(Cancoes do Sol - Concerto No. 3 for Trombone and Orchestra). By Eric Ewazen. For Trombone, Piano. Contemporary. Solo part with piano reduction. Standard notation. 36 pages. Duration 18 minutes. Published by Theodore Presser Company

The Drummer's Guide to Musical Styles and the Legends Who Defined Them. By Rich Lackowski. For Drum Set. Percussion - Drum Set Method or Collection. Instructional Book and Examples CD. 244 pages. Published by Alfred Publishing.

(Over 100 Favorites for Piano and Sing-Along (Piano/Vocal/Guitar)). Composed by various composers and arrangers. For Guitar; Keyboard; Piano; Voice. This edition: Hardcover Piano/Vocal/Guitar Book and DVD-ROM. Book; DVD; P/V/C Mixed Folio; Piano/Vocal/Chords; Sing-Along. Christmas; Sacred; Secular; Traditional; Winter. 264 pages. Published by Alfred Music

4 Part Variable Wind Ensemble with Percussion - intermediate

SKU: BT.DHP-1216326-070

Arranged by Wil van der Beek. Music Box. Folk Music. Set (Score & Parts). Composed 2021. De Haske Publications #DHP 1216326-070. Published by De Haske Publications (BT.DHP-1216326-070).

ISBN 9789043162067. English-German-French-Dut ch.

1. Emerald Isle, in this part, the musical spotlight focuses in on the green island of Ireland and its great wealth of traditional folk music. The piece opens with the air ‘My Lodging Is on the Cold Ground’, also known under the title ‘Believe Me, If All Those Endearing Young Charms’ (bars 5-24). Next, we hear another well-known air ‘The Minstrel Boy’ (bars 29-44). Finally, the air ‘The Groves of Blarney’, possibly better known as ‘The Last Rose of Summer’ (bars 53-68) is heard. Each air is heralded by a short introduction and brought to an end by a short conclusion. 2. Old Kentucky Memories, following an introduction of 14 bars all attention is claimed by the song ‘My Old Kentucky Home’. As the piece goes on, snippets of memories emerge, fleetingly, surfacing fast, but quickly disappearing again: this is musically featured by way of small motifs and themes from other songs. These can be heard briefly, and then they disappear, musing on Old Kentucky until the introduction returns to end the piece. 3. Uppland, is a province in Sweden that had a rich folk music culture, like the whole of Sweden, that boasts many songs and dances. A notable amount of these songs and dances have been composed in minor keys, three of which feature in this part. First, we hear ‘Svensk folkvisa’(bars 1-38), followed by the famous ‘Värmlandsvisan� �€™ (bars 39-67) and then brought to an end by ‘Vexelsang’ (bars 68-end). 4. Ratatouille, in this part, no folk songs of just one country or one province are featured. This piece is a mishmash (or ratatouille), a hotchpotch of three folk songs with no significant relation at all. In succession, we hear a song from Russia (bars 1-30), one from Japan (bars 31-58) and one from Australia (bars 59-end). The composer of the Russian song titled ‘The Nightingale’ is Alexander Alyabyev (1787 1851), but the composers of the Japanese song titled ‘Sakura’ and the Australian ‘Waltzing Matilda’ are unknown.

