Guitar Edition. Edited by Steve Gorenburg. Rock House. Chords, Instruction. Soft...(+)
Guitar Edition. Edited by
Steve Gorenburg. Rock
House. Chords,
Instruction. Softcover
Audio Online. With guitar
tablature. 160 pages. Hal
Leonard #FR00987.
Published by Hal Leonard
SKU: SU.05500020 Composed by Faye-Ellen Silverman. Guitar, Solo Guitar, G...(+)
SKU: SU.05500020
Composed by Faye-Ellen
Silverman. Guitar, Solo
Guitar, Guitar Ensemble.
CD (Audio). Subito Music
Corporation #05500020.
Published by Subito Music
Corporation
(SU.05500020).
Albany Records
(TROY 1250) This
recording is a symbol of
cross-ocean friendship
between composer
Faye-Ellen Silverman and
guitarist Volkmar
Zimmermann and includes
two pieces commissioned
by Zimmermann and his
Corona Guitar Kvartet.
All the works feature
guitar and range from
works for solo guitar,
guitar quartet and works
for voice with guitar.
Faye-Ellen Silverman
studied at Barnard
College, Harvard
University and Columbia.
She has received numerous
commissions and awards
and recordings of her
music appear on the
Albany, Capstone, Crystal
and New World record
labels. Her collaborator,
German-born guitarist
Volkmar Zimmerman studied
at the Royal Danish
Academy of Music. He has
performed in Europe,
Russia, the United States
and in Canada as a
soloist and as a member
of the Corona Guitar
Kvartet. A bonus video,
playable on QuickTime is
included. Titled SPOR, it
is a film by Nike Arnold
and Clara Bausch and uses
the first track from the
recording, Processional,
as music. Contents:
Faye-Ellen Silverman,
composer Processional
Volkmar Zimmermann,
guitar Faye-Ellen
Silverman, composer 3
Guitars Per Dybro
Sorensen, Volkmar
Zimmermann, Kristian
Gantriss, guitars
Faye-Ellen Silverman,
composer In Shadow Malene
Bichel, soprano, Maria
Sook Garmark, clarinet,
Mikkel Andersen, guitar
Faye-Ellen Silverman,
composer Wilde's World
Jan Lund, tenor, Ninnie
Isaksson, viola,
Krisitian Gantriis,
guitar Faye-Ellen
Silverman, composer
Danish Delights Sara
Fiil, soprano, Volkmar
Zimmermann, guitar
Faye-Ellen Silverman,
composer Pregnant Pauses
Corona Guitar
Kvartet.
Banjo - Beginning SKU: MB.21025M Composed by Ross Nickerson. Saddle-stitc...(+)
Banjo - Beginning
SKU:
MB.21025M
Composed by
Ross Nickerson.
Saddle-stitched, Banjo:
5-String, Folk, Solos and
Duets. Made Easy. Style.
Book and online audio. 32
pages. Mel Bay
Publications, Inc
#21025M. Published by Mel
Bay Publications, Inc
(MB.21025M).
ISBN
9780786691968. 8.75 x
11.75 inches.
Easy
to play five-string banjo
arrangements of
twenty-four childrens
favorites by banjo master
Ross Nickerson. Not only
are these songs fun to
play but from an
instructional standpoint
they are perfect for
helping you develop the
ability to bring out the
melody in the bluegrass
banjo style. Accenting
the melody within the
steady rhythmic roll of
banjo playing is one of
the biggest challenges
facing banjo students and
these familiar melodies
are ideal for your
development of that
skill. Each song is
arranged and performed
using proper three-finger
bluegrass technique. The
arrangements are
carefully designed to
bring out the melody, but
easy enough for a
beginner or intermediate
player to learn quickly.
The tablature in the book
is large and easy to read
with accent marks for
melody notes, as well as
right and left-hand
fingering indications.
This book is not simply a
tablature book. Childrens
Songs for Banjo Made Easy
also features instruction
on learning the chords to
each song, chord
progression charts for
each song, special
learning tips for each
arrangement, a full page
of advice on memorizing
the songs and more. Also,
in the instructional
section of the book Ross
includes a page of
suggestions on the best
use of practice time and
how to develop the skills
needed to succeed with
each piece. Includes
online access to a high
quality studio recorded
audio of all the songs
played at three speeds
and a bonus track of Ross
performing.
