The imprint left by John Coltrane upon the sound and vocabulary of Jazz is yet be surpassed. Growing out of Bebop Coltrane along with collaborators and mentors such as Thelonious Monk and Miles Davis moved to simplify the unnecessary complexities of Jazz leading to the birth of the Cool style. Coltrane himself continued to further expand the vocabulary and tonal/atonal range of his playing moving into increasingly experimental tonalities and sounds. Giant Steps catches the innovator at the height of his power and is rightfully regarded as one of the most influential jazz albums of all time paving the route for Ornette Colman and the free-improvisationartists of today.The album is presented here in note-for-note transcription.

Par SCHOENBERG ARNOLD. The two poems by Stefan George 'Litanei' and 'Rapture ' were worked by Schoenberg into a set of variations and into a finale far removed from traditional notions of form. The vocal reduction of the 3rd movement 'Litanei' is available as UE 6862, the vocal reduction for the 4th movement 'Entrückung ' is available as UE6863. The string parts are available as UE 2994. 'This quartet adds a new element to Schoenberg's creative oeuvre: brevity. It was already indicated by the succinctness of the Chamber Symphony and is clearly expressed in the structure of the F sharp minor Quartet with four shorter movements. There is only a small step from the harmonic language of this work to a complete renunciation of tonality. The last movement - although, in the main, belonging to F sharp mayor - no longer carries a key signature. Chromatic alteration turns the fourth chords into harmonies never heard before, free from any tonal context.' (Anton Webern)/ Répertoire / 2 Violons, Alto, Violoncelle et Soprano

Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

This second volume follows up on the success of the original volume of solos transcribed exactly from recordings by the Bird with 60 more of Parker's best. Songs include: Bird Feathers · Bird of Paradise · Body and Soul · Cherokee (Indian Love Song) · Cool Blues · Crazeology · Drifting on a Reed · Embraceable You · Groovin' High · I'll Remember April · Love for Sale · My Old Flame · A Night in Tunisia · On a Slow Boat to China · Quasimodo · 'Round Midnight · Salt Peanuts · Sweet Georgia Brown · Tiny's Tempo · What Is This Thing Called Love? · and more. Includes preface by book transcriber Charles Doc Stewart. Bird Feathers Bird Of Paradise Bird's Nest Body And Soul Bongo Beep Bongo Bop Carvin' The Bird Cheers Cherokee (Indian Love Song) Confirmation Cool Blues Crazeology Dexterity Dizzy Atmosphere Drifting On A Reed East Of The Sun (And West Of The Moon) Easy To Love (You'd Be So Easy To Love) Embraceable You Groovin' High Hallelujah Hot House I Get A Kick Out Of You I Remember You I'll Remember April I've Found A New Baby (I Found A New Baby) I've Got You Under My Skin Indiana (Back Home Again In Indiana) Klactoveededstene Little Willie Leaps Liza (All The Clouds'll Roll Away) Love For Sale Lover Mango Mangue Meandering Move My Heart Belongs To Daddy My Heart Tells Me My Old Flame A Night In Tunisia Oh, Lady Be Good! On A Slow Boat To China Out Of Nowhere Quasimodo Repetition Rock Salt a/k/a Rocker 'Round Midnight Salt Peanuts Sippin' At Bells The Song Is You The Squirrel Star Eyes Stupendous Swedish Schnapps Sweet Georgia Brown They Didn't Believe Me This Time The Dream's On Me Tiny's Tempo Visa Wee (Allen's Alley) What Is This Thing Called Love? / Instrument en do / Hal Leonard

Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors)/ Répertoire / Violoncelle et Piano

Historical information about Händel's Water Music Suites is limited, but certainly these works were intended for two, possibly three, parties given by King George I on the Thames River, London, between 1715 and 1736. Händel and his orchestra played on a barge. Since then the some twenty-two separate original pieces have been organized into three Suites and nicknamed 'Water Music?, each having a separate key and likely corresponding to these river parties. This transcription of Water Music Suite II for saxophone quartet has two purposes: to make this music available to saxophonists for performance and education, and to provide in one volume the entire Suite II. The exception to the latter, because of the limits of endurance, is the exclusion of the short Adagio, a brief interlude between the fi rst two movements. Included though are the Allegro, Hornpipe, Minuet, Lentement, and Bourree. These works were originally meant for an outdoor performance, and one of the original intentions of the saxophone was to play in French military bands, also an open-air purpose. The original scoring of brass, woodwind, and string instruments (but no continuo) transcribe well for saxophones. Matching the ranges of instruments of the original to the saxophone quartet was a primary objective. In addition, this arrangement strives to disperse melodic material to all four saxophones so as to make the arrangement pleasing to all the members of the quartet while providing variety to an audience. Any dynamic, articulation, and tempo markings are to be taken only as suggestions so as to allow interpretation by the performers. The musical study and performance of all styles while using examples of composition and performance that represent excellence is necessary for saxophonists who wish to be well-rounded musicians. For the above reasons saxophonists are urged to listen to recordings of the original orchestration in order to learn and imitate proper interpretation of Baroque style. There are currently a number of excellent recordings of Handel's Suites on period instruments, such as (but not limited to) those by conductors John Eliot Gardiner, Christopher Hogwood, and the ensemble Tafelmusik. The Lewis-Clark State College Saxophone Quartet has for many years enjoyed performing Suite II for concerts, ceremonies and social settings, and I thank Advance Music for the opportunity to bring these great works to the profession. / 4 Saxophones (SATBar)