1. Emerald Isle, in dit deel zijn de muzikale schijnwerpers gericht op het groene eiland Ierland, op de grote rijkdom aan traditionele volksmuziek. Het werkje opent met de air ‘My Lodging Is on the Cold Ground’, ook bekend onder de titel ‘Believe Me, If All Those Endearing Young Charms’ (maat 5-24). Daarna volgt de bekende air ‘The Minstrel Boy’ (maat 29-44). En ten slotte horen we nog de air ‘The Groves of Blarney’, misschien beter bekend als ‘The Last Rose of Summer’ (maat 53-68). Elke air wordt voorafgegaan door een korte inleiding en beëindigd met een korte afsluiting. 2. Old Kentucky Memories, na een inleiding van 14 maten (deels ook als afsluiting van dit deel gebruikt) wordt alle aandacht opgeëist door de song ‘My Old Kentucky Home’. Al gauw doemen er echter flarden van herinneringen op, vluchtig, snel opkomend, maar ook weer snel verdwijnend: dit krijgt muzikaal gestalte door middel van motiefjes en thema’s uit andere songs. Deze zijn even hoorbaar en dan weer vlug verdwenen... Mijmeren over Old Kentucky dus... 3. Uppland, is een provincie in Zweden met een rijke muziekcultuur, zoals heel Zweden trouwens ruim bedeeld is met volksliederen en volksdansen. Opvallend veel van deze liederen en dansen zijn gecomponeerd in mineurtoonsoorten. Dit is ook het geval met de drie voor dit deel uitgekozen songs: als eerste ‘Svensk folkvisa’(maat 1-38), gevolgd door het bekende ‘Värmlandsvisan� �€™ (maat 39-67) en tot besluit ‘Vexelsang’ (maat 68-slot). 4. Ratatouille, in dit deel worden geen volksliedjes van één land of één provincie belicht. Dit werkje is een ‘ratjetoe’ (ratatouille), een allegaartje van drie folksongs die onderling geen enkel verband met elkaar hebben: de enige overeenkomst is dat ze alle drie als volksmuziek bestempeld kunnen worden. Achtereenvolgens klinkt er een lied uit Rusland (maat 1-30), uit Japan (maat 31-58) en uit Australië (maat 59-slot). Van het Russische lied met de titel ‘De nachtegaal’ is de componist bekend: dat is Aleksandr Aljabjev (1787 1851). Van het Japanse lied ‘Sakura’ en de Australische song ‘Waltzing Matilda’ kennen we niet de componist niet.

1. Emerald Isle, in diesem Abschnitt richtet sich die musikalische Aufmerksamkeit auf die grüne Insel Irland mit ihrem großen Reichtum an traditioneller Volksmusik. Das Stück beginnt mit der Melodie My Lodging Is on the Cold Ground“, auch bekannt unter dem Titel Believe Me, If All Those Endearing Young Charms“ (Takt 5-24). Anschließend erklingt die bekannte Melodie The Minstrel Boy“ (Takt 29-44). Schließlich ist The Groves of Blarney“, vielleicht bekannter unter dem Titel The Last Rose of Summer“ (Takt 53-68), zu hören. Jede Melodie wird durch eine kurze Einleitung angekündigt und mit einem kurzen Nachspiel beendet. 2. Old Kentucky Memories, nach einer 14 Takte dauerndern Einleitung tritt das Lied My Old Kentucky Home“ in den Mittelpunkt. Im weiteren Verlauf des Stücks erscheinen bruchstückhafte Erinnerungen, die fast so schnell wieder verschwinden, wie sie auftauchen. Dies wird musikalisch durch kleine Motive und Themen aus anderen Liedern dargestellt. Diese sind kurz zu hören und verschwinden dann, während man über Old Kentucky nachdenkt, bis die Einleitung wieder erklingt, die zum Schluss des Stückes führt. 3. Uppland, ist eine schwedische Provinz, die wie ganz Schweden eine reiche Volksmusikkultur mit vielen Liedern und Tänzen hat. Eine große Anzahl der Lieder und Tänze, von denen drei in diesem Abschnitt enthalten sind, stehen in Moll-Tonarten. Zuerst hören wir Svensk folkvisa“ (Takt 1-38), darauf erklingt das berühmte Värmlandsvisan“ (Takt 39-67) und am Ende Vexelsang“ (Takt 68-end). 4. Ratatouille, in diesem Abschnitt werden nicht die Volkslieder eines einzigen Landes oder einer einzigen Provinz vorgestellt, sondern das Stück ist ein Mischung (oder Ratatouille“) aus drei Volksliedern, die keinerlei Beziehung zueinander haben. Zunächst erklingt ein Lied aus Russland (Takt 1-30), dann eines aus Japan (Takt 31-58) und zum Schluss eines aus Australien (Takt 59-Ende). Der Komponist des russischen Liedes mit dem Titel The Nightingale“ ist Alexander Alyabyev (1787 1851). Die Komponisten des japanischen Liedes Sakura“ und der australischen Melodie Waltzing Matilda“ sind unbekannt.