Orchestra SKU: PR.416415760 For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.416415760
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Prof. Peter
Schickele. Study Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576. Published by
Theodore Presser Company
(PR.416415760).
UPC:
680160636532. 9 x 12
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Orchestra SKU: PR.41641576L For Really Big Orchestra. Composed by ...(+)
Orchestra
SKU:
PR.41641576L
For
Really Big Orchestra.
Composed by PDQ Bach.
Edited by Peter
Schickele. Large Score.
With Standard notation.
Duration 11 minutes.
Theodore Presser Company
#416-41576L. Published by
Theodore Presser Company
(PR.41641576L).
UPC:
680160636549. 11 x 17
inches.
The 1712
Overture stands out in
P.D.Q. Bach's oeuvre for
two reasons, among
others: it is by far the
most programmatic
instrumental piece among
those by the minimeister
of Wein-am-Rhein so far
unearthed, and 2) its
discovery has led to a
revelation about the
composer's father, Johann
Sebastian Bach, that has
exploded like a bombshell
on the usually serene
musicological landscape.
The overture is based on
an anecdote told to
P.D.Q. Bach by a cousin,
Peter Ulrich. Since P.U.
Bach lived in Dudeldorf,
only a few miles down the
road from Wein-am-Rhein,
he was P.D.Q.'s closest
relative, and he was, in
fact, one of the few
members of the family who
was on speaking terms
with P.D.Q. The story,
related to P.D.Q.
(fortunately for us
posterity types) in a
letter, may be summarized
thus: The town of
Dudeldorf was founded by
two brothers, Rudi and
Dieter Dudel, early in
the 18th century. Rudi
remained mayor of the
newborn burg for the rest
of his long life, but
Dieter had a dream of
starting a musicians'
colony, an entire city
devoted to music, which
dream, he finally
decided, could be
realized only in the New
World. In 1712, he and
several other bagpipers
sailed to Boston, never
to return to Germany.
(Henceforth, Rudi became
known as der deutscher
Dudel and Dieter as the
Yankee Dudel).
Unfortunately, the head
of the Boston Musicians'
Guild had gotten wind of
Dudel's plans, and
Wilhelm Wiesel (pron.
VEE-zle), known none too
affectionately around
town as Wiesel the
Weasel, was not about to
share what few gigs there
were in colonial America
with more foreigners and
outside agitators. He and
his cronies were on hand
to meet Dudel's boat when
it pulled into Boston
Harbor; they intended to
prevent the newcomers'
disembarkation, but Dudel
and his companions
managed to escape to the
other side of the bay in
a dinghy, landing with
just enough time to rent
a carriage and horses
before hearing the sound
of The Weasel and his
men, who had had to come
around the long way. The
Germans headed West, with
the Bostonians in furious
pursuit. soon the city
had been left far behind,
and by midnight so had
the pursuers; Dieter
Dudel decided that it was
safe for him and his men
to stop and sleep until
daybreak. When they
awoke, they found that
they were in a beautiful
landscape of low,
forested mountains and
pleasant fields, warmed
by the brilliant morning
sun and serenaded by an
entrancing variety of
birds. Here, Dudel
thought, her is where I
will build my colony. The
immigrants continued down
the road at a leisurely
pace until they came upon
a little church, all by
itself in the
countryside, from which
there suddenly emanated
the sounds of a pipe
organ. At this point, the
temptation to quote from
P.U. Bach's letter to
P.D.Q. cannot be
resisted: They went
inside and, after
listening to the glorious
music for a while,
introduced themselves to
the organist. And who do
you think it was? Are you
ready for this -- it was
your old man! Hey, no
kidding -- you know, I'm
sure, that your father
was the guy to get when
it came to testing new
organs, and whoever had
that one in Massachusetts
built offered old
Sebastian a tidy sum to
go over there and check
it out. The unexpected
meeting with J.S. Bach
and his sponsors was
interrupted by the sound
of horse hooves, as the
dreaded Wiesel and his
men thundered on to the
scene. They had been
riding all night,
however, and they were no
spring chickens to start
with, and as soon as they
reached the church they
all dropped, exhausted,
to the ground. The elated
Germans rang the church
bells and offered to buy
everyone a beer at the
nearest tavern. There
they were taught, and
joined in singing, what
might be called the
national anthem of the
New World. The melody of
this pre-revolutionary
patriotic song is still
remembered (P.D.Q. Bach
quotes it, in the bass
instruments, near the end
of the overture), but is
words are now all but
forgotten: Freedom, of
thee we sing, Freedom
e'er is our goal; Death
to the English King, Long
live Rock and Ross. The
striking paucity of
biographical references
to Johann Sebastian Bah
during the year 1712 can
now be explained: he was
abroad for a significant
part of that year,
testing organs in the
British Colonies. That
this revelation has not
been accepted as fact by
the musicological
establishment is no
surprise, since it means
that a lot of books would
have to be rewritten. The
members of that
establishment haven't
even accepted the
existence of P.D.Q. Bach,
one of whose major works
the 1712 Overture
certainly is. It is also
a work that shows
Tchaikowsky up as the
shameless plagiarizer
that some of us have
always known he was. The
discovery of this awesome
opus was made possible by
a Boston Pops Centennial
Research Commission; the
first modern performance
took place at the opening
concert of the 100th
anniversary season of
that orchestra, under the
exciting but authentic
direction of John
Williams.
