PARTITIONS GRATUITES :
- Eric Benjamin

By Benjamin Britten. (Vocal Score). Boosey and Hawkes Large Choral. Size 7.25x10.25 inches. 45 pages. Published by Boosey and Hawkes.

Guitar - Intermediate

SKU: MB.30945

Saddle-stitched. Folk. Book. Mel Bay Publications, Inc #30945. Published by Mel Bay Publications, Inc (MB.30945).

ISBN 9781513472744. 8.75X11.75 inches.

This collection of 19th and early 20th century airs and ballads is a celebration of American music that is ideal for guitar recitals and encores. Written in standard notation only, the pieces are arranged and fingered for ease of sight-reading and specifically designed to exploit the musicality of the classical guitar.The book features arrangements of the antebellum song, ôDarling Nelly Grayö by Benjamin Hanby, popular Civil War-era songs by Stephen Foster and other period songwriters, plus parlor music favorites like Edward MacDowell�s ôTo a Wild Roseö, Ethelbert Nevin�s ôMighty Lak� a Roseö, and ôAura Leeö, a melody by George R. Poulton that would resurface nearly a hundred years later as ôLove Me Tenderö.á.

Arranged by Benjamin Harlan and Jason Waggoner. BRASS/PERCUSSION PARTS. Sacred Choral

Arranged by Benjamin Harlan and Jason Waggoner. CHOIRTRAX CD. Sacred Choral. CD only

Intermediate to Early Advanced Level. Composed by Various. BH Piano. Softcover. 208 pages. Published by Boosey & Hawkes

SKU: GI.G-10368

A Document History (1835-1935). Composed by Bryan J. Proksch. Music Education. 346 pages. GIA Publications #10368. Published by GIA Publications (GI.G-10368).

ISBN 9781622776276.

This is a fascinating and important book for everybody even remotely interested in the history of American bands. Bryan Proksch has done some painstakingly thorough research in putting together an amazing assemblage of documents… This is a must-have book! —Jon Ceander Mitchell     The Wind Music Research Quarterly: Mitteilungsblatt der IGEB     (March 2022), 14–15 For the scholar, each entry presents an opportunity for expansion. For the teacher, this work provides source readings for courses on wind band history or for complementing Strunk or Weiss-Taruskin in university music history courses. That said, these documents stand as an enriching and entertaining read in their own right for anyone interested in the subject. —Michael O’Connor     Historic Brass Today 1/2 (Spring 2022), 32 The Golden Age of American Bands is ideally suited for courses on the history and literature of bands in America. Indeed, this volume could suffice as a textbook for adventuresome teachers in that it touches on the major musicians, instruments, ensembles, and functions expected of such a course. . . . Both private and classroom band instructors will find compelling glimpses into the history of their craft. [It is] bursting with opportunities to inspire curiosity in their students while effectively supporting their own curricular goals. —Benjamin D. Lawson and James A. Davis     The Journal of Music History Pedagogy Proksch’s new collection of documents is a most welcome step in the direction of getting [the story of bands] under control. The juxtaposition of documents from so many levels and types of ensembles proves to have a cumulative effect: one begins to see the subtle and long-lasting connections among them despite the big differences. It is easy to envision it as a supplemental text in a course on band history and literature, but the book is also just an absorbing read. There is much to learn here, and much to enjoy. —Ken Kreitner     Notes 79/2 (December 2022): 217-218 This is the story of the American wind band, told chronologically by those who experienced it in real time from 1835 to 1935. How did bands become bands? How did they rise in popularity? Which figures had insights and specific impacts on the development of the genre? Through source documents and articles, Bryan Proksch takes us on an extraordinary journey from the time of the first brass bands in the 1830s, through the Civil War and the golden ages of Gilmore and Sousa, to the cusp of the wind ensemble just before World War II. Hear from a young Frederick Fennell about his efforts to create the first band at Eastman. Read the outline of Allessandro Liberati’s unpublished trumpet method book. Eavesdrop on Karl L. King as he muses on the fate of bands after the death of Sousa. See Patrick Conway’s first undergraduate music education curriculum. Gawk as trombonist Fredrick Neil Innes embarrasses “world’s greatest cornetist” Jules Levy at Coney Island. Explore as Alan Dodworth revolutionizes bands. Retreat with a military band in the middle of a Civil War battle. Find out what it felt like to sit in a Sousa Band rehearsal. Ask Herbert L. Clarke why he thinks you should be playing a cornet instead of a trumpet. Find out how P. S. Gilmore managed to pull off the biggest concert events in American history. The book includes numerous rare and unknown illustrations to show you the places where band history happened. The documents include rare periodical excerpts, handwritten letters, and other writings taken from archives throughout the United States. These first-person accounts are certain to further refine and deepen our understanding and appreciation of American band history on a grand scale. Contents: Beginnings (1835–1859) The Civil War (1860–1865) The Jubilees (1866–1879) The Gilded Age (1880–1896) The Band Age (1897–1914) World War I (1915–1919) Transition and Decline (1920–1935)   Click here to download a FREE addenda. Bryan Proksch is a distinguished faculty lecturer and associate professor of music history and literature at Lamar University in Beaumont, Texas. This is his third book. His A Sousa Reader: Essays, Interviews, and Clippings (GIA Publications, 2016) explores the documents relating to the life and career of John Philip Sousa.