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How Great Thou Art, - Harp and Flute
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1
15 Favourite Hymns for Thanksgiving and Harvest for Alto Flute and Piano
Alto Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.590368 Comp…
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Alto Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.590368 Composed by Various. Arranged by David McKeown. Holiday,Praise & Worship,Sacred. Score and individual part. 27 pages. David McKeown #6204545. Published by David McKeown (A0.590368). 15 Favourite Hymns for Thanksgiving and Harvest for Alto Flute and Piano is a beautiful collection of well-known traditional Thanksgiving and Harvest hymns, carefully chosen to help you celebrate this special time of year with music. Each hymn is arranged for solo Alto Flute and Piano. The file contains both the piano score and a separate part for the solo instrument.15 Favourite Hymns for Thanksgiving and Harvest are simply arranged in easy keys and are fun to play for musicians with a year or two’s experience and above. Teachers and students alike will find 15 Favourite Hymns for Thanksgiving and Harvest useful for building reading, rhythmic and expressive skills.The hymns are in alphabetical order and are as follows…· All Things Bright and Beautiful, (The 29thMay)· Come Thou Fount of Every Blessing, (Nettleton)· Come, Ye Thankful People Come, (St George’s, Windsor)· Count Your Blessings, (Blessings)· For All the Blessings of the Year, (Oldbridge)· For the Beauty of the Earth, (Dix)· Now Thank We All Our God, (Nun Danket)· O Store Gud, (Trad. Swedish, also used for How Great Thou Art)· Praise God from Whom All Blessings Flow, (Old Hundredth)· Praise My Soul, the King of Heaven, (Laude Anima)· Praise to the Lord, the Almighty, (Lobe den Herren). Rejoice Today with One Accord, (Ein Feste Burg)· We Gather Together, (Kremser)· We Plough the Fields and Scatter, (Wir Pflügen)· When Morning Gilds the Skies, (Laudes Domini)There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$7.60
6.95 €
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Various
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15 Favourite Hymns for Thanksgiving and Harvest for Alto Flute and Piano
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David McKeown
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SheetMusicPlus
HOW GREAT THOU ART (Piano Accompaniment for Flute)
Piano Accompaniment
Piano - Digital Download SKU: A0.1056315 Composed by Traditional Swedish Folk Melod…
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Piano - Digital Download SKU: A0.1056315 Composed by Traditional Swedish Folk Melody. Arranged by Gary Lanier. Praise & Worship,Sacred. Accompaniment. Duration 156. The Lanier Company #5753877. Published by The Lanier Company (A0.1056315). HOW GREAT THOU ART is an arrangement for Flute and Piano of an old Swedish Folk melody. This mp3 is the Piano Accompaniment for that arrangement by Gary Lanier
$4.99
4.56 €
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Piano Accompaniment
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Traditional Swedish Folk Melody
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HOW GREAT THOU ART
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The Lanier Company
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SheetMusicPlus
Trios for 3 GREAT HYMNS (Flute & Bb Trumpet with Piano and Parts)
Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Trumpet - Level 3 - Digital Download…
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Instrumental Duet,Piano Flute,Instrumental Duet,Piano,Trumpet - Level 3 - Digital Download SKU: A0.615095 Composed by Anonymous, Peter P. Bilhorn, and Swedish Folk Melody. Arranged by Gary Lanier. Praise & Worship,Sacred. Score and parts. 29 pages. The Lanier Company #2838027. Published by The Lanier Company (A0.615095). Trios for 3 GREAT HYMNS by Gary Lanier is a set of three instrumental hymn arrangements for Flute & Bb Trumpet with Piano. The hymn titles are (1) Then Sings My Soul [aka How Great Thou Art], (2) Oh, How I Love Jesus, & (3) I Will Sing the Wondrous Story. All for the price of 2. They are ideal for offertories, special music in worship services or for the joy of playing in any situation where great hymn music is appreciated (29 pages with cover).