Chamber Music flute, piano SKU: CF.WF232 Composed by Antonin Dvorak. Edit...(+)
Chamber Music flute,
piano
SKU:
CF.WF232
Composed by
Antonin Dvorak. Edited by
Robert Stallman. Arranged
by Robert Stallman. Set
of Score and Parts. With
Standard notation. 28+16
pages. Carl Fischer Music
#WF232. Published by Carl
Fischer Music (CF.WF232).
ISBN 9781491153772.
UPC:
680160911271.
Known
internationally for
superior flute editions,
Robert Stallman continues
his considerable
expansion of the flute
repertoire with
re-creations, or
“new†works
for flute by Bach,
Mozart, Schubert,
Beethoven, Chopin,
Dvořák, and other
great composers.Conceived
originally as a work for
solo piano, this
arrangement of
Dvořák’s
Suite in A Major for
flute and piano is based
on both the piano and
orchestra versions. It is
one in a series of
Stallman’s
“new†works
for flute. Dvořák
composed the Suite in A
Major in 1894, inspired
by his happy and fruitful
stay in the “New
World†—a
period that produced some
of his greatest works,
full of thematic
freshness, raw energy and
folk influences, both
American and Old World
Czech. The “New
World†Symphony,
Cello Concerto,
“Americanâ€
Quartet, String Quintet
in E≤ Major, the
Violin Sonatina and this
A Major Suite are all cut
from the same musical
cloth—textured
with his personal
impressions of the Wild
West’s fascinating
Indian and Afro-American
music, its God-fearing
and friendly people, its
vast open spaces and its
awe-inspiring natural
beauty. PrefaceConceiv
ed originally as a work
for solo piano, the Suite
in A Major was composed
by Dvořák in 1894,
during his famous
two-year visit to the
United States. He wrote
the work in a mere ten
days, and a year later
made a full orchestration
of it. The Suite was
first performed in this
second version in 1910 in
Prague at the Rudolfinum.
Dvořák, who died
in 1904, never had a
chance to hear a
performance of this
stirring orchestral
realization.The Suite was
inspired by the
composer’s happy
and fruitful stay in the
“New Worldâ€,
especially by his
unforgettable summers
spent in the quiet
Czech-American village of
Spillville, Iowa—a
period that produced some
of his greatest works,
full of thematic
freshness, raw energy and
folk influences, both
American and Old World
Czech. The “New
World†Symphony,
Cello Concerto,
“Americanâ€
Quartet, String Quintet
in Eb Major, the Violin
Sonatina and this A Major
Suite are all cut from
the same musical
cloth—textured
with his personal
impressions of the Wild
West’s fascinating
Indian and Afro-American
music, its God-fearing
and friendly people, its
vast open spaces and its
awe-inspiring natural
beauty.Several of the
Suite’s affecting
melodies find echoes in
these other, better known
compositions of this
American period. Wistful
themes abound in all five
movements, reflecting
Dvořák’s
transformative American
experience as it found
resonance in his own
emotions. Contrasting
with deeply felt,
contemplative passages
are
Dvořák’s
joyous and tempestuous
expressions, which open
the second, third and
final movements.This
arrangement for flute and
piano is based on both
the piano and orchestra
versions. It is one in a
series of my
“new†works
for flute by some of our
greatest composers and I
am delighted to add it to
the collection. I predict
that the A Major Suite
will become a popular
addition to our Romantic
recital repertoire, much
like the Dvořák
Sonatina.—Robert
StallmanMarblehead,
Mass.June 1, 2018.
