Choice Magazine (a major library review magazine): "After an introductory section on the history of the piano, particularly as reflected in and influenced by works of the major composers for the instrument, this interesting and informative book describes various compositional "schools," from Austro-German, French, and Italian through English, American, Russian, Spanish, Japanese, and others. This section constitutes a brief course in music history beginning with the Renaissance. ... The body of the work consists of historical and stylistic sketches of 17 composers, with brief remarks about several works of each, and lists of selected works, ending with a complete work or movement. These sketches are exceptionally well written, assuming an intelligent reader, and convey a great deal of information concisely.... this book contains much well-organized and useful material. For libraries serving serious amateur pianists, high school upward. ****************** Booklist (The book review magazine of the American Library Association): This authoritative volume will make a solid addition to the public library music collection. After offering a brief opening chapter on the evolution of the piano as instrument and the changing styles of technique, author Pat Hammond provides opinionated but well-reasoned analyses of the works of the major piano composers, with focus on the Baroque era (Bach and Handel), the Classical age (Haydn, Mozart Beethoven), Romanticism (Schubert, Chopin Liszt, and others), Impressionism (Debussy) and Modernism (Bartok). This book's unique feature is its inclusion of musical examples of each composer's work, which are meant to be played as one reads along. Pertinent biographical material is also featured for the great masters. Appendixes include a suggested twentieth-century piano repertoire and a bibliography. Piano music - Bibliography ******************* Clavier Magazine "Compiled and annotated by Patricia Fallows-Hammond. Suitable as a reference source, this handbook supplies concise biographical and stylistic sketches of composers and annotation of selected compositions. ... Fallows-Hammond has a knack for setting and maintaining an appropriate level of sophistication. Writing in a crisp, direct style, she steers the student toward complicated subjects and gives them a palpable hold on them. To explain the concept of the concerto grosso, for example, she explains that, "In Handel's time, Concerto Crosso meant a small group of instruments playing in contrast to a larger body of strings." Her synopsis of the development of sonata form is equally apt....Commentary on the composers is well-researched and written at a uniform level of detail that will make it useful to a wide audience....Fallows-Hammond does a good job of compiling accurate information on the composers she has chosen. If the contents of the book serve your purposes, you will find this handbook a handy reference source. " **************** The American Organist "The author has created a self-instruction course which gives information about the evolution of the piano and changing styles in piano technique, and then discusses topics with emphasis on special composers: ..... Piano students seeking background information will profit from this book. Recommended for public libraries." ******************** Keyboard Magazine "Patricia Fallow-Hammond's 302 page study embraces the proposition that historical context is an important, and frequently neglected, element in building an understanding of classical repertoire. .... she has assembled a fairly basic catalogue of keyboard works, arranged chronologically by composer, and preceded each list with a short biography relating milestones from each composer's life. ....... Her decision to further enlighten the reader with short samples of their handiwork is a happy extra addition. Her efficiency at summarizing and packaging that line is what makes her debut in print a success."

Exploring the parallel development of the brass band movement and religious fervor in late 19th-century America, this work includes illustrations from original materials as well as scores for 22 works. While the choral tradition has remained strong in churches, in this earlier period both choral and instrumental forms were equally popular. This study begins with solo cornet parts, used by men like George Ives to lead the singing at revival meetings, and ends with an extensive band arrangement of Pleyel's Hymn. Extensive historical notes, old-time illustrations, and sacred music make this a most interesting and useful reference book. An enormous amount of music was written and arranged for the popular brasswinds at the time, some of which was sacred music for the church. Changing taste and secularism resulted in the loss of the entire body of written and arranged sacred music for brass, once as cherished in church performance as the choral tradition is today. For scholars and performers interested in the variety of music produced in the United States during the 19th century.

"Brave New Bass is the most extensive collection ever gathered of interviews and music lessons by contemporary electric and acoustic bass masters. Detailing top players' careers, musical technique, and equipment, the book appeals to bassists of any style as a way to deepen their knowledge of their instrument and its history, and gain tips for playing and sounding better. Other instrumentalists and music fans will enjoy the detailed look at this ever-more-influential instrument and its stars and behind-the-scenes practitioners. Covering 34 players in styles ranging from pop and rock to world music and experimental jazz, the book includes profiles of Marcus Miller, Anthony Jackson, John Patitucci, Victor Wooten, Steve Bailey, and Will Lee.

