along with precisely notated articulations, and the techniques of tongue slap and key clicks, are the basic goals to achieve in this piece.

SKU: GI.G-10049

SKU: PR.114419810

ISBN 9781491136638. UPC: 680160681921.

Stacy Garrop’s ROAD WARRIOR is music of real-life tragedy, expressed through the power of a trumpet/organ duo. Drawing inspiration from Neil Peart’s autobiographical book, “Ghost Rider: Travels on the Healing Road,” Garrop’s work grieves the loss of a friend’s young son and the journey to healing. ROAD WARRIOR’s evocative movement titles are drawn from passages in Peart’s book:1. I Am the Ghost Rider2. My Little Baby Soul3. Are You With Me Here?.
When Clarion members Keith Benjamin (trumpet), Melody Steed (organ), and I initially discussed possible topics for a new piece, Keith brought up his son Cameron, who had passed away at the age of seven from leukemia. While Cameron’s life ended too soon, he left an indelible and lasting mark on his those surrounding him. Keith asked if I could commemorate Cameron musically.In talking over possible ways to do this, Keith mentioned the book Ghost Rider: Travels on the Healing Road. The book was written by Neil Peart, who is well-known as the longtime drummer and lyricist of the band Rush. Peart suffered the heartbreaking loss of his daughter in 1997, followed by his wife 10 months later. In an effort to work through the grieving process, Peart did what his wife suggested before she passed: he got onto his motorcycle and hit the open road. Ghost Rider chronicles a year of Peart’s life in which he drove for 55,000 miles, zigzagging his way across Canada, the western portion of the United States, Mexico, and Belize. Peart’s powerful story illustrates how he coped with immense loss and eventually emerged on the other side to once again embrace life. Keith had found Peart’s book helpful in dealing with Cameron’s death; moreover, Mr. Peart sent Cameron a signed cymbal while he was in the hospital undergoing treatment. This unexpected gesture of compassion and generosity meant the world to both Cameron and Keith.I chose three phrases from Peart’s book to serve as the inspiration for the movements in Road Warrior. In the first movement, I am the ghost rider, I imagined the performers to be howling phantoms that are haunting drivers on a nearly deserted highway. Peart often mentioned that he felt haunted by ghosts from the past while on his journey, and sometimes felt like a ghost himself, moving through an immaterial world as he rode from town to town. The second movement, My little baby soul, references Peart’s wording to define his own inner essence that he was trying to protect and nurture while on his journey. In this gentle movement, I capture the innocence and simplicity of a newborn soul. The piece concludes with Are you with me here? In this movement, I depict the performers as they search to find connections to those they have lost, and to those still living.Over the course of his travels, Peart kept up a steady letter correspondence with his close friend Brutus. In one of his first letters, he repeatedly asks Brutus if he is with him in spirit. I found it to be very poignant that while in his self-imposed exile, Peart discovered that he still needed connections to humanity.I wish to thank Mr. Peart for granting me permission to use his phrases as the movement titles, and for serving as the inspiration for Road Warrior. Rarely do any of us make it through our lives without being touched by the loss of someone dear to us. I found Peart’s insights into his grieving and recovery process to be insightful, eloquent, and surprisingly comforting. His journey is a touching reminder that with enough fortitude and time, we can work through what fate deals us and continue down our own road of life.