For
Tenor, Flute, String
Quartet and Piano.
Composed by Lowell
Liebermann. Saddle. Set
of Score and Parts. With
Standard notation.
Composed 1992. Opus 40.
44+7+7+8+8+8 pages.
Duration 15 minutes.
Theodore Presser Company
#111-40139. Published by
Theodore Presser Company
(PR.111401390).
UPC:
680160002863. 9 x 12
inches. Poems by William
Butler Yeats.
This
work was commissioned by
Susan and Elihu Rose. It
was written at the
request of tenor Robert
White, to whom it is
dedicated. It was
premiered at Alice Tully
Hall on February 17, 1993
by Robert White, James
Galway, the Lark Quartet
and pianist Brian Zeger.
It was actually Miss
Alice Tully's suggestion
that some settings of
Yeats would be lovely
that prompted me to look
at these poems. I was at
once struck by their
intense lyric beauty and
decided immediately to
use them for this work.
The six poems were chosen
from Yeats' 1899
collection The Wind Among
the Reeds. Dealing with
unrequited love, these
particular poems have
hints of the mystic
preoccupations which were
to become more prominent
in Yeats' later work.
Scored for an ensemble
consisting of Flute,
Piano and String Quartet,
it was my intention that
the beauty and clarity of
the poetry should be
matched by a directness
of musical expression
which would not overwhelm
the poems. The
instrumental writing
makes no attempt at tone
painting but rather
provides a colorful but
often austere
psychological background
to the tenor's melodies
which are at times almost
folk-like in their
simplicity. The work is
unified as a cycle not
only by its tonal
structure, but also
through harmonic and
motivic elements that the
individual songs
share.
SATB choir, organ or brass quintet - Intermediate SKU: MN.50-7016 Compose...(+)
SATB choir, organ or
brass quintet -
Intermediate
SKU:
MN.50-7016
Composed
by Philip Young. Catholic
Year C Easter3; Year C
Easter3; Year C Easter2;
Year C Pentecost7;
Catholic Year C
Ordinary14. Easter
Season, 21st Century.
Choral score. MorningStar
Music Publishers
#50-7016. Published by
MorningStar Music
Publishers (MN.50-7016).
UPC: 688670570162.
Scripture: Psalms
30.
Substantial
setting of Psalm 30
adapted with alternating
fanfares and sections of
dance-like quality, plus
a slower middle section.
Unique sound that lingers
in the ear. Theme: Gods
power transforms sorrow
into joy, despair into
celebration. Independent
accompaniment.
Instrumental parts
include: Trumpets I and
II Trombone Horn.
2 Trumpets, Trombone/Horn in F, Trombone/Tuba SKU: AP.1-ADV20404 Irish...(+)
2 Trumpets, Trombone/Horn
in F, Trombone/Tuba
SKU: AP.1-ADV20404
Irish Folksong (for
Brass Quartet).
Arranged by Frank
Reinshagen. Brass
Ensemble - Quartet;
Quartet; Solo Small
Ensembles. Advance Music.
Folk; Traditional. Score
and Part(s). Advance
Music #01-ADV20404.
Published by Advance
Music (AP.1-ADV20404).
UPC: 805095204049.
English.
Traditional.
Writin
g these arrangements,
Frank Reinshagen has
created little
masterpieces, which
broaden the rhythmical
and harmonic context of
the original tunes in an
interesting manner
without detracting from
their archaic and
melancholic character.
These original tunes have
been borrowed from the
Irish, Scottish and
Gaelic musical tradition.
These through-composed
arrangements are rather
easy to perform from the
rhythmical and technical
point of view. Yet, they
are quite demanding in
respect of the key they
are written in, their
intonation and,
especially, their
interpretation. Their
different
instrumentations are
fully compatible with
each other and, due to
their overall structure,
they are also suitable to
be played with
multi-scored parts. The
original of The Sons of
Liberty is of a more
recent date and goes back
to the time when the King
of England forced the
Irish farmers' sons to go
to war in America against
their own fellow
countrymen who were
striving for freedom
there. The arrangement
conveys the impression of
a vigorous forward motion
created by a recurring
and changing riff.
Although it is written in
a somewhat more difficult
key (E minor), it is not
too exacting from the
technical point of
view.