$16.99
15.53 €
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Anonymous, Peter P
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Trios for 3 GREAT HYMNS
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The Lanier Company
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SheetMusicPlus
How Great Thou Art (for Woodwind Quartet - Piano Accompaniment)
Piano Accompaniment
Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.622055 Comp…
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Woodwind Ensemble,Woodwind Quartet - Level 2 - Digital Download SKU: A0.622055 Composed by Traditional. Arranged by Stephen DeCesare. Contemporary,Praise & Worship,Sacred. 25 pages. Exultet Music #3580639. Published by Exultet Music (A0.622055). One of the most favorite and requested hymns of all time has now been freshly arranged for a Woodwind Quartet (Flute, Oboe, Bb-Clarinet, Bassoon), with a Bb-Trumpet obbligato and Piano accompaniment. Accessible and appropriate for any church or concert setting. Can be used many times throughout the liturgical year.
$12.99
11.88 €
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Piano Accompaniment
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Traditional
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How Great Thou Art
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Exultet Music
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SheetMusicPlus
TOP 10 MOST POPULAR HYMNS (Piano Accompaniment for Flute)
Piano Accompaniment
Piano - Digital Download SKU: A0.1056657 Composed by Various. Arranged by Gary Lani…
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Piano - Digital Download SKU: A0.1056657 Composed by Various. Arranged by Gary Lanier. Christian,Contemporary,Praise & Worship,Sacred,Spiritual. Accompaniment. Duration 1624. The Lanier Company #6877301. Published by The Lanier Company (A0.1056657). TOP 10 MOST POPULAR HYMNS, is a collection of the top 10 hymns of the Christian faith , arranged by Gary Lanier for Flute and Piano. The titles are (1) Amazing Grace, (2) How Great Thou Art, (3) Holy, Holy, Holy, (4) It is Well with My Soul, (5) Praise to the Lord, the Almighty, (6) All Creatures of Our God and King, (7) All Hail the Power of Jesus Name, (8) Blessed Assurance, (9) To God Be the Glory, & (10) When I Survey the Wondrous Cross.
$34.99
31.99 €
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Piano Accompaniment
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Various
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TOP 10 MOST POPULAR HYMNS
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The Lanier Company
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SheetMusicPlus
Bach-Gonoud: Ave Maria, Schwencke version for Bass Flute & Piano
Bass Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.550921 Comp…
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Bass Flute,Instrumental Solo,Piano - Level 2 - Digital Download SKU: A0.550921 Composed by J. S. Bach - Gounod. Arranged by James M. Guthrie, ASCAP. Christian,Christmas,Concert,Easter,Standards. Score and individual part. 12 pages. Jmsgu3 #4888307. Published by jmsgu3 (A0.550921). This arrangement features the controversial Schwencke measure (ms. 27) that was originally introduced in 1783 by Christian Friedrich Gottlieb Schwencke. The convenient 1st & 2nd endings provide an option for extended performance. Duration with repeat - 4:50. Score: 7 pages. Solo part: 1 page, piano part: 4 pages. Based on Prelude #1 in C Major from the Well-Tempered Clavier, Book 1. Well suited for church meditations or school programs or recital encores. Register for free lifetime updates and revisions at www.jamesguthrie.comAve MariaAve Maria is a Catholic prayer that consequently asks for the mother of Jesus (Mary) to intercede. Charles Gounod composed a famous version of the Ave Maria. He was a French Romantic composer who overlaid a new melody on an existing Bach chord progression. The progression is from Bach’s Prelude No. 1 from Well-Tempered Clavier I. This version, as well as Schubert’s version, have become essential items at weddings, masses, and funerals.Bach OverviewFirst of all, Johann Sebastian Bach is maybe the greatest composer in music history. Certainly, he was prolific. As a result, everyone has heard of his works. Furthermore, these works number well over a thousand. It seems like people are probably most familiar with the instrumental works such as the Brandenburg Concertos, and the Goldberg Variations. But, similarly famous are such noteworthy works as the Well-Tempered Clavier, the Musical Offering, and certainly the Art of Fugue. Seems like his most famous vocal works include the most noteworthy Mass in B Minor. Also, most noteworthy, though, are the St. John Passion, and certainly the Christmas Oratorio. HistoryBach came from a long line of musicians and above all, composers. Consequently, he, first of all, pursued a career as a church organist. So as a result, he gained employment in various Protestant churches in Germany. For a while, he worked as a court musician in Weimar and Köthen. Here he probably developed his organ style and likewise his chamber music style. Eventually, he, therefore, gained an appointment as Cantor of St. Thomas in Leipzig. Here he worked until difficulties with his employer ultimately drove him away. The King of Poland finally appointed him as a court composer. StyleIt seems like Bach created a fascinating new international style. He synthesized elements of the most noteworthy European music ideas into his new style. Even more, this new style was probably his synthesis of European musical rhythm and form. Furthermore, he demonstrated a complete mastery of counterpoint and motivic development. His sense of harmonic organization probably propelled him to the top.Revival Mendelssohn conducted a Bach revival in the nineteenth century. His effort probably helped to re-familiarize the public with the magnitude of Bach’s works. During this period, scholars published many noteworthy Bach biographies. Moreover, Wolfgang Schmieder published the BWV (Bach Werke Verzeichnis). As a result, this is now the official catalog of his entire artistic output. The BWV number allows us to locate a work in the catalog. Sometimes scholars will simply use an S (Schmieder) as an abbreviation for BWV. VoyagerNASA launched two Voyager spacecraft in 1977. Onboard are phonograph records with sounds, music, and images of life on Earth. The purpose of the launch was to inform intelligent extraterrestrial life forms about conditions on Earth. The music on the disc is varied. There is Bach, Mozart, Beethoven and Stravinsky among others. However, because Bach is so important in our music history, it contains three times more Bach that all the others combined.