Buzz to Brilliance engages students personally, technically and musically as they begin their study on the trumpet. The book journeys with students from the moment they first open their trumpet case to years later as they prepare for college auditions. It abounds with technical information and practical tips including buying a new trumpet, mouthpiece selection, adjusting to braces, and marching band.
Chapters on practice skills, sight-reading, and performing are a must-read for any musician, while special features give students a window into diverse worlds, from the workbench of a master repairman to the French horn studio of a master teacher. Drawings, diagrams and pictures invite students into each page, making even advanced technical concepts easy to understand.
Following the written portion of the book, a comprehensive set of scales and technique-building exercises address topics including breathing, high range, pedal tones, lip slurs, accuracy, articulation, and pedal tones. With practice schedules, mouthpiece comparison chart, pitch tendencies and more, this book is a treasure for any trumpet player.
Buzz to Brilliance is the perfect companion for any beginning method book, and the first text on the market that provides a comprehensive set of essential studies selected specifically for beginning and intermediate players.

The Black Horn: The Story of Classical French Hornist Robert Lee Watt tells the story of the first African American French Hornist hired by a major symphony in these United States. Today, the number of African Americans who hold chairs in major American symphony orchestras are few and far between, and Watt is the first in many years to write about this uniquely exhilarating and at times painful experience. The Black Horn chronicles the upbringing of a young boy first fascinated by the sound of the French horn. Watt walks readers through the many obstacles presented by the racial climate in the United States both on and off stage in his efforts learn and eventually master an instrument little considered in the African American community, with even the author s own father, who played trumpet, seeking to dissuade the young classical musician in the making. Opposition from within the community--a middle instrument suited only for thin-lipped white boys, Watt s father once chided and from without, Watt document his struggles as a student at an all-white major music conservatory as well as his first job in a major symphony orchestra after his conservatory canceled his scholarship. Watt subsequently chronicles his triumphs and travails as a musician, sometimes alone when confronting the realities of race in America and the world of classical music. This work will surely interest any working classical musician and student, particularly those of color, seeking to grasp firsthand the sometimes troubled history of being the only black horn. "

This guide, written by one of the foremost interpreters of early clarinet music, is intended for all clarinetists with a desire to investigate music of earlier periods. It contains practical help on both the acquisition and playing of historical clarinets, while performers on modern instruments will find much advice on style, approach and techniques, which combine to make up a well-grounded, period interpretation. Most importantly, case studies that include the music of Handel, Mozart and Brahms help recreate performances as close as possible to the composer's original intention.

Mozart wrote some of the greatest serenades for wind ensemble. He was not alone in writing works for wind sextet, octet, or larger ensembles-Over 12,000 works for wind harmony by over 2,200 composers are extant. Describing this new genre, Wind Harmony, which is far larger and more influential than ever recognized, this sourcebook includes biographical details, discusses many of the works, and presents country surveys. There is also a survey of the way wind instruments developed at the critical time, and of performance practices. Companion volumes, the ^IWind Ensemble Catalog^R and the ^IWind Ensemble Thematic Catalog 1700-1900^R, are cross-referenced. Mozart wrote some of the greatest serenades for wind ensemble. He was not alone in writing works for wind sextet, octet, or larger ensembles-over 12,000 works for wind harmony by over 2,200 composers are extant. Describing this new genre, Wind Harmony, which is far larger and more influential than ever recognized, this sourcebook includes biographical details, discusses many of the works, and presents country surveys. There is also a survey of the way wind instruments developed at the critical time, and of performance practices. Companion volumes, the ^IWind Ensemble Catalog^R and the ^IWind Ensemble Thematic Catalog 1700-1900^R, are cross-referenced. The authors identify what must be the major part of surviving wind harmony music. There is far more material than previously recognized, and its character is far more varied than is usually thought. In this work, the music is placed in context: why it was written, where it was played, and how it influenced other genres. The authors have collected new material, corrected previous mistakes, and filled in missing material. Public and private libraries have been scoured and monasteries searched throughout greater Europe. The sourcebook will be helpful for scholars and students, librarians, players, and music sellers.