Piano Accompaniment; Tenor (Tenor Voice & Piano) SKU: HL.48024665 Sele...(+)
Piano Accompaniment;
Tenor (Tenor Voice &
Piano)
SKU:
HL.48024665
Selected Arias for
Tenor and Piano, Volume 1
Vocal Score. Composed
by Jacques Offenbach.
Edited by Jean-Christophe
Keck. Boosey & Hawkes
Voice. Classical.
Softcover. 60 pages. Bote
& Bock #M202535226.
Published by Bote & Bock
(HL.48024665).
ISBN
9781540058003. UPC:
888680951535.
Jacqu
es Offenbach's more than
100 stage works are an
endless treasure trove of
vocal highlights with
highly different musical
moods and lyrical themes.
To mark the 200th
birthday of the great
composer in 2019, which
is at the same time the
year of the 20th
anniversary of the
Offenbach Edition Keck
OEK, the editor and
Offenbach expert
Jean-Christophe Keck has
assembled a selection of
arias. The four-part
collection arranged
according to voice
category shows a rather
unknown, romantic side of
Offenbach. Apart from
rediscovered works and
first editions, however,
the collection is not
complete without some of
his unrivalled hits. This
volume shows that the
composer especially liked
to entrust the tenors
with tender, sentimental
numbers. But the
melancholy is not always
as genuine as that of the
involuntary jester from
the opera comique of the
same name (here
represented by the
well-known Ballad to the
Moon): Characters like
Pluto, Paris or Robinson
Crusoe know how to use
their melodious voices
with quite some
ulteriormotive to achieve
their goal. The character
Frantz, traumatized by
war, from the grand opera
Les Fees du Rhin,
however, is one of
Offenbach's few deeply
tragic figures. Romantic
Offenbach is aimed at
fully trained and budding
professionals as well as
at Offenbach fans of
every shade and colour,
providing repertoire
pieces for recitals,
studies or private
music-making.
Eiger Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3653-75 Journey to the Summit. Concert Band. S...(+)
Grade 3
SKU:
CL.012-3653-75
Journey to the
Summit. Concert Band.
Spotlight Series. Audio
recording available
separately (item
CL.WFR350). Oversized,
spiral-bound score.
Composed 2007. Duration 6
minutes, 7 seconds. Opus
III Wind Orchestra
Publications
#012-3653-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-3653-75).
Heroic themes
abound as noted composer
James Swearingen weaves a
tapestry of musical
styles to depict the
emotional story of John
Harlin. At the age of
nine, John lost his
father when he tragically
fell 4000 ft. to his
death while attempting to
climb the mountain known
as Eiger (pronounced
eye-ger). The Eiger North
Face is considered to be
the most treacherous
climb in all of Europe.
Yet, forty years later
John, with a burning
desire to reconnect with
his father, began the
perilous journey of
climbing the mountain
with the nearly
impossible goal of
reaching the summit.
Brilliantly scored,
simply stunning and
beautifully
breathtaking!
About C.L.
Barnhouse Spotlight
Series
The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments
Valerie Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1135412-140 As performed...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1135412-140
As performed by Amy
Winehouse. Composed
by Abigail Harding, Boyan
Chowdhury, David McCabe,
Russell Pritchard, and
Sean Payne. Arranged by
Peter Kleine Schaars.
Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2012. 16 pages. De Haske
Publications #DHP
1135412-140. Published by
De Haske Publications
(BT.DHP-1135412-140).
9x12 inches.
English-German-French-Dut
ch.
Just a year
after the English rock
band The Zutons had
considerable success with
Valerie in Great
Britain, Mark Ronson and
Amy Winehouse released a
cover version - a version
that was funkier, more
upbeat and, in typical
Winehouse fashion, more
soulful, which shot up
the charts in many
countries. Valerie
is surely one of the hits
that immortalises the
singer who died in 2011
and will find a welcome
place in the repertoire
of every concert
band.
Een jaar na
het grote succes dat de
Engelse rockband The
Zutons in eigen land had
met Valerie,
verscheen de coverversie
van Mark Ronson en Amy
Winehouse. Deze vlotte,
funky versie in
soulstijl, zo typisch
voor Amy Winehouse,
veroverde in snel tempo
de hitlijsten van vele
landen. Het is een
blijvende herinnering aan
de veel te jong overleden
zangeres. Met dit
arrangement van
Valerie
presenteren wij een
onsterfelijke hit die
niet mag ontbreken aan uw
repertoire!
