for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’s evolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings (Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale

Salsa Music Styles for the Classroom & Beyond-Hola Amigos! Experience authentic music styles of the Afro-Spanish-Caribbean by Puerto Rican-born author & bi-lingual educator Alejandro Jimenez. Connect with educational philosophies and cultural backgrounds of the SpanishCaribbean to understand how they influenced the music of that area. Learn how song dance rhythmic instruments and drama all come together to help build confidence and promote personal expression. Originally developed and used inurban multi-cultural settings here in the United States the works featured in Picante are for all general music classes. Students form their own Latin Music ensembles and explore the highly rhythmic beat of the plena from PuertoRico the regueton which is popular among urban Latino youth the fast two-step beat of the merengue from the Dominican Republic the bomba from Puerto Rican folk music and the son from Cuban dance music. These different stylesinfluenced what we now call Salsa music. The kid-friendly ensembles have been written for Grades 5-9 and are presented from easy to more difficult. A variety of short easily-learned ostinato rhythm patterns are played on Latinpercussion and Orff instruments and added one at a time followed by the Spanish and English lyrics. These voice parts are also made up of short ostinato patterns that when layered in create easily-sung harmonies in an instant!You can perform all or some of the voice parts so do what best fits your situation. A helpful teaching sequence dance steps and objectives linked to the National Standards are provided for each song and all ensemble parts arereproducible! The piano/vocal printed score represents the form of each song as recorded on the companion CD and is only a suggested guide to follow. Encourage your students to be creative and make up their own song form!Available separately: Teacher Edition (with reproducible pages) Performance/Accompaniment CD Classroom Kit (Teacher and P/A CD). Suggested for grades 5-9.

A Holiday Musical Infestation!-The bugz are back and ready for the annual Christmas program infestation! The carpenter bees have built the sets and the silk worms have made the costumes. OH NO! The termites just chewed up the Christmas tree decorations andate the lights! (gasp) What are the bugz to do? See how some special little guests light the way to a grand finale of “The Twelve Bugs of Christmas!” Designed for young performers in Grades K-3 this musicalshow features the clever writing of John Jacobson and John Higgins with 5 songs in a variety of musical styles easy rhyming dialog with 45 speaking parts and additional non-speaking parts all adaptable to casts of varying sizes and teaching objectives linked to the National Standards for each song. Simple movement staging and costume tips are also provided to help stage a successful performance even when time is limited! Available: Teacher Reproducible Pak (vocals lyrics dialog) Preview CD (with vocals) Preview Pak (1 Preview CD and sample pages) Performance/Accompaniment CD Classroom Kit (Teacher Repro Pak P/A CD). Duration: ca. 20 minutes. Suggested forgrades K-3.

Mozart composed the majority of his works for solo string instruments and orchestra during the years 1773 to 1779. Especially important in this context are the years 1773 and 1775 which witnessed the creation of the five concertos for violin and orchestra as well as several single movements for the same scoring. The reasons for this flourish of activity in this domain lie partly in the fact that Mozart who still occupied the post of concertmaster to the Prince-Archbishop was either obliged or inspired to provide such works for special occasions during this long period spent in Salzburg. But another reason was certainly the possibility of experimenting withall the new compositional techniques acquired during his third trip to Italy and his stay of several months in Vienna from July to September 1773.The piano reduction of Mozart?s D major violin concerto is easier to play uncluttered and practical with page turns where you need them and where necessary fold-out pages.The solo part gives players the critical Urtext of the New Mozart Edition. A prepared performance part is also included with bowings fingerings and performance practice comments. An additional brochure is included with todays most performed cadenzas 'Eingänge' and fermata embellishments.This collection offers players a spectrum of styles available in no other publication.Urtext of the New Mozart EditionFull score and parts (BA4866) violin & piano reduction (BA4866-90) and study score format 22.5 x 16.5cm (TP273) available for sale

2 Pieces Arranged for 5-String Banjo-The banjo shares many of the same sonic qualities as a harpsichord so although it's so closely associated with more homespun genres the instrument actually lends itself very well to classical music! The pieces in Bach for Banjo are in tablature only with chord symbols arranged at the beginning to intermediate level for five-string banjo players. As in classical guitar arrangements the melody and harmony are combined. Most pieces are on facing pages with no page turns required and beginners can pick through the selections at a slow pace. The book features just the best-known parts of 20 beloved Bach pieces: Air on the G String · Arioso · Minuet in G · Sheep May Safely Graze· Sleepers Awake · and more.

