SKU: KJ.WB543

UPC: 084027053461.

Dwayne Milburn has expertly set Béla Bartók�??s complete Romanian Folk Dances for the modern wind band. It features solos for piccolo, flute, soprano sax (alternate alto sax part provided), and trumpet, plenty of soli passages for various sections and rousing tutti climaxes. This suite is perfect for festival and concert performances.

SKU: KJ.WB540

UPC: 084027053386.

Andrew Boysen Jr. has written a rollicking Mar(h)ch alternating between 4/4 and ¾ Tim(e) to honor his friend, Tim Mahr. Boysen also references several of Mahr�??s best-known works. Although written for a large wind ensemble, ample cues are provided for ensembles with more limited instrumentation. This is the perfect closer or encore for your next concert.

SKU: KJ.JB119

UPC: 084027053560.

There Are Giants Among Us opens with a sense of awe and admiration, capturing the presence of the influential people in our lives that inspire us. Timothy Mahr has created a quasi-concerto for wind ensemble in miniature featuring all sections of the band in different styles, moods, and tempos, ending in exuberant gratitude. This is a great opener for your next concert or a suitable piece to honor someone in your community.

SKU: KJ.WB543F

UPC: 084027053478.

Dwayne Milburn has expertly set Béla Bartók�??s complete Romanian Folk Dances for the modern wind band. It features solos for piccolo, flute, soprano sax (alternate alto sax part provided), and trumpet, plenty of soli passages for various sections and rousing tutti climaxes. This suite is perfect for festival and concert performances.

SKU: KJ.WB539

UPC: 084027053362.

Inspired by the painting Skating in Central Park, this work evokes that magical feeling of holiday cheer that begins with the first glimpse of the white snow and icicles hanging from the window on a cold morning. Composer Anthony O�??Toole makes use of holiday music vernacular in his original tone poem that�??s sure to become a yearly staple in your winter concerts.

SKU: KJ.WB539F

UPC: 084027053379.

Inspired by the painting Skating in Central Park, this work evokes that magical feeling of holiday cheer that begins with the first glimpse of the white snow and icicles hanging from the window on a cold morning. Composer Anthony O�??Toole makes use of holiday music vernacular in his original tone poem that�??s sure to become a yearly staple in your winter concerts.

SKU: MB.WBM74M

8.75X11.75 inches.

A collection of 15 guitar solos on well-known gospel melodies. Many of the solos are medleys and each solo is presented in notation and tablature. Includes access to online audio of each solo recorded by the author. 

SKU: MB.31076M

ISBN 9781513477695. 8.75x11.75 inches.

Following the model established by Bach and Chopin, George Gershwin (1898 �?? 1937) originally planned to write 24 modern preludes for piano, one in each major and relative minor key. The collection was to be called The Melting Pot as it combined cross-cultural elements of classical, popular, jazz, and blues styles. Already established as a composer of popular songs, Broadway musicals, and masterpieces like Rhapsody in Blue and Concerto in F, Gershwin�??s frenetic musical activities and an early death intervened, and for various reasons�??only three of the completed 5-7 preludes were published in 1927. By omission and circumstance, these three compositions have endured the test of time as Gershwin�??s Three Preludes.
 
This book presents idiomatic flute/guitar arrangements of Gershwin�??s iconic Three Preludes. The original keys of the preludes were altered to accommodate drop-D guitar tuning and highlight the strengths and tessituras of the two instruments. The music is written in standard notation only and presented in guitar and flute scores, guitar accompaniment with extensive suggested fingering, and a pull-out flute solo part with guitar cues. Includes access to an outstanding online audio recording by The Cypress Duo, featuring flutist Amanda Hoke and author/guitarist Justin Hoke.
 
Audiences are going to love hearing these preludes rendered by the flute and guitar, particularly �??Prelude II�?�, in Gershwin�??s words, �??a sort of blues lullaby�?� that is familiar to many musicians and listeners alike.

SKU: DY.DO-1522

ISBN 9782897963026.

Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.
Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux �?tats-Unis.
Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.
Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. �? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.
Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.
Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.
Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.
Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !
Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.
Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.

Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.
We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.
After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.
In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didn�??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.
Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.
He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.
Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism.
He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!
Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.
His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.

SKU: DZ.DZ-4271

ISBN 9782898521881.

Mi Corazon est dédié à Carmen Genest -ma complice dans la vie et sur scène- et rappelle nos tournées en Amérique du sud. Composé dans un style néo-romantique, elle s�??inspire plus spécialement des airs lyriques mexicains.

Mi Corazon is dedicated to Carmen Genest - my accomplice in life and on stage - and recalls our tours in South America. Composed in a neo-romantic style, it is particularly inspired by Mexican lyrical airs.

SKU: DZ.DZ-4257

ISBN 9782898521744.

Une pièce inspirée par la sérénité d'une matinée hivernale, ornementée d'une neige pure et bienveillante.

A piece inspired by the serenity of a winter morning, adorned with pure and benevolent snow.

SKU: MB.31087

ISBN 9781513478043. 8.75X11.75 inches.

All of us can probably be rightfully described as being too unappreciative and too quick to complain. Few individuals have been criticized for being overly thankful.

This book is presented to help generate a focus on giving thanks for and being aware of our innumerable blessings provided by our Creator.

May these wonderful gospel songs and great hymns arranged in the popular Southern Gospel style be an encouragement to everyone.

SKU: KJ.GP484

ISBN 9780849799174.

Progressive Piano Repertoire, Volume Three, is a collection of intermediate level piano pieces from the 18th to 21st centuries, arranged in order of difficulty . It is appropriate for any age student, and may be used independently or as part of any curriculum . It is specifically designed to be used after Progressive Piano Repertoire, Volume Two (GP482) . After completing Progressive Piano Repertoire, Volume Three, students will be prepared for Volume Four, or Level Six of Keith Snell�??s Piano Repertoire (Baroque and Classical, Romantic and 20th Century) or Essential Piano Repertoire series