Bereit
s ein Jahr nachdem die
englische Rockband The
Zutons mit Valerie
einen beachtlichen Erfolg
in Großbritannien
hatten, kam die
Coverversion von Mark
Ronson und Amy Winehouse
heraus. Die funkigere,
flottere und - typisch
für Amy Winehouse -
souligere Version des
Songs eroberte rasch die
Charts in vielen
Ländern.
Valerie ist
sicherlich einer der
Hits, die das Andenken an
die 2011 verstorbene
Sängerin unsterblich
machten und gehört
damit in das
unterhaltsame Repertoire
jedes
Blasorchesters.
Appena un anno
dopo aver ottenuto un
buon successo con
Valerie,
nell’interpretazio
ne della rock band
britannica The Zutons,
Mark Ronson la
riadattò con suoni
jazz e con atmosfere
vintage pensando bene di
completare il tutto con
la bellissima voce di Amy
Winehouse. Questa
versione si catapultò
in vetta alle chart di
molti paesi e rimane a
oggi un ricordo
struggente della
straordinaria artista
scomparsa nel 2011.
Valerie Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1135412-010 As performed...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1135412-010
As performed by Amy
Winehouse. Composed
by Abigail Harding, Boyan
Chowdhury, David McCabe,
Russell Pritchard, and
Sean Payne. Arranged by
Peter Kleine Schaars.
Peter's Popular
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2012. De Haske
Publications #DHP
1135412-010. Published by
De Haske Publications
(BT.DHP-1135412-010).
9x12 inches.
English-German-French-Dut
ch.
Just a year
after the English rock
band The Zutons had
considerable success with
Valerie in Great
Britain, Mark Ronson and
Amy Winehouse released a
cover version - a version
that was funkier, more
upbeat and, in typical
Winehouse fashion, more
soulful, which shot up
the charts in many
countries. Valerie
is surely one of the hits
that immortalises the
singer who died in 2011
and will find a welcome
place in the repertoire
of every concert
band.
Een jaar na
het grote succes dat de
Engelse rockband The
Zutons in eigen land had
met Valerie,
verscheen de coverversie
van Mark Ronson en Amy
Winehouse. Deze vlotte,
funky versie in
soulstijl, zo typisch
voor Amy Winehouse,
veroverde in snel tempo
de hitlijsten van vele
landen. Het is een
blijvende herinnering aan
de veel te jong overleden
zangeres. Met dit
arrangement van
Valerie
presenteren wij een
onsterfelijke hit die
niet mag ontbreken aan uw
repertoire!
Bereit
s ein Jahr nachdem die
englische Rockband The
Zutons mit Valerie
einen beachtlichen Erfolg
in Großbritannien
hatten, kam die
Coverversion von Mark
Ronson und Amy Winehouse
heraus. Die funkigere,
flottere und - typisch
für Amy Winehouse -
souligere Version des
Songs eroberte rasch die
Charts in vielen
Ländern.
Valerie ist
sicherlich einer der
Hits, die das Andenken an
die 2011 verstorbene
Sängerin unsterblich
machten und gehört
damit in das
unterhaltsame Repertoire
jedes
Blasorchesters.
Appena un anno
dopo aver ottenuto un
buon successo con
Valerie,
nell’interpretazio
ne della rock band
britannica The Zutons,
Mark Ronson la
riadattò con suoni
jazz e con atmosfere
vintage pensando bene di
completare il tutto con
la bellissima voce di Amy
Winehouse. Questa
versione si catapultò
in vetta alle chart di
molti paesi e rimane a
oggi un ricordo
struggente della
straordinaria artista
scomparsa nel 2011.
SKU: GI.G-10575 A Practical Guide to Applying Gordon's Music Learning ...(+)
SKU: GI.G-10575
A Practical Guide to
Applying Gordon's Music
Learning Theory in the
Elementary General Music
Program. Composed by
Heather Shouldice. Music
Learning Theory (MLT).
Music Education. 472
pages. GIA Publications
#10575. Published by GIA
Publications
(GI.G-10575).
ISBN
9781622776023.
In
many ways, teaching with
Music Learning Theory
(MLT) is like weaving a
tapestry. There are a
multitude of threads that
must be thoughtfully and
strategically woven
together to create the
intended piece.
—from the
Introduction Children are
capable of remarkably
sophisticated musical
skills and
understandings, and for
decades music teachers
have been using Edwin E.