In Sonata 7 in D major Balicourt opens with a suave intricately rhythmic Adagio. The following Presto with its delightful interplay between flute and bass including both octave doubling and stretto imitation is the most skittish movement to emerge from the composer’s pen. The finale is a ‘sandwich’ movement in which a Minuetto encloses a duple-metre Cantabile in D minor. Although the minuet could be said to exemplify one of those ‘easy’ movements referred to in Balicourt’s prospectus for subscribers its complex prescribed ornamentation requires sensitive handling. Sonata 8 in E minor is strategically placed as the final work inthe set being one of the longest as well as the most conservative; adopting the traditional four-movement configuration it continually harks back to the grand Handelian style. An eloquent Andante ushers in a Presto containing many slightly academic contrapuntal touches and much chromaticism. The subsequent Largo is only five bars long: its plain melodic line in minims and crotchets is the skeleton around which the flautist is expected to weave an elaborate embroidery. For the finale Balicourt introduces in effect a new version in triple metre of the second movement. The fact that all four movements are in E minor heightens the sense of unity which is expressed very concretely through their sharing of some thematic material.

Within Three-Part Harmony. Par HAAGE JOHANNES. This book focuses on the intersection of melody and harmony. While valuable for all instrumental and choral composers and arrangers, it specifically explores ways to move melodic voices independently within three-part harmony on the guitar. All you need to benefit from this book is the ability to read standard notation on the guitar. Working through this book will improve fretboard knowledge and help you write better melody-chord arrangements.For the first time in print, VOICE MOTION presents a condensed, comprehensive list of all the possible ways for three voices to move in 2nds or 3rds within the context of common 7-note or heptatonic scales. With graphic illustrations that instantly reveal the nature of the motion (see front cover), the versatility of this list is unparalleled in modern music publishing.VOICE MOTION contains not only the essential list of all possible moves, in close and open (drop-2) voicing, but also:Begins with a complete course on diatonic three-voice chords and continues with a structured presentation of the ways to move voices within them.Introduces a unique harmonic toolbox which can be used at any stage of a musician?s personal artistic development.Provides an overview of heptatonic harmony and melodic movement which can be used when writing for or playing three voices in any harmonic situation.Vastly expands the reader?s chord vocabulary while demonstrating a clear method for learning to move any harmonic voice independently, in any inversion.Definitively explores all relevant heptatonic scales, their modes and three-part chord structures as well as presenting many examples, exercises and etudes to demonstrate their practical application.Presents a fretboard diagram and C major diatonic and chromatic scale exercises in notation and tab to clarify note locations on the guitar.Offers a special section applying the book?s principles to keyboard instruments.Includes access to online audio of select exercises and etudes plus three of the author?s original compositions demonstrating the techniques shown in this 316-page book. / Date parution : 2022-09-20/ Etude / Guitare

Better than the REAL BOOK! Packed with tons of standards, jazz classics, pop-fusion and contemporary jazz from such artists/groups as Ellington, Evans, Monk, Spyro Gyra, Sanborn, Brecker and more. Lyrics and many arrangements included. Perfect for any situation. / Instruments En Eb

Learning congas was meant to be this easy! This unique two-part DVD was designed to offer the beginning hand drummer a fun and creative approach to start playing immediately. In Part 1 expert percusionist Brad Dutz covers how to develop a good sense of the beat how to produce tones and how to play a rhythm. Part 2 presents in-depth instructions on the proper techniques for producing a variety of tones and sounds. In addition to presenting exercises to develop strong technique this DVD also exposes you to various authentic rhythmic patterns from a diversity of world cultures. Brad Dutz was born in Decatur Illinois and has played music all of his life. In1981 after graduating from North Texas University he moved to Los Angeles and began studying with Luis Conte who to this day is a strong influence both as a teacher and a friend. Brad Dutz has performed with such notables as Alanis Morrissette (Alanis Unplugged) LeAnn Rimes (Twisted Angel) the Ocena's 11 soundtrack Lee Ann Womack (Something worth Leaving Behind) and David Benoit (Fuzzy Logic). INCLUDES:Basic Rhythms Various drum tones and sounds Proper technique for playing Authentic World rhythm patterns and cultures Cutting-edge DVD special feature sets SPECIAL FEATURESInteractive Drums From Around the World Performance Applications of Education: Fanga Rhythm Framedrum Performance Additional Product Previews DVD-ROM Features: Internet Connectivity Printable Worksheets