$27.95
25.55 €
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J
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Bach-Gonoud: Ave Maria, Schwencke version for Bass Flute & Piano
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jmsgu3
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SheetMusicPlus
12 Favorite Hymns, Two Violins and Piano
2 Violins, Piano
Composed by Various. Arranged by Cindy Blevins. Praise & Worship. 99 pages. Cindy …
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Composed by Various. Arranged by Cindy Blevins. Praise & Worship. 99 pages. Cindy Blevins #129073. Published by Cindy Blevins
This is a book of 12 beautiful, playable arrangements for two flutes and piano. You receive the scores and the individual parts. Songs in the book are: Amazing Grace, America, the Beautiful, Christ the Lord Is Risen Today, Come, Thou Fount Of Every Blessing, For the Beauty Of the Earth, Holy, Holy, Holy! Lord God Almighty, How Great Thou Art, I Sing the Mighty Power Of God, Morning Has Broken, The Water Is Wide, This Is My Father’s World and What A Friend We Have In Jesus.<br> <br> This product was created by a member of ArrangeMe, Hal Leonard’s global self-publishing community of independent composers, arrangers, and songwriters. ArrangeMe allows for the publication of unique arrangements of both popular titles and original compositions from a wide variety of voices and backgrounds.
$24.95
22.81 €
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2 Violins, Piano
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Various
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Worship
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12 Favorite Hymns, Two Violins and Piano
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Cindy Blevins
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SheetMusicPlus
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
21.93 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
La Lisonjera - alto flute-piano
Alto Flute,Instrumental Solo,Piano - Level 4 - Digital Download SKU: A0.1049315 Com…
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Alto Flute,Instrumental Solo,Piano - Level 4 - Digital Download SKU: A0.1049315 Composed by Cecile Chaminade. Arranged by Phil Beaman. Romantic Period,Standards. Score and individual part. 9 pages. Phil Beaman #653686. Published by Phil Beaman (A0.1049315). Cecile Louise Chaminade (1857-1944) was a French Romantic composer and pianist. She is often overlooked as a musician yet she was the first female composer to win the Ordre National de la Legion d'Honneur, France's highest award. In 1890 she wrote a piano piece whimsically titled La Lisonjera (The Flatterer). It is a great example of late Romantic writing for the masses with an eye to publishing. She is lyrical, expressive, and emotional; using dynamics, wider note ranges, and chromaticism. It exhibits her trademark of being 'passionate yet virtuosic'. I have arranged La Lisonjera for Alto Flute and Piano, keeping all of the traditional Romantic characteristics intact. I have added greater contrast between the themes, making the A theme appassionata, and reserving her molto capriccioso for the B theme which I also slow down a bit to allow for more playfulness. It is my own interpretation of articulation and simplified virtuosic passages. The accompaniment is my own reduction to allow the solo to shine freely. The arrangement is still marked as Advanced Intermediate because the range is 2 1/2 octaves and there are many articulation markings. This arrangement is perfect for Recital and Repertoire as a performance of the 'overheated emotions' of the late Romantic era. Enough virtuosity to show the violinist's technique. Accessible and enjoyable for all audiences. (3:30 minutes; 2 without repeat) 6 page score, 3 page part.