1. Emerald Isle (Île d’émeraude), cette première partie met en vedette la verdoyante île d’Irlande et son riche patrimoine de musique folklorique traditionnelle. Elle s’ouvre avec « My Lodging Is on the Cold Ground », un air également connu sous le titre « Believe Me, If All Those Endearing Young Charms » (mesures 5-24). Vient ensuite un autre air célèbre, « The Minstrel Boy » (mesures 29-44), lui-même suivi de « The Groves of Blarney », peut être mieux connu sous le titre « The Last Rose of Summer » (mesures 53-68). Chaque air est annoncé par une courte introduction et s’achève avec une courte conclusion. 2. Old Kentucky Memories (Souvenirs du vieux Kentucky), après une introduction de 14 mesures, toute l’attention se porte sur la chanson « My Old Kentucky Home ». A fil de la pièce, des fragments de souvenirs fugaces émergent, disparaissant aussi vite qu’ils se présentent : cette impression est créée par le biais de courts motifs et thèmes empruntés d’autres chansons. On les entend brièvement puis ils s’estompent, comme de lointains souvenirs du vieux Kentucky, jusqu’ une reprise de l’introduction pour conclure la pièce. 3. Uppland, est une province suédoise aux riches traditions musicales, tout comme l’ensemble de la Suède, qui compte de nombreuses danses et chansons. Beaucoup sont en tonalité mineure, et cette partie en comprend trois. La première est « Svensk folkvisa » (mesures 1-38), qui est suivie de « ‘Värmlandsvisan » (mesures 39-67), et la pièce s’achève avec « Vexelsang » (mesure 68 jusqu’ la fin). 4. Ratatouille, cette dernière partie ne comprend pas d’air provenant d’un seul pays. C’est un méli-mélo, une « ratatouille » de trois chansons folkloriques sans aucun lien. Il y a d’abord une chanson russe, « Le Rossignol » (mesures 1-30), puis « Sakura », originaire du Japon (mesures 31-58) et, enfin, « Waltzing Matilda », venue d’Australie (mesure 59 jusqu’ la fin). La chanson russe est d’Alexander Alyabyev (1787-1851), mais nous ignorons les auteurs des deux autres chansons.

Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5

SKU: BA.BA10303-01

Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01).

ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.

The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.

I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.

You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...

No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.

On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:

Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.

As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.

It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.

When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.

In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!

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
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- 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
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Composed by Gwyneth W. Walker (1947-). For baritone voice solo, piano. 21st century, prayer. Moderately Easy. Collection. Published by E.C. Schirmer Publishing

By Janet Johnson. For Keyboard (Piano). Methods. All. Level: Beginning-Intermediate. Book. 48 pages. Published by Mel Bay Publications, Inc.

Chamber Music Harpsichord

SKU: PR.110418390

Composed by Eric Ewazen. Full score. 11 pages. Duration 10 minutes. Theodore Presser Company #110-41839. Published by Theodore Presser Company (PR.110418390).

ISBN 9781491134603. UPC: 680160685158.

Eric Ewazen’s THREE INVENTIONS were inspired by Bach’s Two-part Inventions, yet they sound thoroughly like Ewazen. Composed for harpsichord (with a piano adaptation following later), Ewazen’s inventions maintain a pure “one note per hand” texture until their final chord, with strong-but-free imitative counterpoint between the two voices. While Ewazen may be best known for his wind music, he is a pianist himself, and composers’ works for their own instrument are a direct insight into how they write for their own performances. The piano adaptation of THREE INVENTIONS is also available as a separate publication.
THREE INVENTIONS was written for my dear friend Maria Rojas, who premiered the work on a faculty recital at Juilliard. Maria is both a pianist and a harpsichordist, and I first met her when she gave a demonstration of the harpsichord for the students in my theory classes.I’ve always been captivated by Bach’s series of Two-Part and Three-Part Inventions. With the Two-Part Inventions, I’m amazed how Bach could create such wonderful intricacy and counterpoint with only two voices. I consequently modeled my inventions after the counterpoint of Bach, involving the traditional contrapuntal devices he used: imitation, development, harmonic and modal shifts, fragmentation, and sequence, essentially creating a dialog between two completely equal voices conversing with each other!Bach wrote 15 Two-Part Inventions (as well as 15 Three-Part Inventions, not to mention the 48 preludes and fugues in The Well-Tempered Clavier!), and that’s just the start of his voluminous repertoire for the keyboard! I was happy just to write three!!!Each of my inventions has a distinctive mood. The first is in a relaxed, yet cheerful C Major tonality (as a nod to Bach’s Invention No. 1 in C Major); the second is heartfelt and lyrical; and the third invention (involving a Gigue rhythm in the compound meter of 12/8) is energetic, and full of life and spontaneity. The third is primarily in a minor tonality, resulting in a feeling of drama, bringing the THREE INVENTIONS to an exciting finale.