The preponderance of early Black composers wrote choral music and even the most outstanding among them did not compose works for woodwinds. However, the later half of the twentieth century has witnessed a rise in compositions for woodwinds, both for solo and chamber ensembles by relatively unknown Black composers. This pioneering volume will become the standard source of information on nineteenth and twentieth century Black composers from three continents as well as their woodwind compositions. It contains the most current and complete biographical data on 90 African composers, Afro-American composers, Afro-Latin composers, and Afro-European composers, including their education and professional experience and information on their continuing musical influence. A distinctive feature is the separate, easy-to-use woodwind music index of both published and unpublished works for solo and chamber ensembles that groups the music by medium and numbers into 27 categories that contain some 430 works. Exact instrumentation, dedication or commission, premiere performance, and publisher are also found here. A list of abbreviations, key to publishers, collections, and manuscripts, and a discography of 38 recordings of woodwind works by 26 of the included composers complete the volume.

This first bibliography of woodwind music by Black composers is an excellent reference work for Black composers, for the woodwind repertoire, and for American music in general. It will be highly useful in college-level courses such as "Survey of Afro-American Music and Woodwind Literature" as well as to woodwind players, ensemble directors, and scholars.

A comprehensive study of jazz great Charlie Parker, including details of record dates, more than 200 musical illustrations, and biographical material arranged chronologically and linked with Parker's recordings. The "Bird Stories" are all here, from Parker's Kansas City roots to his untimely death, as well as the seminal journal article on Parker's music, "Ornithology" that appeared in the Journal of Jazz Studies.

One chanter, three drones, three regulators, thirteen keys, too many near-extinctions to mention and 300 years of heroes: that, with a frisson of fairies on moonlit knolls, is the Irish uilleann ('ill-in') pipes. The Wheels Of The World presents an epic tale of triumph and survival, where the soulful heart of a nation has been kept alive across ages by a slender thread of guardians - blind men, eccentrics, self-aggrandisers, noble heroes, bloody-minded revivalists and at least three people compared to Jimi Hendrix. Uilleann piping is Ireland's equivalent to the story of the blues in America, save that here the trail of legends and lore is richer and deeper by far. It is the sound of 18th-century blues - a microtonal virtuoso machine wielded by misfits and geniuses, often one and the same. This is the story of a continuum, from John McSherry, a 21st-century icon, backwards in time through Paddy Keenan, Liam O'Flynn, Finbar Furey, Seamus Ennis, Willie Clancy, Johnny Doran, Leo Rowsome and Patsy Touhey - at the dawn of recorded sound - and thence to find a litany of unrecorded legends before them. It is also a snapshot of professional Irish traditional musicians, after the gold rush of the late 20th century, keeping calm and carrying on.

This unique discography of 78 RPM recordings extensively profiles solo and group horn performers, including chamber ensemble and orchestra recordings. This work provides, in addition to detailed data about individual recordings, invaluable commentary on actual selected 78 RPM recordings. Some of the recordings are no longer available in reissue and are therefore not easily accessible to the general public. Biographical information contributes to the wealth of researched information this discography provides. This discography of 78 RPM horn recordings fills a gap in bibliographic literature concerning horn recordings. A valuable reference to hornists, musicians, and discographers, the exhaustive, descriptive detail consists of data collected from numerous sources. Both well-known and obscure artists are researched.

The American Wind Symphony Editions comprises the more than 150 works commissioned by Robert Austin Boudreau for the American Waterways Wind Orchestra and published by the C. F. Peters Corporation. They are here presented for the first time in a complete catalog with detailed descriptive data, biographical information on the composers or arrangers, and score facsimiles. The published music represents about half of the over 300 works commissioned by the orchestra since 1957 in the largest such project in wind instrument history. Presented in this catalog are the published works of 83 composers from 28 countries, including such notables as Alan Hovhaness, Toshiro Mayuzumi, Krzysztof Penderecki, Ned Rorem, and Heitor Villa-Lobos. Genres include original concert and chamber music, incidental and occasional music, and theatrical and pop pieces, as well as arrangements of past masters. The compositional characteristics of each work are described, and data on number of performers, date of composition, duration, score accessibility, composer nationality and dates, and itemized instrumentation is listed. The catalog further provides appendixes classifying the music by composer nationality, duration of works, type of soloist, number of performers, programming category, and other fields. A selective discography is included, as are indexes of works by composer and title. Background history on the wind orchestra and music publisher is also provided.