Gordon’s
groundbreaking method to
successfully develop
independent music makers
and thinkers in their
classrooms. In Weaving It
All Together, author
Heather Shouldice draws
from her two decades of
experience with Music
Learning Theory (MLT) to
present practical
activities, ideas, and
strategies to help
elementary general music
teachers thoughtfully and
purposefully weave
together the many
instructional threads of
MLT. The book is divided
into three parts. Part I
(“The Big
Pictureâ€) presents
the core concepts and
tenets of MLT, including
a summary of
Gordon’s
foundational Skill
Learning Sequence. In
Part II
(“Navigating Skill
Learning
Sequenceâ€),
Shouldice dedicates a
chapter to each of the
eight levels in the Skill
Learning Sequence, with
suggestions for learning
activities and teaching
strategies for each. Part
III (“Weaving the
Threadsâ€) takes a
broad view of how
students’
audiation and musical
skill development can be
guided throughout the
elementary years, with
chapters devoted to
informal music guidance,
harmonic skill
development, instrumental
applications,
facilitating and
documenting individual
student growth,
implementing Learning
Sequence Activities
(LSAs), and planning and
sequencing instruction.
Equally suited for
veteran and novice
teachers alike, Weaving
It All Together provides
a detailed yet flexible
roadmap for music
instruction and bridges
the gap between
Gordon’s
theoretical ideas and
their practical
implementation in the
general music classroom.
Heather Nelson Shouldice
is Associate Professor of
Music Education at
Eastern Michigan
University, where she
coordinates the music
education program,
teaches graduate and
undergraduate courses,
supervises student
teachers, and directs the
early childhood music
program. Prior to
entering higher
education, Dr. Shouldice
taught elementary general
music for ten years in
the public schools of
Michigan.
SKU: GI.G-10710 Composed by Mary Land & Scott Rush. Habits. Music Educati...(+)
SKU: GI.G-10710
Composed by Mary Land &
Scott Rush. Habits. Music
Education. 360 pages. GIA
Publications #10710.
Published by GIA
Publications
(GI.G-10710).
ISBN
9781622776542.
Havi
ng been a high school
band director for 30
years, I experienced
firsthand the learning on
the job syndrome that
music educators
encounter. From effective
rehearsal strategies to
repertoire selection to
class scheduling to what
to teach, Mary Land and
Scott Rush have provided
a valuable resource to
supplement our music
education curriculum.
Habits of a Successful
Music Education Student
contains a wide array of
essential information
that all music educators
should know before they
start teaching! Alex
Kaminsky Director of
Bands, VanderCook College
of Music Habits of a
Successful Music
Education Student is a
fantastic and important
addition to the series
and a much-needed
resource for the
collegiate music
education curriculum!
Scott Rush and Mary Land
provide a wealth of
materials, knowledge, and
wisdom for prospective
instrumental music
teachers while including
a sequential curriculum
and valuable topics for
discussion for an
instrumental methods
course. Dr. Stephen
Meyer Director of
Bands, Northern Arizona
University Mary Land and
Scott Rush have blended
their combined
knowledge-and-wisdom in a
remarkable book, Habits
of a Successful Music
Education Student.
 Two brilliant minds,
two master educators, two
first-class musicians,
two of our
profession’s most
celebrated exemplars
offer-up priceless
information certain to
bring success to ALL,
benefits,
benefits…and more
benefits. Â This is a
MUST READ for
anyone/everyone who
aspires to be A TEACHER
WHO MAKES A POSITIVE
IMPACT! Tim
Lautzenheiser Senior
Vice President of
Education, Conn-Selmer,
Inc. This is a
significant text in the
training of future
instrumental music
teachers. It is informed
by years of meaningful,
influential, and
substantial musical
efforts, achievements,
insights, and
contemplations. This book
will help future
instrumental music
teachers be more
effective and
knowledgeable as they
enter our challenging and
rewarding field. With the
valuable foundation
derived through this
book, future band and
orchestra teachers will
be better equipped to get
more music to more
people. Dr. Amanda
Schlegel Assistant
Professor of Music
Education, University of
South Carolina Â
    Habits
of a Successful Music
Education Student covers
important topics such as:
Band and String Pedagogy
Curriculum and
Instruction Recruitment
and Retention Beginner
and Supplemental Method
Books Technology in the
Classroom Concert
Programming for HS and MS
Marching Band, Jazz Band,
and Percussion Ensemble
Repertoire for Multiple
Ensembles and Soloists
Score Study and Music
Making Creating a Culture
of Excellence Goal
Setting Classroom
Scenarios Being in the
MUSIC and PEOPLE Business
Social/Emotional Learning
Student Leadership DEAI
in the Music Classroom
Quality of Life Work/Life
Balance Tips from Master
Teachers Beyond Student
Teaching and much,
much more! Mary Land
is the Associate
Professor of Music
Education at Western
Michigan University in
Kalamazoo, Michigan.