Concepts in Writing Two or More Melodies, Sounded at the Same Time. Explained. Composition, Music Theory, Songwriting. Softcover Audio Online. Published by Hal Leonard

Composed by Bill Ochs. Squareback saddle stitch. Method. Book and online audio. 80 pages. Mel Bay Publications, Inc #30674M. Published by Mel Bay Publications, Inc

Chamber Music Piccolo

SKU: PR.114422450

Composed by Johann Sebastian Bach. Arranged by Nicola Mazzanti. Sws. Full score. 20 pages. Duration 17 minutes. Theodore Presser Company #114-42245. Published by Theodore Presser Company (PR.114422450).

ISBN 9781491134986. UPC: 680160685974. 9 x 12 inches.

Bach’s colossal Partita No. 2 for Solo Violin has been crowned by many masters as one of music’s greatest achievements, and even its famous Chaconne movement alone is a mountain many performers dare not scale. While the literature of several other instruments has been enriched by transcriptions of the Chaconne, Mazzanti’s heroic adaptation of the complete Partita is the culmination of many years’ work, and the only transcription specifically for the piccolo’s unique range.
THE INSPIRATIONEver since my childhood, Johann Sebastian Bach’s solo violin music (like his works for solo cello) has always held a charm and mystery for me. There’s something about this repertoire that sparks an inextinguishable questioning in my musical and human soul.It is music without spatial limits or temporal cages, a music as essential as it is masterfully complex, in which the solitary voice of man meets the all-encompassing voice of God. It is a music whose vertical and horizontal dimensions, already admirably fused, are faceted into new and mysterious realities. For every violinist, the study of these compositions is at the apex of tenacious technical study and interpretative effort.Violinist Joshua Bell has said the Ciaccona (Bach did write the Partita’s movement titles in Italian) is “not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It’s a spiritually powerful piece, emotionally powerful, structurally perfect.”Transcribin g and performing Bach’s PARTITA NO. 2, BWV 1004 on piccolo was a feat that took years of work. The famous Ciaccona movement is, of course, the piece that alone occupied most of this time. How does one honor and elevate such high music with such a “small” instrument, devoid of the enormous expressive potential of the violin, devoid of its chords and its polyphony? How might I transform the piccolo into an instrument with, like the violin, full-bodied low notes and subtle high notes? Above all, why undertake such a demanding and extraordinary journey?The first reason is obvious: by transcribing, studying, and performing such an admirable piece, we assimilate it, it becomes part of us, it enormously enriches our musical interior.In addition, it forces us technically to expand the colors, agility, and flexibility of the instrument; it makes us think in a polyphonic way.Finally, the daily study, especially of the Ciaccona, is an extraordinary gymnasium in which to consolidate and strengthen our general technique.THE TRANSCRIPTIONThe whole Partita was transcribed in the key of A minor, a fifth above the original in D minor. This was necessary for the lowest note of the violin (G) to correspond to the lowest note of the piccolo (D). This version exploits the full range of the piccolo, from the D of the first octave to the B of the third octave. However some octave adjustments were needed.The chords, particularly in the Sarabanda and the Ciaccona, have been left with the same notational system used by Bach in his version for violin. I chose to respect Bach’s presentation and did not transcribe these into grace notes breaking the chords. I advocate that we must at least try to think of this music in its vertical dimension, trying to make the notes resonate as if they were being played together, deciding the speed of the arpeggio based on musical needs.While some woodwind editions of Bach’s string solos do indicate broken chords as grace notes, this implies that the most important note is necessarily the highest one, while sometimes it is precisely in the lower pitches that the theme is voiced.In this piccolo adaptation, many of Bach’s original articulations have been respected. Some have been changed, when needing to adapt them to the specific needs of flute playing.The two passages in the Ciaccona where Bach indicates “arpeggio” were rendered trying to respect the most consolidated and virtuous violin traditions, and at the same time the possibilities that the piccolo offers us. For this purpose, in some cases, different revoicings of the chords have been used.I thank all those who patiently listened to me and were close to me during this period, for their observations and advice. In particular, I thank my daughter Sara for her assistance and skill in entering this edition into music writing software.

Piano - Grade 7-8

SKU: ST.C463

Composed by Federico Ruiz. Edited by Clara Rodriguez. Piano and keyboard music. Collection. Clifton Edition #C463. Published by Clifton Edition (ST.C463).

ISBN 9790570814633.

