SKU: GS.BSG4PROMAR-P
8.5 x 11 inches.
30 energetic pieces to get your audience motivated, and their toes tapping. All four parts share the interesting melodic bits, and the relentless rhythms that provide the energy to forge ahead. You will enjoy sharing some old favorites, like Mendelssohn's Wedding March, Wagner's Bridal March, and for you Alfred Hitchcock fans, Gounod's Funeral March of a Marionette. This collection also includes works by Sousa, Frederick II, Joplin, Mozart, Schubert, etc.
SKU: AP.1-ADV7437
UPC: 805095074376. English.
This tribute, Suite of Old American Spirituals, to the great American spiritual features several all-time favorites in full-length or excerpted presentations. All seven movements are beautifully charming and fun to play. Arranged for saxophone quartet (SATB).
SKU: AP.1-ADV3501
UPC: 805095035018. English.
Set in an up-tempo swing style featuring a mix of plunger, half-plunger, and open passages in the tenor parts, this toe-tappin' version of the great favorite by F.W. Meacham is a complete ensemble effort without any solo or improvisation requirements.
SKU: XC.SB2010
ISBN 9781644020555. UPC: 812598035537. 9 x 12 inches.
Adaptable Quartets contains 21 newly-composed or arranged quartets that can be flexibly used with any combination of string instruments, making them an invaluable resource in the modern orchestra room! Written at an accessible 1.5-3 grade level, Adaptable Quartets follow the popular Adaptable Duets and Trios books by the same composers. Tyler Arcari and Matthew R. Putnam bring with them a wealth of educational experience as music educators to craft quartets that are fun to play and musically stimulating. Adaptable Quartets are sure to become an instant favorite. String editing by Diana Traietta.CONTENTSAbide with Me (Monk) Agincourt Carol (English Folk Song) The Barber of Seville (Rossini) Be Thou My Vision (Trad. Irish) Capstone (Arcari) Chorale - Jupiter (Holst) Country Gardens (Trad. Morris Dance) Curse of Tortuga (Arcari) Dawn of the Century - March (Paull) Fortune Favors the Bold (Putnam) Gesu Bambino (Yon) Go Tell It on the Mountain (Spiritual) Greensleeves (Trad. English Folk Song) Home on the Range (Kelly) In the Hall of the Mountain King (Grieg) Les Toreadors - Carmen (Bizet) Scimitar! (Matthew R. Putnam) Sea Shanty (19th Century Sea Shanty) Song Without Words - Second Suite in F (Holst) The Emperor Waltz (Strauss II) When Johnny Comes Marching Home (American Folk Song).
SKU: XC.SB2011
ISBN 9781644020791. UPC: 812598035544. 9 x 12 inches.
SKU: XC.SB2009
ISBN 9781644020548. UPC: 812598035520. 9 x 12 inches.
SKU: XC.SB2008
ISBN 9781644020531. UPC: 812598035513. 9 x 12 inches.
SKU: LO.765571000827
UPC: 765571000827.
From award-winning composer Mosie Lister, this Stereo CD features ten favorite selections from the souvenir songbook by the same title. Performances by The Cathedrals, The Kingsmen, The Speers, The Singing Americans, and J. D. Sumner & The Stamps Quartet are sure to bring back the days of Good Ol’ Gospel.
SKU: PR.11641373S
UPC: 680160680344.
The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.
SKU: PR.11641373L
UPC: 680160680337.