With a huge reward on the line, the Stockwell Park Orchestra will need to play on a whole new scale to win big... After a brief and disastrous Resident Poet episode, Stockwell Park Orchestra is invited to take part in a TV competition for classical music. For a GBP50,000 prize some competitors are tempted to stretch the genre to 'crossover' and beyond. Can a full concert orchestra compete with jazz bands, horn quartets, harp ensembles, and Mrs Ford-Hughes singing in Portuguese with nine cellos? Or will the competition be derailed by the poet's return, this time sporting live Ambient Sounds? The TV producers aren't worried: they know a good fight means great ratings. What was supposed to be a quirky diversion threatens to take over the orchestra's rehearsals for their own concert, but discovering a voting scam means they must fix things in the TV studio first. What people are saying about Life, Death and Cellos: "I was charmed... a very enjoyable read." Marian Keyes "Life, Death and Cellos is a witty and irreverent musical romp, full of characters I'd love to go for a pint with. I thoroughly enjoyed getting to know the Stockwell Park Orchestra and can't wait for the next book in the series." Claire King, author of The Night Rainbow "Life, Death and Cellos is that rare thing - a funny music book. Rogers knows the world intimately, and portrays it with warmth, accuracy and a poetic turn of phrase. Sharp, witty and richly entertaining." Lev Parikian, author of Why Do Birds Suddenly Disappear? "With its retro humour bordering on farce, this novel offers an escape into the turbulent (and bonkers) world of the orchestra." Isabel Costello, author of Paris Mon Amour "Dodgy post-rehearsal curries, friendly insults between musicians, sacrosanct coffee-and-biscuit breaks, tedious committee meetings: welcome to the world of the amateur orchestra. Throw in a stolen Stradivarius, an unexpected fatality and the odd illicit affair and you have Life, Death and Cellos, the first in a new series by Isabel Rogers." Rebecca Franks, BBC Music Magazine "...a very funny tale of musical shenanigans set in the febrile atmosphere of the Stockwell Park Orchestra" Ian Critchley

for Oboe and Piano John Rutter creates a peaceful and contemplative atmosphere in this new arrangement of the traditional German carol, Lo, how a Rose e'er blooming.

The first edition of Albert R. Rice's The Baroque Clarinet is widely considered the authoritative text on the European clarinet during the first half of the eighteenth century. Since its publication in 1992, its conclusions have influenced the approaches of musicologists, instrument historians, and clarinet performers. Twenty-eight years later, Rice has updated his renowned study in a second edition, with new chapters on chalumeau and clarinet music, insights on newly found instruments and additional material on the Baroque clarinet in society. Expanding the volume to include the chalumeau, close cousin and predecessor to the clarinet, Rice draws on nearly three decades of new research on the instrument's origins and music. Discoveries include two recently found chalumeaux in a private collection, one by Johann Heinrich Eichentopf of Leipzig, and attributions based on historical evidence for three more chalumeaux. Rice furthers the discussion to recently uncovered early instruments and historical scores, which shed light on the clarinet's evolution. Most essentially, Rice highlights the chalumeau's substantial late-seventeenth and early-eighteenth century repertory, comprising over 330 works by 66 composers, and includes a more expansive list of surviving Baroque clarinet works, organized by date, composer, and tonality/range. The Baroque Clarinet and Chalumeau provides a long-awaited follow-up to Rice's groundbreaking volume, drawing from a variety of sources-including German, Italian, Dutch, Swedish, Norwegian, Danish, Finnish, Flemish, Czech, and Catalan research-to bring this new information to an English-speaking audience. With his dedication to scholarly accuracy, Rice brings the Baroque clarinet into sharper focus than ever before.

This comprehensive study treats the wind works of Anton Bruckner as a complete genre and uses them to illustrate how the composer evolved in style throughout his career. A major nineteenth-century composer, organist, and church musician, Bruckner's compositional style changed dramatically in the early 1860s, dividing his career into two distinct parts. During his early career he immersed himself in the study of traditional musical principles including form, harmony, counterpoint, and orchestration. The second phase of his career, in which he composed the symphonies upon which much of his current reputation rests, was marked by his experimental approaches to harmony and tonality. Many of his early compositions exhibit landmarks of his later style. The wind instrument pieces incorporate the best aspects of both of Bruckner's styles and reflect the progress of his professional life.

Organized chronologically, the music is studied and classified within set time periods. Each wind work of a particular period is reviewed according to the historical circumstances contributing to its creation, its specific musical content, and its success as a musical work in relation to wind music and specifically to Bruckner's development. The analyses of Bruckner's compositions are enhanced by musical examples throughout the text.