By Jim Casella. Percussion Ensemble. For glockenspiel, xylophone, vibraphone, marimba (4 octave), marimba (4.3 octave), 4 timpani, chimes, 4 cowbells, log drum, 2 china cymbals, 5 suspended cymbals, 2 brake drums, 3 woodblocks, 2 triangles, splash cymbal, hi hat, 4 toms, chinese opera gong, kick drum, tambourine, low conga, bongos. (9 players). Level: Advanced. Full score and CD-Rom (containing printable parts). Duration 5:00. Published by Tapspace Publications.

SATB choir, organ accompaniment, organ, percussion, tubular bells, chime tree, triangle - Intermediate

SKU: GI.WW1941B

Composed by Marten Jansson. Classical. 104 pages. Walton Music #WW1941B. Published by Walton Music (GI.WW1941B).

UPC: 785147047360. Latin, English. Text Source: Traditional Latin Requiem. Text by Charles Anthony Silvestri.

Requiem Novum, an evocative musical work from Swedish composer Mårten Jansson, weaves drama, emotion, and exquisite compositional technique info a masterpiece for our time. The choir (singing the traditional Latin texts) represents the mourning and God-fearing congregation, while the soloist (singing new English texts by Charles Anthony Silvestri) answers as one beyond the veil, sending back words of comfort and hope. Highly melodic and incredibly moving, Jansson's new setting of the Latin Requiem offer s a new perspective on grief and loss. Available here for choir, organ, percussion, and soloist, but also available for choir and full orchestra (WW1941A).

Composed by Tom Morgan. Percussion Ensemble. For Percussion Ensemble (bells, xylophone, vibraphone, marimba 1*, marimba 2*, timpani, electric bass (optional marimba 3), drum set, *marimba 1 and 2, may be performed on the same 4-1/3 octave instrument). Percussion Music. Edge Series. Medium. Score and parts. Duration 4:30. Published by C. Alan Publications

Composed by Michael Reineking. For concert percussion ensemble (9 players: Bells, Xylophone, Vibes, (2) Marimbas, Drum-Set, Tambourine, Cowbell, Bass Guitar, (Optional Synthesizer Organ or B3)). Grade 1. Score and parts. Duration 2:39. Published by Row-Loff Publications

By Jan Michael Joncas. For 2 Trumpets, 2 Trombones, Horn in F, Timpani, Orchestral Bells, Organ. Instrumental Part. Sacred. 28 pages

By Gwyneth W. Walker (1947-). For SATB choir, piano [or brass quintet, percussion, organ]. Sacred, Christian. Octavo. Composed 2006. 16 pages. Duration 4 minutes. Published by E.C. Schirmer Publishing

SATB choir, assembly, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, trombone 1, trombone 2, percussion - Beginning

SKU: GI.G-6950

A Festive Processional. Composed by Howard Hughes. Choral. Choral. Sacred. Octavo. 12 pages. GIA Publications #6950. Published by GIA Publications (GI.G-6950).

UPC: 785147695004. English. Text Source: Psalm 95:1a, 2a, 6–7, 100:3–5, The Grail , alt. Scripture: Psalm 95:1a, 2a, 6–7, Psalm 100:3–5.

Usi ng an amalgam of Psalms 95 and 100, Howard Hughes has created an extraordinary festive processional. In addition to the optional brass quartet and glockenspiel, tubular bells (preferred) or handbells are called for! If you use this piece for your processional, there will be no doubt that the celebration is going to be festive! Optional Brass Quartet and Percussion Percussion part is for Glockenspiel and Tubular Bells or Handbells.

(Score). By Lou Harrison (1937-2002). Score. Peermusic Classical. Softcover. 68 pages. Peermusic #61951-527. Published by Peermusic

Unison, Two-Part, SSA, or SAB and Organ (with Optional C Instrument and English Handbells or Orff-Type Bells). By Anonymous. Arranged by Dale Wood. Text: Dale Wood; Linda Wood. Mixed choir. For Unison Chorus, 2-Pt Chorus, SSA Chorus, SAB Chorus, Organ, C Instrument, Handbells, Keyboard, Orff-Type Bells. Dale Wood Choral Series. Choral. Piano/Vocal Score. 7 pages. Published by Carl Fischer.

Composed by Mack Wilberg (1955-). For SATB choir and piano, 4-hands (3 flutes (3rd doubles piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (suspended cymbal, sleigh bells, xylophone, glockenspiel) harp, piano, organ (opt.), strings). Mixed Voices. Christmas Carols. Level B (easy). Octavo. 20 pages. Duration 3'. Published by Oxford University Press

2 trumpets, 2 trombones, tuba, timpani - Level 3+

SKU: LO.30-2066L

Composed by Jean Sibelius. Arranged by Dale Wood. Conductor's score. Concert, General. Score and parts. Lorenz Publishing Company #30/2066L. Published by Lorenz Publishing Company (LO.30-2066L).

UPC: 000308105889.

Wheth er performed with handbells alone or with the organ/brass additions, the overall effect is absolutely stunning. Dale Wood's choral classic (performed by the Mormon Tabernacle Choir) is now available in an equally thrilling transcription for bells.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

Mixed choir (SAATB), organ, percussion (2 tom toms, triangles, tubular bells) and timpani

SKU: HL.49044686

Variation on Psalm 150. Composed by Albrecht Haaf. This edition: Saddle stitching. Sheet music. Choral. Octavo. 16 pages. Schott Music #ED21915-01. Published by Schott Music (HL.49044686).

ISBN 9790001199711. German.

