SKU: BT.DHP-0940578-020
SKU: HL.233157
9.25x12.0x0.13 inches.
Includes two copies of the performance score These pieces are inspired by the music and spirit of the Athabascan people of Alaska's boreal forest. The first and third dances are based on songs by Joe Beetus, a Koyukon elder from the village of Huslia. The second dance is based on a short traditional song of the Dena'ing people of the Kenai Peninsula, as remembered by the late Peter Kalifornsky and transcribed by the late Thomas F. Johnston. In their original setting these melodies would be sung in unison, with no harmony or counterpoint. Working as a composer in the Western tradition, I have extended and transformed them in many ways. I have 'borrowed' and 'set' these melodies with permission and with the hope that my treatment of them conveys my profound respect for their origins. The second and third pieces are derived from my setting of poems by Adeline Peter Raboff written in the dialect of her Gwich'in people, who inhabit the country from Arctic Village to Old Crow. I offer this music as a gesture of respect to the first peoples of the Northern Interior and the Kenai Peninsula. - John Luther Adams.
SKU: HL.234540
9.0x12.0x0.09 inches. English.
'This set of miniatures is based on traditional dance songs of the Yupik Eskimo people of Western Alaska. In their original forms, these melodies would be sung in unison. The first, third and fifth songs would be accompanied by frame drums. The second and fourth are game songs, for jumping rope and juggling pebbles. Aside from the obvious difference in instrumentation, my settings of these songs differ from the Yup'ik originals in other respects. I have extended and varied the melodies, and added countermelodies, ostinato figurations, introductions, interludes and codas. The first four melodies are drawn from the collection Yup'ik Eskimo songs, compiled by Thomas F. Johnston, and Tupou L. Pulu, and published by the University Of Alaska. The fifth was 'loaned' to me by Yup'ik singer and dancer Chuna McIntyre, who learned it in his village of Eek, Alaska. The poems preceding each piece are rough translations of the words to the songs. These verses are often cryptic and enigmatic. Their obscurity is increased because some of the words or their meanings have been lost, over time.' - John Luther Adams.
SKU: HL.49008044
ISBN 9790001112888. UPC: 073999696097. 9.0x12.0x0.125 inches.
Dancing Flute contains ten pieces based on characteristic dances of various countries, such as Germany, USA, Great Britain, Australia and Mexico. These tuneful and lively piece are easy and equally suitable for amateurs and students. Mucki, Tanzintermezzo (Deutschland) * White Lady, Milk Cocktail (Grossbritannien) * Country Lily, Western Melody (Australien) * Santa Monica Blues (Kalifornien) * High School Dixie (USA) * Latin Ballad (Mexico) * Farmer Boy (Kansas City) * Michail (Russland) * Sunday Party (New Orleans) * Tiberias (Israel).
SKU: PR.115402010
ISBN 9781491102220. UPC: 680160582723. 9 x 12 inches.
Chen's dynamic work for two pianos has now been scored for wind ensemble! Chen uses folk music of western China as her foundation, as indicated by the movement titles: I. Introduction, II. Meng Songs, III. Zan Songs, and IV. Miao Dances. Commissioned by the Metropolitan Wind Symphony (Lawrence Isaacson, Music Director), and premiered in May 2008 at National Heritage Museum, Lexington, MA (Lewis J. Buckley, Conductor).
SKU: BT.DHP-0940578-215
SKU: HL.44002224
UPC: 073999325027. 6.75x10.5 inches.
SKU: CL.RWS-1935-01
American Dances is a three movement suite originally composed for the Boston Pops Brass. Each movement features an American popular music genre. Square draws upon the country, western and bluegrass traditions as brought to the United States though settlers from the British Isles. Fun, interactive and delightfully challenging! When programmed with Rag (Mvt. 1) and Swing (Mvt. 3), the full American Dances suite is particularly effective in any concert setting.