$6.99
6.39 €
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Cecile Chaminade
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La Lisonjera - alto flute-piano
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Phil Beaman
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SheetMusicPlus
Flowers for Dorothy
Piano solo
Piano Solo - Level 4 - Digital Download SKU: A0.948699 Composed by Mark S. Massey. …
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Piano Solo - Level 4 - Digital Download SKU: A0.948699 Composed by Mark S. Massey. 20th Century,Jazz. Score. 3 pages. Geofonica Artistworks #6038073. Published by Geofonica Artistworks (A0.948699). Flowers For Dorothy is a beautiful jazz waltz (in lead-sheet format here) from pianist Mark Massey's breakthrough jazz LP: API: Acoustic Piano International, performed by Mark Massey and his trio (Eric Stiller on acoustic bass and Aldo Bentivegna on drums). In the vein of great jazz waltzes like Someday My Prince Will come, Emily, and Waltz for Debby.ABOUT MARK:In 2018, the California State Assembly and the Los Angeles County Board of Supervisors issued proclamations recognizing Mark Massey as a Jazz Living Legend. Jazz pianist-composer Mark Massey was born and raised in Lynwood, California, where he showed early talent on piano, trombone, and drums. During high school, he studied classical piano and played in the bands Synopsis (with future trumpet giant Wayne Bergeron), and Sabor (with Poncho Sanchez and the Banda Brothers). Mark played in the Pico Rivera Stage Band, which won First Place at the Hollywood Bowl Battle of the Bands. Mark graduated from California State University, Long Beach (with Bachelors and Masters degrees in Music), where he was recipient of the Carmen Dragon Fellowship for composition and he was dubbed A Young Giant by the National Association Of Jazz Educators. Mark has performed throughout the U.S., Europe, the former Soviet Union (in the 1980s), Russia (2001), the Far East and India. He has worked with Larry Carlton, David Benoit, Paul Horn, Hubert Laws, Louie Bellson, the Side Street Strutters, Phil Upchurch, L. Subramaniam, Freddie Hubbard, Maynard Ferguson, Yehudi Menuhin, Stéphane Grappelli, and Tony Williams. Mark was featured in The Four Pianos In Concert series along with pianists Paul Smith, Pete Jolly and Steve Allen. Mark Massey's debut CD, Acoustic Piano International, has received wide airplay on jazz radio. API featured nine of Mark's original jazz compositions--including Flowers for Dorothy, offered here--inspired by his musical excursions around the globe, along with Eric Stiller (bass) and Aldo Bentivegna (drums), and guest artists Alex Acuña, percussion (Weather Report), Justo Almario, flute (Mongo Santamaria), Plas Johnson, tenor sax (The Pink Panther Theme), Bob Mintzer, soprano sax (The Yellow Jackets), and Ron Stout, flugelhorn, More recently, Mark has been recording his iconic Jazz Thoughts for the Day albums of original jazz improvisional compositions for each day of the year. Jazz Thoughts for the months of January through July have thus far been issued. COMMENTS FROM MAJOR CRITIC REVIEWS OF MARK MASSEY: Mark Massey is awfully good. His friendly, lyrical, melodic piano has a sound unto itself, API Coverbop and post-bop influenced, contemporarily informed, and languishing solidly in the modern mainstream. ...This is a very good trio that is together in many aspects of jazz expressionism. In larger, more interactive settings, Massey proves he has ideas that work well. ...Massey's talent being exposed is a breakthrough. A majority of jazz listeners should find this a worthwhile purchase, and a keeper. Recommended.----MICHAEL G. NASTOS, ALL MUSIC GUIDE (CD review of Acoustic Piano International) Mark Massey is an excellent straight-ahead pianist who often appears in the L.A. area. ...his playing is consistently appealing. Of the trio numbers, the often-introspective Flowers For Dorothy, the heated Limejuicer Blues, and Seraphs Of Terpsichore are highlights. The opening track, Que Garota Linda, is a particularly rewarding Latin jazz number... All in all, a well-rounded and easily enjoyable release from pianist Mark Massey.----SCOTT YANOW (author of the books Swing and Bebop : The Essential Listening Companion), in L.A. JAZZ SCENE The Mark Massey Trio makes an exciting impression... Massey has traveled the world, perfor.
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Piano solo
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Flowers for Dorothy
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