Albrecht Haaf ging bereits mehrfach als Preistrager aus verschiedensten Kompositionswettbewerben hervor. So auch mit seinem geistlichen Chorwerk Herr, Herr, lehre uns! fur gemischten Chor (SSATB), Orgel und zwei Schlagzeuger, fur das er 2012 mit dem Carl von Ossietzky-Kompositionspre is der Universitat Oldenburg ausgezeichnet wurde. Der Untertitel lautet 'Variation uber Psalm 150'. Variation deshalb, weil im Anschluss an den wortlich dem Bibeltext entnommenen Lobpreis Gottes die 'Unloblichkeit des Menschen Werk' in ihrer unterschiedlichsten Auspragung auf musikalisch und textlich drastische Weise angeprangert wird.Haaf, der dieses aufruttelnde Textarrangement selbst verfasste, bedient sich dafur kompositorisch zahlreicher Taktwechsel und Clustertechniken und nutzt meisterhaft das Spiel mit verschiedenen Klangfarben. Dieses Werk stellt nicht nur an den Organisten und die beiden Schlagzeuger, die u.a. vier Rohrenglocken, drei Tomtoms, Pauken und Triangel zu bedienen haben, hohe Anforderungen. Auch die funfstimmige Chorpartie dieses unter die Haut gehenden Stucks ist als 'schwer bis mittelschwer' einzuordnen. Doch der Aufwand lohnt sich versprochen!

Mixed choir (SAATB), organ, percussion (2 tom toms, triangles, tubular bells) and timpani

SKU: HL.49044685

Variation on Psalm 150. Composed by Albrecht Haaf. This edition: Saddle stitching. Sheet music. Choral. Softcover. 28 pages. Schott Music #ED21915. Published by Schott Music (HL.49044685).

ISBN 9790001199704. German.

Albrecht Haaf ging bereits mehrfach als Preistrager aus verschiedensten Kompositionswettbewerben hervor. So auch mit seinem geistlichen Chorwerk Herr, Herr, lehre uns! fur gemischten Chor (SSATB), Orgel und zwei Schlagzeuger, fur das er 2012 mit dem Carl von Ossietzky-Kompositionspre is der Universitat Oldenburg ausgezeichnet wurde. Der Untertitel lautet 'Variation uber Psalm 150'.Variation deshalb, weil im Anschluss an den wortlich dem Bibeltext entnommenen Lobpreis Gottes die 'Unloblichkeit des Menschen Werk' in ihrer unterschiedlichsten Auspragung auf musikalisch und textlich drastische Weise angeprangert wird.Haaf, der dieses aufruttelnde Textarrangement selbst verfasste, bedient sich dafur kompositorisch zahlreicher Taktwechsel und Clustertechniken und nutzt meisterhaft das Spiel mit verschiedenen Klangfarben. Dieses Werk stellt nicht nur an den Organisten und die beiden Schlagzeuger, die u.a. vier Rohrenglocken, drei Tomtoms, Pauken und Triangel zu bedienen haben, hohe Anforderungen. Auch die funfstimmige Chorpartie dieses unter die Haut gehenden Stucks ist als 'schwer bis mittelschwer' einzuordnen. Doch der Aufwand lohnt sich versprochen!

Mixed choir (SAATB), organ, percussion (2 tom toms, triangles, tubular bells) and timpani

SKU: HL.49044687

Variation on Psalm 150. Composed by Albrecht Haaf. This edition: Saddle stitching. Sheet music. Choral. Softcover. 32 pages. Schott Music #ED21915-02. Published by Schott Music (HL.49044687).

ISBN 9790001199728. German.

Albrecht Haaf ging bereits mehrfach als Preistrager aus verschiedensten Kompositionswettbewerben hervor. So auch mit seinem geistlichen Chorwerk Herr, Herr, lehre uns! fur gemischten Chor (SSATB), Orgel und zwei Schlagzeuger, fur das er 2012 mit dem Carl von Ossietzky-Kompositionspre is der Universitat Oldenburg ausgezeichnet wurde. Der Untertitel lautet 'Variation uber Psalm 150'. Variation deshalb, weil im Anschluss an den wortlich dem Bibeltext entnommenen Lobpreis Gottes die 'Unloblichkeit des Menschen Werk' in ihrer unterschiedlichsten Auspragung auf musikalisch und textlich drastische Weise angeprangert wird.Haaf, der dieses aufruttelnde Textarrangement selbst verfasste, bedient sich dafur kompositorisch zahlreicher Taktwechsel und Clustertechniken und nutzt meisterhaft das Spiel mit verschiedenen Klangfarben. Dieses Werk stellt nicht nur an den Organisten und die beiden Schlagzeuger, die u.a. vier Rohrenglocken, drei Tomtoms, Pauken und Triangel zu bedienen haben, hohe Anforderungen. Auch die funfstimmige Chorpartie dieses unter die Haut gehenden Stucks ist als 'schwer bis mittelschwer' einzuordnen. Doch der Aufwand lohnt sich versprochen!

(Solo Vibraphone Feature). By Tom Morgan. Soloist(s) with Percussion Ensemble. For soloist(s) with percussion ensemble (Solo Vibraphone Bells Xylophone Vibraphone Marimba 1 (4-octave) Marimba 2 (5-octave) Drum Set Auxiliary Percussion (Congas, Cowbell)).

SA choir, organ accompaniment, violin 1, violin 2, viola, cello, bass, percussion - Early intermediate

SKU: GI.G-2057

Laudate Dominum / Sinfonia / Omnes Gentes. Composed by John Russell. Choral. Choral. Sacred. Octavo. 12 pages. GIA Publications #2057. Published by GIA Publications (GI.G-2057).

Scripture: Psalm 47, Psalm 150.

Percussion is for Orff bells and finger cymbals. Organ or strings.