SKU: CL.RWS-1935-00
SKU: BT.ESZ-01494800
With his Venti pezzi per pianoforte (1938), the Hungarian composer Sándor Veress (1907-92) wanted to create a collection of piano miniatures on folk melodies destined for use in the concert hall as well as for teaching purposes. Each piece is based on one or more songs and dances from different Hungarian speaking areas, which are re-elaborated and presented in a carefully conceived alternation of character, musical writing and technical difficulty. The result is a multi-colored overview of Hungarian folk music: songs of a pathetic or even dramatic nature are contrasted with lighter and high-spirited pieces, interspersed with dances of varying types, among which a homogeneousblock stands out formed by the group of Csárdás, a typical tavern dance also used by Liszt. The Venti pezzi per pianoforte represent the culmination of the extensive ethnomusicological research made by Veress in the ’30s and ‘40s, while working as assistant to László Lajtha and to Béla Bartók, and at the same time carrying out field work in Hungary and neighboring countries. The composer intended that this collection should play a fundamental role of mediation between folklore and western “art” music, by revitalizing the language from within, without resorting to the abstractions of the experimentation being developed in Europe at the time. During his lifetime Veress never succeeded in publishing the complete version of the Venti pezzi per pianoforte, but issued various selections of the pieces, two of which remained totally unpublished. The present critical edition prepared by Giada Viviani reconstructs the complete text of the Venti pezzi per pianoforte on the basis of manuscript sources kept at the Paul Sacher Foundation in Basel: the musical scores, with fingering by Jakub Tchorzewski, are accompanied by an introductory essay on the context in which the collection was created, including a description of the state of the sources and a detailed apparatus criticus of the textual variants. Con i suoi Venti pezzi per pianoforte (1938), il compositore ungherese Sándor Veress (1907-92) ha voluto creare una raccolta di miniature pianistiche su melodie popolari destinate sia a un uso concertistico, sia all’attivit didattica. In ogni branovengono rielaborati uno o più canti e danze provenienti da diverse aree geografiche di lingua ungherese, che si susseguono in base a una sapiente alternanza di carattere, scrittura musicale, difficolt esecutiva. Viene così offerta una variegatapanoramica della musica popolare di questa nazionalit : a canti di contenuto patetico o addirittura drammatico se ne affiancano di più leggeri e giocosi, avvicendandosi a danze di natura differente, tra cui spicca come un blocco omogeneo il gruppodelle Csárdás, tipica danza da locanda utilizzata anche da Liszt.I Venti pezzi per pianoforte rappresentano il coronamento della ricca attivit etnomusicologica condotta da Veress tra gli anni ’30 e ‘40, sia lavorando come assistente di László Lajtha e di Béla Bartók, sia svolgendo ricerca sul campo in Ungheria enei paesi limitrofi. Per il compositore, questa raccolta doveva svolgere un fondamentale ruolo di mediazione tra il folklore e la musica “colta” occidentale, in maniera da rivitalizzarne il linguaggio dall’interno, senza gli astrattismi dellesperimentazioni allora condotte in Europa.Nel corso della sua vita Veress non riuscì mai a pubblicare la versione integrale dei Venti pezzi per pianoforte, mentre ne fece uscire sul mercato alcune selezioni, lasciando del tutto inediti due brani. La presente edizione critica a cura di GiadaViviani ricostruisce il testo completo dei Venti pezzi per pianoforte in base alle fonti manoscritte conservate presso la Fondazione Paul Sacher di Basilea: gli spartiti musicali, corredati dalla diteggiatura di Jakub Tchorzewski, sono accompagnatida un saggio introduttivo sul contesto di creazione della raccolta, dalla descrizione dello stato delle fonti e da un dettagliato apparato critico delle varianti testuali.
SKU: KJ.SO119F
Four movements entitled Western Swing, Southern Lullaby, Cowboy Waltz, & Shaker Dances make up this vibrant symphony for string orchestras. Great melodies combined with rhythmic energy will motivate students and will be a favorite at concert time.
SKU: PR.114423620
ISBN 9781491137321. UPC: 680160690053.
MAYKA (Serbian for “mother”) is a fascinating collection of 10 short recital pieces, each inspired by Serbian folk-music traditions, enriched through a broad variety of non-traditional techniques. Serbian-born flutist Jovana Damnjanović created these teaching etudes in conjunction with her doctoral thesis introducing Eastern European traditions to Western flutists. Along with its 10 fresh and dazzling concert works, this publication includes a thorough preface on performance techniques and instructions for each etude.MAYKA attempts to represent the sounds of traditional Serbian music and also make them more familiar and accessible to flute players around the world. The overarching inspiration for the sound is one of the most popular instruments in Serbian traditional music: the frula. Inspirations from the tone colors of other instruments such as duduk, cevara, dvojnice, and kaval are also present. To read more about these instruments, refer to Chapter 1: Introduction (pg. 13-16) in the online dissertation.My intention was to create an original work exclusively for flute that holds characteristics of Serbian traditional music. An imitation of one of the Serbian traditional song forms can be found in “Čоček;” irregular time signatures can be found in “Igra,” “Čоček,” and “Vez.” The style is mostly present through trills, ornaments, and tonality, which are ubiquitous characteristics of Serbian traditional music.Each of the concert etudes has a narrative. The reason for narrative is to bring the style closer to the performer, and to help with understanding each etude’s expressive significance. Some etudes were inspired by people and events, some by specific dances, music, and literature from Serbia. As the etudes are of programmatic nature, they are a great choice for themed recitals. The idea was to write pieces short enough to be good program-fillers, not too hard to put together yet effective, and also suitable for short performances in venues that do not have a piano. To read more about each etude’s narrative, refer to Chapter 3: Performance Guide (pg. 24-75) in the dissertation.The book is titled MAYKA, Serbian for mother, to honor my mother, my mother’s mother, and my Motherland, Serbia. Motherland is represented through the style and tonal language of all of the concert etudes, and my mother and grandmother have been the biggest inspiration for the narrative of “Svila,” “Nana,” and “Uspavanka.”.
