Old Alabama

SKU: BT.RSK200064

ISBN 9781912352739. English.

Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals.

For Rockschool's 2018-2024 Drums series, Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus.

The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock, metal and pop. The tracks were recorded at Real World's acclaimed recordingstudios and feature live instruments and first rate performances for an unrivalled level of feel, authenticity and musicianship.

Featu ring:

• Aretha Franklin - Respect
• Lynyrd Skynyrd - Sweet Home Alabama
• David Bowie - Let's Dance
• Coldplay - In My Place
• Stormzy - Scary
• Fugees - Ready Or Not
• 6 Rockschool Originals

Plu s:

• Band and artist fact files with recommended listening
• In-dept h walkthroughs of every track
• Easy-access downloadable audio
• Example tests and exercises

SKU: HL.282479

ISBN 9781540034366. UPC: 888680789237. 9.0x12.0x1.01 inches.

Starting with the songs released just after Woodstock all the way through the disco era, this collection features almost 100 songs from the 1970s arranged for easy piano with lyrics: ABC • American Pie • Bridge over Troubled Water • (They Long to Be) Close to You • Dancing Queen • Free Bird • Goodbye Yellow Brick Road • How Deep Is Your Love • I Shot the Sheriff • I Will Survive • Imagine • Killing Me Softly with His Song • Layla • Lean on Me • Maybe I'm Amazed • Piano Man • Reeling in the Years • Smoke on the Water • Stairway to Heaven • Stayin' Alive • Sweet Home Alabama • Time in a Bottle • Walk This Way • We Will Rock You • Y.M.C.A. • and more.

SKU: LM.26812

ISBN 9790230968126.

Cook ies Rock - Black Blues - Boogie Woodie - Alabama Blues - Last Evening - Body Blues - Yellow Rock - Sweet Boogie - Blues Speaking - Orient Express Blues - Harlem Blues - Why not Blues - Rumba Blues - Chinatown.

SKU: BT.RSK200073

ISBN 9781789360097. English.

Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals. Rockschool Classics Guitar Grade 5 contains eight of thebiggest rock tracks from the past five decades arranged for you to play in your Grade 5 Exam. You can choose two pieces from Rockschool Classics to play in your Grade Exam or three to play in your Peformance Certificate.

Featur ing:

• Velvet Revolver - Fall To Pieces
• AC/DC - Back In Black
• Metallica - Sad But True
• Lynyrd Skynyrd - Sweet Home Alabama
• Kings Of Leon - Radioactive
• Foo Fighters-The Pretender
• Joe Satriani - Surfing With The Alien
• Steve Vai - The Crying Machine

Plus:

• Band and artist fact files with recommended listening
• In-depth walkthroughs of everytrack
• Easy-access downloadable audio
• Example tests and exercises
• Amp settings and tone advice for each track

SKU: HL.278436

ISBN 9781540029843. UPC: 888680753504. 9.0x12.0x0.219 inches.

The Bass Play-Along Series will help you play your favorite songs quickly and easily! Just follow the tab, listen to the audio to hear how the bass should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio is available online for download or streaming, and it is enhanced so you can adjust the recording to any tempo without changing pitch! 8 songs: Can't You See * Flirtin' with Disaster * Free Bird * Hold on Loosely * Mississippi Queen * One Way Out * Ramblin' Man * Sweet Home Alabama.

SKU: HL.224731

ISBN 9781495090325. UPC: 888680671761. 9.0x12.0x0.312 inches.

Instrumenta lists will love this jam-packed collection of 101 timeless pop songs! Songs include: Another Brick in the Wall • Billie Jean • Dust in the Wind • Easy • Free Bird • Girls Just Want to Have Fun • Hey Jude • I'm a Believer • Jessie's Girl • Lean on Me • The Lion Sleeps Tonight • Livin' on a Prayer • My Girl • Piano Man • Pour Some Sugar on Me • Reeling in the Years • Stand by Me • Sweet Home Alabama • Take Me Home, Country Roads • With or Without You • You Really Got Me • and more.

SKU: HL.50497641

ISBN 9781480308701. UPC: 884088662738. 6.75x10.5x0.019 inches.

With a special connection to the poetry of Langston Hughes, Kirke Mechem has written a new, a cappella spiritual. Opening with a musical statement by a soprano soloist, the soloist is featured throughout. In a typical, Mechem musical style, this tour de force is lush and new and emotional. Duration: ca. 3:00.

SKU: LM.24866

ISBN 9790230948661.

BACH J.S. : Gavotte 1 et 2 (Musette) - HAENDEL G.F. : Prelude de la Suite n. 14 - DIABELLI A. : Rondo - SCHUBERT F. : Serenade - GRIEG E. : Valse Op.38 n. 7 - PIERNE G. : Farandole Op.14 n. 2 - MEUNIER G. : Joyeuseries - BARTOK B. : Sons harmoniques extr. des Mikrokosmos - PROKOFIEFF S. : Pierre et le loup, n. 1 Petit Pierre - PROKOFIEFF S. : Pierre et le loup, n. 2 L'oiseau - PROKOFIEFF S. : Pierre et le loup, n. 3 La procession - JOPLIN S. : A breeze from Alabama - SATIE E. : 1ere gymnopedie - MANEN C. : 2eme sonatine, 3eme mvt. - BRAHMS J. : Valse Op.39 n. 9.

SKU: CF.CPS251F

ISBN 9781491159880. UPC: 680160918478.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.

SKU: PR.16500077F

UPC: 680160039272. Key: Bb major. English.

ABOUT THE MUSIC: From the moment that the woodwinds introduce the spritely theme to the concluding statement, the theme undergoes a variety of treatments with constantly changing instrumental textures. This work was written for Kenneth Snapp and the Arizona State University Symphonic Winds. ABOUT THE COMPOSER: David Cohen was born in Pulaski, Tennessee, in 1927. He was educated at the Philadelphia Conservatory of Music and The Julliard School where he received the Bachelor of Science and Master of Science degrees. He continued his education at the Paris Conservatory and the University of Southern California where he received the Doctor of Musical Arts degree in composition in 1966. Cohen has taught at the University of Alabama and Arizona State University and is presently Director of the Arizona State University Electronic Music Studio. He has been the recipient of the Coolidge Chamber Music Prize, a Fulbright Scholarship, University of Alabama Research Grant and a Research Grand from the IBM Corporation.
ABOUT THE MUSIC: From the moment that the woodwinds introduce the spritely theme to the concluding statement, the theme undergoes a variety of treatments with constantly changing instrumental textures.This work was written for Kenneth Snapp and the Arizona State University Symphonic Winds.ABOUT THE COMPOSER: David Cohen was born in Pulaski, Tennessee, in 1927. He was educated at the Philadelphia Conservatory of Music and The Julliard School where he received the Bachelor of Science and Master of Science degrees. He continued his education at the Paris Conservatory and the University of Southern California where he received the Doctor of Musical Arts degree in composition in 1966.Cohen has taught at the University of Alabama and Arizona State University and is presently Director of the Arizona State University Electronic Music Studio.He has been the recipient of the Coolidge Chamber Music Prize, a Fulbright Scholarship, University of Alabama Research Grant and a Research Grand from the IBM Corporation.

SKU: CF.CPS251

ISBN 9781491159873. UPC: 680160918461.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.