Scott Rush is the team
lead for the Habits
series published by GIA
and is the former
Director of Bands at
Wando High School.
SKU: HL.194645 Red-White-Black. By Eddie Van Halen and Van Halen. ...(+)
SKU: HL.194645
Red-White-Black.
By Eddie Van Halen and
Van Halen. General
merchandise. Unique
Engineering Corp. Hal
Leonard #EVH001.
Published by Hal Leonard
(HL.194645).
ISBN
9781495075773. UPC:
661239449864.
4.5x11.5x1.381
inches.
After years
of careful planning,
intensive prototyping and
meticulous product
development, we are proud
to offer these official
EVH miniature guitars,
hand made to the high
quality standards that
collectors and fans
deserve. These are not
the poor quality,
inaccurate unauthorized
versions that have been
the only option for fans
until now. Each model is
handcrafted with
INCREDIBLE DETAIL and
comes complete with a
stand and foil-stamped
collectors gift box. This
is the official, handmade
miniature replica at a
1/4 scale of the iconic
red, white & black
“Frankensteinâ€
guitar played by Eddie
Van Halen. Don't be
fooled: all of the
official mini guitars
come in boxes that
feature an Official EVH
Hologram sticker.
Composed by Gioachino
Rossini. Edited by
Patricia B. Brauner and
Philip Gossett. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Choral score. 60
pages. Baerenreiter
Verlag #BA10501_91.
Published by Baerenreiter
Verlag (BA.BA10501-91).
ISBN 9790006536863. 27
x 19 cm inches. Text
Language:
Latin.
ThePetite
Messe solennelleis the
finest work of Rossini's
late years. He composed
it between 1863 and 1864
at the age of 71 as a
commission for Countess
Louise Pillet -Will for
the consecration of her
private chapel, where the
work received its first
performance in March
1864. Together with
theStabat mater, the mass
is one of the composer's
mostimportant sacred
works.
The unusual
instrumentation with two
pianos and harmonium is
entirely in keeping with
the Neapolitan keyboard
tradition of the 18th
century which was
cultivated in France in
Rossini's day. It forms a
distinct contrast to the
style of large-scale
sacred compositions as
written by, for example,
Liszt and Bruckner.
Rossini explained that he
wrote the later
orchestral version of the
work dating from 1867 out
of concern that if he did
not do this, other
composers might
orchestrate the mass too
heavily in later
arrangements.
-
Choral score based on the
Urtext of the seriesWorks
of Gioachino Rossini -
Supplements the already
existing material
available to this
work
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
(The Easiest Ukulele Method Ever!). By Ron Manus and L. C. Harnsberger. For Ukul...(+)
(The Easiest Ukulele
Method Ever!). By Ron
Manus and L. C.
Harnsberger. For Ukulele.
Book; CD; DVD;
Method/Instruction;
Ukulele Method or
Supplement. Alfred's Kids
Course. Children.
Beginner. 120 pages.
Published by Alfred Music
Publishing
(The Easiest Ukulele Method Ever!). By Ron Manus and L. C. Harnsberger. For Ukul...(+)
(The Easiest Ukulele
Method Ever!). By Ron
Manus and L. C.
Harnsberger. For Ukulele.
Book; CD;
Method/Instruction;
Ukulele Method or
Supplement. Alfred's Kids
Course. Children.
Beginner. 120 pages.
Published by Alfred Music
Publishing
(59 Familiar Hits for Everybody to Play! (Piano/Vocal/Guitar)). For Guitar; Keyb...(+)
(59 Familiar Hits for
Everybody to Play!
(Piano/Vocal/Guitar)).
For Guitar; Keyboard;
Piano; Voice. This
edition:
Piano/Vocal/Guitar. Book;
P/V/C Mixed Folio;
Piano/Vocal/Chords.
Family Treasury.
Pop/Rock. 336 pages.
Published by Alfred Music
Publishing