SKU: M7.ELLI-3570
ISBN 9781559614580. UPC: 052296357023.
The end of the Cold War and the dissolution of the Soviet Bloc has opened a floodgate of communication with the nations of Eastern Europe, allowing access to their long sequestered heritage of music and culture. This collection ranges from ethereal church chorales to earthy peasant dances to modern fusions with Western rock, pop and jazz. The instrumentation includes fiddles and accordions, brass bands and bagpipes, cimbaloms and utogaardons, jew's-harps and hurdy-gurdies, with vocals that range from the sensual to the sublime. Accompanying ''Unblocked's'' three CDs are essays on Eastern Europe's tangled web of languages, tribes and religions, as well as photos and extensive track notes. ''Unblocked documents diversity and the survival of local forms against the pressures of homoginazation and globalization.'' [NY Times].
SKU: HL.755807
UPC: 888680091804. 10.75x7.25x10.75 inches.
The djembe is one of West Africa's best known instruments. Traditionally, the various rhythms played on a djembe are only played at a certain time for a specific reason. For instance, djembe drumming could accompany the passage into adulthood or marriage. It was also played to honor specific groups of people or professions. The djembe has definitely settled into Western culture in the last century, and it holds a prominent place in much of modern pop music. IQ Plus djembes are great tools for group music therapy such as self-improvement and team building. They are also excellent instruments for teachers to gather children in class or to accompany school dances. Young children will enjoy moving or dancing along while the djembe is being played or they can create many easy rhythmic patterns by themselves. Children can improve their hearing ability and learn to incorporate their own rhythms into a piece of music. The djembe is another excellent instrument for developing hand-eye coordination and time keeping. Playing with an IQ Plus djembe will allow children to express their energy through music or to create fun group music sessions. • Constructed of environmentally friendly rubber wood • Head made from natural hand selected goatskin • An excellent instrument for developing hand-eye coordination and time keeping • Variety of choices of size and color finishes.
SKU: MB.21123M
ISBN 9780786695256. 8.75 x 11.75 inches.
This book, which includes 308 tune transcriptions, is organized around individual fiddlers who typically combine Appalachian-style fiddling with rags, pop standards, Midwest-style fiddling and sometimes a touch of Western swing to create a style often identifiable as Ozarks. Thirty Ozarks fiddlers and their lives are highlighted with biographical sketches, photographs, and tune histories. Another 50 great Ozarks fiddlers are presented in a similar manner but with less detail. The book and accompanying audio with 37 tunes, many recorded in the field emphasize the older fiddling traditions connected to the square dances and community events more than those connected to bluegrass music and modern contest fiddling. Some of the tunes in the collection are old standbys such as Bile Them Cabbage while others such as Finley Creek Blues are unique to the region. The book is the result of years of work by two respected researchers. Gordon McCann won the prestigious Missouri Arts Award in 2002 for his decades of work documenting, studying, and accompanying Ozarks fiddle music. Drew Beisswenger, a music librarian at Missouri State University with a Ph.D. in ethnomusicology, has published three other works about fiddle music and is known for his strong transcription and analysis skills. Includes access to online audio.
SKU: KJ.SO119C
SKU: CL.012-4139-75
Influenced by the rhythms and dances of western Africa, this fiery work is sure to bring the house down at your next concert or contest performance. Accessible melodies, driving polyrhythms, and powerful scoring all combine to create an experience your students and audiences will be talking about for years!
SKU: PR.11540226L
ISBN 9781491108840. UPC: 680160637331. 11 x 17 inches.
The Wrangler was written for the James Logan High School wind ensemble (Ramiro Barrera, director) in 2006. The work is evocative of the great old Westerns with Big Sky and grand symphonic music. The hero is a good man, a free man - very confident and very competent with his stallion and lasso, says the composer, and The Wrangler describes our hero galloping across the breathtaking landscape, encountering a drunken dance at a saloon, avoiding a fight, and more, all packed within an eight-minute envelope. For advanced bands.
SKU: PR.11540226F
ISBN 9781491108833. UPC: 680160637324. 9 x 12 inches.