This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.

The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.

Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??Eloísaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.

â??Elois aâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.

â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.

The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.

Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Choral Percussion, Piano, alto voice, bass Guitar, bass voice, soprano voice, tenor voice

SKU: CF.CM9743IN

Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. Set of Score and Parts. 44+32+2 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9743IN. Published by Carl Fischer Music (CF.CM9743IN).

ISBN 9781491162231. UPC: 680160920990. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

Choral SATB Choir, Bass Guitar, Percussion, Piano

SKU: CF.CM9743

Composed by Traditional African-American Spiritual. Arranged by Kevin Phillip Johnson. 20 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9743. Published by Carl Fischer Music (CF.CM9743).

ISBN 9781491161562. UPC: 680160920211. Key: E minor. English. Iyana Davis. Negro Spiritual with Rap crafter by Ayana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.44641192L

For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L).

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

Choral Bass Guitar, Percussion, Piano, alto voice, soprano 1, soprano 2

SKU: CF.CM9742

Composed by Traditional African American Spiritual. Arranged by Kevin Phillip Johnson. 16 pages. Duration 4 minutes, 5 seconds. Carl Fischer Music #CM9742. Published by Carl Fischer Music (CF.CM9742).

ISBN 9781491161555. UPC: 680160920204. Key: E minor. English. Iyana Davis.

This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version. The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences. The text of this spiritual has been interpreted in many different ways over the years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ. Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego. Four for the four that stood at the door: Many people interpret the four to be the four writers of the Gospel books - Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways? Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sevenfold spirit of God or the seven early Christian churches or the seven stars in the right hand of Christ mentioned in the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah's ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven. Ten for the ten commandments: This refers to the ten commandments given to Moses. Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!.
This Negro Spiritual was made popular by the Golden Gate Quartet in the 1930s. Willie T. Johnson, the lead singer of the group, is the father of Kevin P. Johnson the arranger of this version.  The composer, like his father, uses rhythm in exciting new ways to deliver Negro Spirituals to contemporary audiences.The text of this spiritual has been interpreted in many different ways over the  years. Here's a popular interpretation of the text. One for the little bitty baby born, born, born in Bethlehem: This refers to the infant Jesus. Two for Paul and Silas: This verse honors Paul and Silas who went on many missionary journeys to spread the teachings of Christ.  Three for the Hebrew children: The three Hebrew children could be Shadrach, Meshach and Abednego.  Four for the four that stood at the door:  Many people interpret the four to be the four writers of the Gospel books – Matthew, Mark, Luke and John, though this does not explain the part about standing at the door. Five for the gospel preachers: The five are Matthew, Mark, Luke, John and Peter. Paul is already mentioned above, in line two. Six for the six that never got fixed: Could this mean the sinners who never change their ways?  Seven for the seven that went up to heaven: The seven in heaven could be the seven stars in Ursa Major or the sev enfold spirit of God or  the seven early  Christian churches  or the sevenÂ� �stars in the right hand of Ch rist mentioned in  the Revelation. Eight for the eight that stood at the gate: This could refer to the eight people who entered Noah’s ark (Noah, his wife, their three sons and their wives). Nine for the nine that dressed so fine: This could refer to the nine orders of Angels in heaven.  Ten for the ten commandments: This refers to the ten commandments given to Moses.Performance notes: Swing the 8th notes Djembe drums should be played freely with flexible precision The rap can be optional The ending solo can be sung down an octave and can be changed to match the ability of the soloist. Do not clap louder than you sing If doing choral movement on the piece, pay attention to detail synchronizing movements as much as possible. While the rap is words in rhythm, if adding one is not possible for your performance, consider a spoken word of your own choosing Have fun!

For Bb Clarinet and Piano. Composed by Amanda Harberg. Premiered in the Music in Montclair Series with clarinetist Benjamin Fingland and pianist Amanda Harberg, at the Unitarial Universalist Congregation At Montclair. Contemporary. Solo part with piano reduction. With Standard notation. Composed 2015. 28 pages. Duration 12 minutes. Theodore Presser Company #114-41747. Published by Theodore Presser Company (PR.114417470).

