/ Orgue Ou Harmonium / Chanson En Séparée
SKU: HL.329887
UPC: 840126907087. 5.0x5.0x0.15 inches.
Broadway veteran David Yazbek hasn't written original music for a production that didn't go on to be nominated for Best Original Score at the Tony Awards. This astonishing 5-for-5 streak is currently capped by his work on Tootsie, a musical adaptation of the 1982 film of the same name. I Won't Let You Down is an in-show audition piece, starting out lethargic, but morphing into something grandiose and memorable by the end--a showstopper!
SKU: PR.16400261S
UPC: 680160038411.
Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is. As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words. The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings. The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended. The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.
SKU: CL.011-3202-01
Bill Bailey not only won’t come home, he’s gone off on an around-the-world trip and he’s taking your band with him. This novel Larry Neeck arrangement of the old favorite Bill Bailey Won’t You Please Come Home and presents it as it could sound in the Far East, Carribbean, France, Italy, Middle East, Mexico and the USA! A terrific addition to any concert and a real audience pleaser!
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: HL.1136474
ISBN 9781705183250. UPC: 196288113492. 9.0x12.0x0.237 inches.
This one-of-a-kind collection arranged by Fred Sokolow features accessible, must-know songs for anyone ready to start playing lap steel guitar, or any player wanting to expand their repertoire. Each song is presented in a combination of tab, standard notation, chords, and lyrics for the most popular songs lap steel players like to play. This collection features songs in several tunings, including open G, open E and C6, in these genres: country, Hawaiian, Western swing, rock/pop, folk, and blues. It also includes many transcriptions of solos by famous steel players. Songs include: Back in the Saddle Again â?¢ Blue Eyes Crying in the Rain â?¢ Can't Help Falling in Love â?¢ Crazy â?¢ Faded Love â?¢ Happy Trails â?¢ I'm So Lonesome I Could Cry â?¢ Mama Tried â?¢ (Ghost) Riders in the Sky (A Cowboy Legend) â?¢ Together Again â?¢ Waikiki â?¢ Walkin' After Midnight â?¢ Won't You Ride in My Little Red Wagon â?¢ Your Cheatin' Heart â?¢ and more.
About First 50
You've been taking lessons, you've got a few chords under your belt, and you're ready to buy a songbook. Now what? Hal Leonard has the answers in its First 50 series. The First 50 series steers new players in the right direction. These books contain easy to intermediate arrangements for must-know songs. Each arrangement is simple and streamlined, yet still captures the essence of the tune.
SKU: PR.114410840
UPC: 680160015689.
See the biography of Michael Karmon on the back cover.WHEN THE SHEEP WON'T COME: A SLEEPLESS NOCTURNE FOR GUITAR was composed for Joseph Hagedorn, winner of the 1990 GFA solo competition, and premiered by him in November 1999. My original idea was to write a serene and moody nocturne in several movements. However, as I began researching and listening to new guitar pieces, I came across Toru Takemitsu's All in Twilight, and it immediately made a profound impression. At the time I found it beautiful, moving, and inspiring, but I also felt I didn't have anything to add to what Takemitsu already did, and that I needed to find a new concept for my piece. So, I decided to view night as a potentially restless time, rather than a serene time, and portray states of mind one might go through during a sleepless night. The names of the movements evoke, at least in my mind, the moods I am to depict, and the piece becomes progressively more convoluted as it goes on. By the end, the music is a surreal and weary shadow of the opening.
