Jazz Combo - Level 3 - Digital Download SKU: A0.930355 Composed by Music: Joel Evans, Lyrics: Jim Bruno. Film/TV,Holiday,Jazz,Love. Score and parts. 4 pages. One Hundred Percent Pub. Co. #3436785. Published by One Hundred Percent Pub. Co. (A0.930355). For lovers of the Great American Songbook who wish to expand their listening and performing repertoire - a delightfully endearing new and original jazz song in the standard style. As sung by Jackie Ryan, this Piano Vocal Arrangement is a companion to the Joel Evans and Friends CD, Cozy Cool, which is available on iTunes, Amazon & CDBaby. Joel’s extensive list of credits includes major Hollywood films, hip indie flicks, network and daytime television dramas, more than 85 big screen credits and 350 television episodes. From Friends to Life in Pieces, Miss Congeniality to Passengers, Joel's music is heard constantly around the world.Jim Bruno is a San Francisco songwriter whose songs have been recorded and released by Shawn Colvin, Chuck Prophet, Thad Cockrell, Mary Lou Lord, Cliff Eberhardt, Maurice Tani and Laurie MacAlister. He has performed with or opened shows for numerous well-known artists, & tours the US & Europe frequently. He played bass, guitar and sang in the Shawn Colvin Band and recently released his own album of all original songs called 'Alright Alright'. Currently, he teaches Songwriting at Foothill College in Los Altos, California and at the Freight and Salvage, a prominent acoustic music venue in Berkeley, California.

SATB choir, with optional piano, harp, or orchestra - Digital Download SKU: MQ.8183-E Composed by Kirke F. Mechem. Christmas. 6 pages. E. C. Schirmer Music Company - Digital #8183-E. Published by E. C. Schirmer Music Company - Digital (MQ.8183-E). Kirke Mechem composed the Seven Joys of Christmas for the Chamber Singers of the San Francisco College for Women. He set out with the goal of setting lesser-known, but none the less attractive, carols from different countries in order to paint different aspects of joy for the Christmastide. He employed the number Seven because it is considered a magical number (as it is applies to mystery in the liturgy). The final carol, God bless the master of this house, is an amusing combination of all the carols in the composition, in addition to other well-known Christmastide melodies. In certain passages, two, three, even four different carols are being performed at the same time!

Guitar - Advanced - Digital Download SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.

By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions

Solo Guitar - Level 3 - Digital Download SKU: A0.1444500 By Keith Terrett. By Isaac Manuel Francisco Albéniz y Pascual. Arranged by Keith Terrett. 19th Century,Classical,Contest,Festival,Instructional,Multicultural,World. Individual part. 3 pages. Keith Terrett #1024393. Published by Keith Terrett (A0.1444500). Isaac Manuel Francisco Albéniz y Pascual (Spanish pronunciation: [i?sak al??eni?]; 29 May 1860 – 18 May 1909) was a Spanish virtuoso pianist, composer, and conductor. He is one of the foremost composers of the Post-Romantic era who also had a significant influence on his contemporaries and younger composers. He is best known for his piano works based on Spanish folk music idioms. Isaac Albéniz was close to the Generation of '98.Transcriptions of many of his pieces, such as Asturias (Leyenda), Granada, Sevilla, Cadiz, Córdoba, Cataluña, Mallorca, and Tango in D, are important pieces for classical guitar, though he never composed for the guitar. Some of Albéniz's personal papers are held in the Library of Catalonia.As one of the leading composers of his era, Albéniz's influences on both contemporary composers and on the future of Spanish music are profound. As a result of his extended stay in France and the friendship he formed with numerous composers there, his composition technique and harmonic language influenced aspiring younger composers such as Claude Debussy and Maurice Ravel. His activities as conductor, performer and composer significantly raised the profile of Spanish music abroad and encouraged Spanish music and musicians in his own country.Albéniz's works have become an important part of the repertoire of the classical guitar, many of which have been transcribed by Francisco Tárrega, Miguel Llobet and others. Asturias (Leyenda) in particular is heard most often on the guitar, as are Granada, Sevilla, Cadiz, Cataluña, Córdoba, Mallorca, and Tango in D. Gordon Crosskey and Cuban-born guitarist Manuel Barrueco have both made solo guitar arrangements of all the eight-movements in Suite española. Selections from Iberia have rarely been attempted on solo guitar but have been very effectively performed by guitar ensembles, such as the performance by John Williams and Julian Bream of Iberia's opening Evocation. The Doors incorporated Asturias into their song Spanish Caravan; also, Iron Maiden's To Tame a Land uses the introduction of the piece for the song bridge. More recently, a guitar version of Granada functions as something of a love theme in Woody Allen's 2008 film Vicky Cristina Barcelona.The theme from Asturias was incorporated or adapted in several soundtracks including the 2008 horror film Mirrors, composed by Javier Navarrete, and the Netflix TV show Godless, composed by Carlos Rafael Rivera.In 1997 the Fundación Isaac Albéniz was founded to promote Spanish music and musicians and to act as a research centre for Albéniz and Spanish music in general.A street in Quito, Ecuador, is named after him.