Clarinet/Solos. A small, but representative collection of well-known and lesser-known beautiful melodies from the Balkans. the carefully-chosen melodies offer a rich, enjoyable and varied book. the arrangements and other adaptations (keys, ornaments, etc.) have been introduced to make this beautiful South-Eastern European music more suitable for performance on the clarinet. It is recommended to repeat each piece 3-4 times because the melodies (like all folk songs in the world) are very short. A free piano accompaniment plus audio downloads are available for use with this title. Free audio files and piano accompaniment available.

Lyrical Solos from the British Isles is a collection of folk and traditional songs and dances with one hymn and a few original pieces added, all with the aspiring young clarinetist in mind. The author’s 2018 “English Sonatina” is prominently featured. The modal and folk song-like character of the sonatina is reflected in the clarinet and piano arrangements of the other eleven songs in the collection, including such stalwarts as: "The Maiden’s Lament", "Emerald Jig", "Wild Mountain Thyme", and "Scarborough Fair" plus two more Marshall originals — "Ballad" and "The Highlands". The folk influence in this music is further enhanced by the innate lyrical quality of the clarinet in combination with stylistically complimentary piano accompaniment. All in all, these arrangements of well-known tunes together with the author's original compositions and performance notes present an engaging recital repertoire for the young clarinetist.

This book was written specifically for beginning students working with a private teacher or in an entry-level clarinet class. The author emphasizes correct hand positions, breath control, and tone production needed for a successful start on the instrument, all the while encouraging the student to develop fundamental musicianship. Particular attention is given to the concept of playing in the rich, low chalumeau range of the clarinet as well as to playing over the break between registers. Finger exercises, daily warmups, a chromatic fingering chart, and helpful tips on accessories, beginning repertoire and care of the instrument complete this insightful volume—essential for any beginning clarinetist’s bookshelf!

This collection of Baroque music is arranged for the intermediate level clarinetist with the piano part being of equal skill level. The music is taken from keyboard, song and chamber music sources and represents quality Baroque styles circa 1625 - 1775. Composers include Johann S. Bach, Jean P. Rameau, Alessandro Scarlatti, G. F. Handel, Domenic Scarlatti, Antonio Vivaldi, C. P. E. Bach, and Johann J. Froberger. This music can be played by clarinetists for church, festival, school and leisure occasions.

These etudes were written at the request of students and colleagues to create music specific to the low clarinets for use in study and competitions. Due to their tessitura, etudes for soprano clarinet are often frustrating to play on low clarinets. By contrast, this completely new group of studies utilizes modern motifs, meters, and rhythms in idiomatic settings for low instruments. Nine of the 13 etudes are original pieces, and four are homage etudes honoring twentieth-century composers—Bartok, Hindemith, Debussy, and Stravinsky. The contemporary nature of these etudes also makes them appealing to play on soprano clarinets in the chalumeau to moderate clarion registers.

Covering today's most important modern, ballet, contemporary and post-modern choreographers in Europe and North America, this unique guide is a valuable quick reference for students and critics, dancers and general readers in love with dance. Each entry includes a biographical section, a chronological list of works, a detailed bibliography and a critical essay. In entries on choreographers such as Richard Alston, Pina Bausch, Laurie Booth, Christopher Bruce, Jonathan Burrows, Michael Clarke, Merce Cunningham, Anna Theresa De Keersmaeker, Eiko and Koma, William Forsythe,Jiri Kylain, Mark Morris, Twyla Tharp and other leading figures, readers can easily locate each choreographer's style and influence within the development of contemporary theatre dance, and swiftly discern the essential facts in his or her career.

"Historical documentation and perspectives on jazz music, the social and political music environment of the period of the 1960's in San Francisco told by local musicians with their stories and interviews"--Back cover.

Since the early twentieth century, 'balkanization' has signified the often militant fracturing of territories, states, or groups along ethnic, religious, and linguistic divides. Yet the remarkable similarities found among contemporary Balkan popular music reveal the region as the site of a thriving creative dialogue and interchange. The eclectic interweaving of stylistic features evidenced by Albanian commercial folk music, Anatolian pop, Bosnian sevdah-rock, Bulgarian pop-folk, Greek ethniki mousike, Romanian muzica orientala, Serbian turbo folk, and Turkish arabesk, to name a few, points to an emergent regional popular culture circuit extending from southeastern Europe through Greece and Turkey. While this circuit is predicated upon older cultural confluences from a shared Ottoman heritage, it also has taken shape in active counterpoint with a variety of regional political discourses. Containing eleven ethnographic case studies, Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse examines the interplay between the musicians and popular music styles of the Balkan states during the late 1990s. These case studies, each written by an established regional expert, encompass a geographical scope that includes Albania, Bosnia and Herzegovina, Bulgaria, the Republic of Macedonia, Croatia, Slovenia, Romania, Greece, Turkey, Serbia, and Montenegro. The book is accompanied by a VCD that contains a photo gallery, sound files, and music video excerpts.

World Music Pedagogy, Volume III: Secondary School Innovations provides a rationale and a resource for the implementation of World Music Pedagogy in middle and high school music classes, grades 7–12 (ages 13–18). Such classes include secondary general music, piano, guitar, songwriting, composition/improvisation, popular music, world music, music technology, music production, music history, and music theory courses. This book is not a depository of ready-made lesson plans but rather a tool to help middle and high school teachers to think globally in the music classroom. Strategies and techniques of World Music Pedagogy are promoted by discussions of a multicultural music education, descriptive vignettes of realistic teaching environments, conversations with culture-bearers/pedagogues, and prompts for self-reflection. This volume approaches important issues of multicultural education and social justice that are often neglected in music education texts—proving to be a valuable resource for both nascent music educators and veteran practitioners alike.