Cantiones profanae Instrument : soloists (STBar), mixed choir (SATB), children's choir and orchestra Type : choral score Nombre de Pages : 72 Carl Orff's masterpiece composed in 1936 undoubtedly is one of the best-known musical creations throughout the world. By popular request, we now publish a comprehensive choral score uniting all choral parts in one volume of excellent quality and print. This choral score complements the hitherto available choral parts (ED 4920-01 and -02) presenting female and male voices in separate editions, as well as the piano score ED 2877. The new choral score makes rehearsing and studying this extraordinary work much easier for every singer and music lover. Content : Fortuna Imperatrix Mundi: 1. O Fortuna - 2. Fortune plango vulnera - I Primo vere: 3. Veris leta facies - 4. Omnia sol temperat - 5. Ecce gratum - Uf dem anger: 6. Tanz - 7. Floret silva - 8. Chramer, gip die varwe mir - 9. Reie - Swaz hie gat umbe - Chume, chum, geselle min - Swaz hie gat umbe - 10. Were diu werlt alle min - II In Taberna: 11. Estuans interius - 12. Olim lacus colueram - 13. Ego sum abbas - 14. In taberna quando sumus - III Cour d'amours: 15. Amor volat undique - 16. Dies, nox et omnia - 17. Stetit puella - 18. Circa mea pectora - 19. Si puer cum puellula - 20. Veni, veni, venias - 21. In trutina - 22. Tempus et iocundum - 34. Dulcissime - Blanziflor et Helena: 24. Ave formosissima - Fortuna Imperatrix Mundi: 25. O Fortuna

The Creative Impulse. Par MAIR MARILYNN. Marilynn Mair has enjoyed a long career as a world-renowned mandolinist, esteemed for over a thousand concert performances, more than two dozen recordings and 4 previous Mel Bay books, including the first two volumes of her series, The Complete Mandolinist. In Volume 3, Marilynn steps forward as a composer, presenting over 60 of her own pieces - nearly half written during the pandemic lockdown of 2020-2021 when live music was forced off stage. Creativity didn?t take a break for Marilynn, though, and soon compositions began to sprout from those quiet days: works for solo and duo mandolin, mandolin-guitar duets, and pieces for plucked string ensembles. They fill the pages of this book with fresh ideas, playful melodies, quirky harmonies, and romantic visions. There are scores and parts for her Fantasia, Nocturnes, Études, Choro, and Ensembles, most of the music published here for the first time.Besides sheet music, the book also includes downloads of over an hour-and-a-half of Marilynn?s performances of the music, brand-new recordings of her recent works, some pieces from her earlier CDs, and a few recordings previously made but never released. This book opens the door to a new musical vision, from a musician who has already proven herself a masterful interpreter of classical and Brazilian repertoire. In her own words, ?I had friends and students in mind as I wrote, creating pieces to pass on my unique perspective on what makes classical mandolin cool.? Dive in and see what treasures you may.find.ncludes access to online audio. / Date parution : 2023-08-12/ Recueil / Mandoline

Songs and Activities for Learning Across the Curriculum-What you learn through music you don't forget! School Fact Raps uses this most effective tool to teach facts across the curriculum in a way that is enjoyable and fun! Learn about polygon and decagon simile and metaphor herbivore and carnivore the continents character development on sharing and taking responsibility for protecting our world how to sit at a computer the basics of music (of course) and much more! Your students will soon besinging through their standardized tests with flying colors and perhaps a little choreography to boot! In addition to reproducible raps with choreography the Teacher Edition also includes helpful teacher tips to make thelearning process for effective additional fun facts and extension activities in a variety of subject areas and some programming and staging ideas. The separate CD recording provides performance recordings to help students learnthe songs and hip accompaniment tracks to showcase your students once they have mastered the raps! Score BIG points with administrators classroom teachers and parents! Available separately: Teacher Edition (with reproduciblesinger pages) Performance/Accompaniment CD Classroom Kit (Teacher and P/A CD). Suggested for grades 3-5.

for the Left Hand for Piano and Orchestra-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’s evolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings (Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale

for the Left Hand for Piano and Orchestra Piano reduction and solo part-In 1929 Paul Wittgenstein a pianist and war veteran who lost his right arm in the Great War commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrilling compositions and for Wittgenstein the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand is based on previously inaccessible and unknown sources. The editor Douglas Woodfull-Harris was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’s evolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph is inaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us to understand omissions in the first edition of the score as well as the Piano reduction and enabled the editor amongst other things to correct a great many notes which could be found in previous editions including the solo Piano part.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering thereby giving pianists the opportunity to enter their own fingering after having studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings (Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Piano reduction (BA7881-90) available for sale