Chamber Music Bass Clarinet 2, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Flute 1, Flute 2, Oboe 1, Oboe 2, alto Saxophone, soprano Saxophone

SKU: PR.114414480

18 Transcriptions of J.S. Bach for Chamber Winds. Composed by Johann Sebastian Bach. Folder. Baroque. Set of Score and Parts. With Standard notation. 64+12+12+12+12+12+12+12+1 2+12+12+12+12+12+12 pages. Duration 48 minutes. Theodore Presser Company #114-41448. Published by Theodore Presser Company (PR.114414480).

ISBN 9781598063264. UPC: 680160597932. 9x12 inches. Key: Bb major. Transcribed by Carter Pann.

A unique collection of elegant transcriptions of Bach’s keyboard and instrumental gems scored for 10 woodwinds, with flexible scoring and ossia parts – ideal for schools and “pull-out” groups on wind ensemble concerts.
The music of Johann Sebastian Bach (1685-1750) is a gift. Nearly every piece that poured out of this man is as inspired and perfected as the next. His body of work has cut a deep incision in the recorded history of music and set a benchmark to which all the contrapuntal masters who followed have aspired to meet.The transcriptions found within this volume add to the thousands upon thousands of versions of his music already re-worked for different groups and media. The music here does not, however, embellish Bach’s own scores (save but for a couple of instances in which it was felt necessary to add an inner voice to serve the expansive range of the ten woodwinds). The selections are ordered (loosely) to assume a smooth, inclined trajectory of both difficulty and musical breadth. The first piece is a small and simpleminuet, the last is a long interior movement of one of the most beloved and advanced violin concertos in the whole repertoire.As a keyboard player I grew up learning and falling in love with much of Bach’s music at the piano. For this very reason, much of this volume consists of the composer’s keyboard works. One cannot, however, deny many of the most cherished works from Bach’s oeuvre when compiling a set of transcriptions, and many of those “hits” are included here as well.Departing from a traditional harmoniemusik ensemble, I have replaced the horns here with saxophones. There are two reasons: 1) the nature of much of this music requires instruments with an ease of agility not executable so readily on the horn; and 2) the opportunity for saxophone players to be included in such an ensemble was very attractive, pedagogically.I hope you enjoy these gems from such a great genius.

Tuba (trombone)

SKU: M7.AHW-412

Composed by Bob Stewart. Sheet music. 21 pages. Charles Colin Corp. #AHW 412. Published by Charles Colin Corp. (M7.AHW-412).

English.

In the jazz tradition the Tuba was the bass in the rhythm section up until the mid-twenties. It was then the upright bass replaced the Tuba in many ensembles as the jazz music moved north and continued to develop. After this period the Tuba's roll, as bass in the rhythm section, was at a standstill and did not develop through Swing and Bebop. It wasn't until Cool Jazz of the 1950's when the Tuba was used by Miles Davis and Gil Evans in 'Birth of the Cool' as an ensemble horn. The Tuba, like swimming, is something you can't do any longer than you can hold your breath. In order to maintain a steady beat while playing in the rhythm section I have developed a system of breathing called Pant Breathing. Using this method, the player can maintain a steady beat within the rhythm section, without losing time while taking deep breaths.

(A Technical Guitar Method and Introduction to Music). By Juan Serrano and Corey Whithead. For Guitar (Classical). Methods. Flamenco. Multiple Levels. Book. 176 pages. Published by Mel Bay Publications, Inc

Melody/Lyrics/Chord Symbols/Harmonica Tab Harmonica

SKU: HL.300155

By Various. Harmonica. Blues, Country, Folk, Pop, Rock. Softcover. 336 pages. Published by Hal Leonard (HL.300155).

ISBN 9781540061874. UPC: 888680960902. 9.0x12.0 inches.

Play your favorite harmonica solos and learn new classics with this new collection of songs for 10-hole diatonic C harp! This comprehensive songbook presents an extensive collection of 140 songs spanning diverse genres including blues, rock, country, folk, traditional, gospel, and pop. Curated for harmonica enthusiasts of all levels, each song is meticulously transcribed with harmonica tabs, lyrics, and chord symbols, and skillfully adapted for various harmonica positions. Furthermore, the songbook offers valuable insights for performing each piece in its original key, along with note-for-note transcriptions of intros, licks, and solos by esteemed harp experts and virtuosos from varied musical backgrounds. Add this new songbook to your collection today to unlock the endless possibilities of your harmonica!

Composed by Marvin Hamlisch. For piano. From the motion picture "Ice Castles". Format: piano solo single. With chord names. Movies and traditional pop. G Major. 4 pages. 9x12 inches. Published by Warner Brothers.