SKU: IZ.IMF173

9 x 12 in inches.

Kui (Chinese: Kui ) is a polysemous figure in ancient Chinese mythology named for the legendary musician Kui who invented music and dancing and for the one-legged mountain demon or rain-god variously said to resemble a Chinese dragon, a drum, or a monkey with a human face. Kui is also defined as an instrumental composition in Turkic culture around 4 minutes length. This type of composition is generally performed with different national plucked, bow and wind instruments.

I enjoy drawing inspiration from Asian mythology in my unaccompanied works and have employed the myth of the one legged dancing musician. I have combined with this imagery elements of jazz and rock and roll which I use freely throughout the work. It is a brief bravura solo work, but is says much in its brief three minutes.

SKU: IZ.IMS1611

9 x 12 in inches.

Kui is a polysemous figure in ancient Chinese mythology named for the legendary musician Kui
who invented music and dancing and for the one-legged mountain demon or rain-god variously said to resemble a
Chinese dragon, a drum, or a monkey with a human face. Kui is also defined as an instrumental composition in
Turkic culture around 4 minutes length. This type of composition is generally performed with different national
plucked, bow and wind instruments.
I enjoy drawing inspiration fromAsian mythology in my unaccompanied works and have employed the myth of the
one legged dancing musician. I have combined with this imagery elements of jazz and rock and roll which I use
freely throughout the work. It is a brief bravura solo work, but is says much in its brief three minutes.

SKU: A0.1441944

Romance Anonimo for Guitar.

This beautiful piece, known as Romance d'Amour, Anonymous Romance, Spanish Romance, Romance de Amor, Romanza among other names are a very well know piece. The composer is unknown.

Romance Anónimo (Anonymous Romance) is a piece for guitar, also known as Estudio en Mi de Rubira (Study in E by Rubira), Spanish Romance, Romance de España, Romance de Amor, Romance of the Guitar, Romanza and Romance d'Amour among other names. It is composed in the style of parlour music of the late 19th century in Spain or South America,

History:

The style of the piece is that of the parlour music of the late 19th century in Spain or South America. It has a closed three-part form, the first in the minor key and the second being in the major key, with the third part being a restatement of the first.

The origins and authorship of the piece are unknown, hence 'anonimo'. It is thought to have been originally a solo instrumental guitar work from the 19th century, and has variously been attributed to Antonio Rubira, David del Castillo, Francisco Tárrega, Fernando Sor, Daniel Fortea, Francisco Vicaria l Llobet, Antonio Cano, Vicente Gómez, and Narciso Yepes. It has been suggested that doubts about its authorship may have been encouraged by a wish to avoid paying copyright fees and the desire of publishing companies to claim the lucrative copyright.

Early recordings:

The earliest recording of Romance is found on a cylinder from the Viuda de Aramburo label[3][4][5][6] featuring guitarists Luis and Simon Ramírez, which was made in Madrid sometime between 1897 and 1901. The work is titled Sort-Estudio para Guitarra por S. Ramirez. The name Sort, as it occurs on the cylinder's title, probably refers to Fernando Sor, as his surname is sometimes spelled Sort or Sorts. The recording may be heard on the Doremi CD release Tarrega, His Disciples, and Their Students (DHR-7996) and online at the UCSB Cylinder Audio Archive.

Possible origins:

An early publication of the work, known as Estudio para Guitarra de Rovira and attributed to Spanish guitarist Antonio Rubira,[13] was published by J.A. Medina e Hijo in Argentina before 1925 (probably in 1913, when the publisher ceased activities).

Guitarist and composer Isaías Sávio (Montevideo, 1900 — São Paulo, 1977) published the work in 1959 with the title Romance de Amor (Estudo em Mi) Música de Antonio Rovira (Segunda metade do século XIX) He published information which cited Antonio Rubira as the author. (See Violào e Mestres Junio, 1966 / São Paulo, Brasil.

Sávio gives information that Juan Pargas, who knew Rubira, gave the Estudio de Rovira to the guitarist Juan Valles in 1876 or 1878. Sávio mentions that the work became popular in Buenos Aires and began to be published by, among others, Spaniard Pedro Maza; and that the work appeared in the method of Pedro Mascaró y Reissig, published in Montevideo in 1919, with the title Conocido por Estudio de Rovira.

Publishing company Ricordi of Argentina currently publishes the piece, and attributes authorship to Antonio Rubira.

SKU: A0.914702

A funky arrangement of the traditional U.S. song, variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a southern gospel song.

SKU: A0.1421877

An Armenian song and dance in 5/4 meter, Gorani originated in Daron in western Armenia, now Anatolia.  The lyrics have been variously interpreted as a love song, or as sentiments for a disappointing harvest, or more profoundly, as a lament for a lost homeland or adored one.

Gorani is in the key of E minor. The haunting R.H. melody is often harmonized in thirds and sixths, but also serves as an accompaniment with an open octave when the L.H. is given the melody. The R.H. reinforces the quintuple meter with a beat grouping of 1-2 1-2-3. The melody is augmented at the end.

Constance Shelengian studied piano with Maro Ajemian. She has a Doctor of Musical Arts Degree and is a retired music educator.

SKU: A0.914706

A funky arrangement of the traditional U.S. song, variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a southern gospel song.

SKU: M0.96711MEB

ISBN 9781619115392. 8.75x11.75 inches.

A complete survey of traditional banjo styles complete with tunings, playing tips, and the author's deft drawings. Progresses from easy tunes for the beginner to more difficult pieces. The styles include up-picking or Pete Seeger's basic strum; two-finger picking; three-finger picking; and what had variously been called frailing, clawhammer, knocking, rapping, overhand, fram-style, flayin' hand, and other Appalachian names, here called down-picking.  Includes access to online audio.     .

SKU: A0.888154

An arrangement of the Kyrie from 'Missa Pro fidelibus defunctis' for Trombone Quartet.
This mass has variously been attributed to Antoine de Févin (1473 - 1512) or Antoine Divitis (c.1473 - c.1528)
It has been transposed down a minor 3rd, and the words have been included in the parts in order to inform phrasing.
Accidentals above the stave may be included at the performers discretion. 
There are no technical challenges, but the top part will require fairly good stamina.

SKU: A0.914701

A funky arrangement of the traditional U.S. song, variously described as a Christian folk hymn, an African-American spiritual, an Appalachian song, and a southern gospel song.

SKU: A0.923891

This chorale for brass quintet is a showcase for the 1st trumpeter, with several solo passages, and a soaring descant in the final passage. The piece is based on a line from Psalm 31, variously translated as Into your hands I commend my spirit or Father, I put my life in Your hands. The central musical theme is extrapolated from a basic melodic idea originally intended to be sung by a cantor. While it may be played year-round, In Your Hands makes an especially fitting selection during the Easter season.

In Your Hands was composed by Bedford Brass Quintet trumpeter Paul St-Amand in memory of his father, Gerry. The piece was premiered at Harmony & Hope: A Concert for Cancer Research in 2015.

Performance time is approx. 4:30.