Choir Secular (Women's Choir)

SKU: AP.43361

Composed by Ammar Malik, Benjamin Levin, Rob Thomas, Steve Mac, and Wayne Hector. Arranged by Ryder Emerson. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Pop; Secular. Choral Octavo. 16 pages. Alfred Music #00-43361. Published by Alfred Music (AP.43361).

UPC: 038081489025. English.

Following appearances on The Voice and The Ellen DeGeneres Show, members of the English pop band Rixton were overwhelmed when this hip groove became their first U.S. top twenty hit.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

By Craig Curry. (2 Part Any Combination). Gentry Publications. Sacred. 10 pages. Published by Fred Bock Music Company.

30 of the Best Contemporary Christian Selections. Arranged by Carol Tornquist. This edition: Easy Piano. Book; Piano - Easy Piano Collection; Piano Supplemental; Worship Resources. Contemporary Christian; Sacred. 112 pages. Published by Alfred Music

Ukulele - Beginning

SKU: MB.30029M

Composed by Joe Carr. Saddle-stitched, Ukulele: Soprano, Children and Young Beginner, Ukuele Soprano, Method, Folk. Dirt Simple. Style. Book and online audio. 32 pages. Mel Bay Publications, Inc #30029M. Published by Mel Bay Publications, Inc (MB.30029M).

ISBN 9780786692729. 8.75 x 11.75 inches.

This book and companion audio provide the most basic introduction to the ukulele available. Starting with a chord that requires no left hand finger at all, the book introduces simple chords and easy rhythm strums using a number of well-known songs. Students who feel totally overwhelmed by other methods will find this approach quick and easy to understand. The music on the companion audio is played at a moderate tempo so that beginners can play along with ease. The book is catered to students of all ages and levels. Includes access to online audio.

(26 Songs of Hope and Praise). Composed by various artists and composers. For Guitar. This edition: Guitar TAB. Book; Guitar Mixed Folio; Guitar TAB; Solo Guitar TAB (EZ/Int). Acoustic; Contemporary Christian; Sacred. 112 pages. Published by Alfred Music

SATB choir, piano - Advanced

SKU: S2.264622

Composed by Keith Getty. Choral. Sacred Anthem. Octavo. SoundForth #264622. Published by SoundForth (S2.264622).

ISBN 9780787762285.

Molly Ijames' signature style of worshipful choral music is evident in this beautiful arrangement that finds the Christian humble and broken at the feet of God's mercy. The rich choral tones capture the spirit of this text, which ends with the earnest plea, God speed the day, struggles will end, faultless we'll gaze at your glory; then we will stand overwhelmed by the mercy of God..

(Guitar Apprentice Series). By Zakk Wylde. For Guitar. Instructional/Guitar/DVD. DVD. Published by Hal Leonard

Orchestra Bassoon 1, Bassoon 2, Bassoon 3, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 3, Horn 4, Oboe 1, Oboe 2, Oboe 3, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piano, Timpani, Trombone 1 and more.

SKU: PR.466000470

Composed by Dan Welcher. Spiral. Large Score. With Standard notation. Duration 10 minutes. Theodore Presser Company #466-00047. Published by Theodore Presser Company (PR.466000470).

UPC: 680160099405. 11 x 17 inches.

This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.

Orchestra

SKU: FG.55011-653-5

Composed by Antti Auvinen. Study score. Fennica Gehrman #55011-653-5. Published by Fennica Gehrman (FG.55011-653-5).

ISBN 9790550116535.

Standing recently on the shore of the Mediterranean Sea with a child in his arms, Auvinen was overwhelmed with thoughts of refugees attempting to cross the sea and the images of a drowned child that had been shown on the news. This work thus contains a lot of elastic sound and things that bend down, grow slower and sink, but also music that washes up to the surface.

Piano

SKU: KV.3612279

Book. Published by Kevin Mayhew Publishers (KV.3612279).

ISBN 9781848671126.

Many pianists who would love to play the great masterpieces feel overwhelmed by the number of notes in the original scores, so here are three new books containing easy-to-play arrangements especially for them.

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Piccolo and more.

SKU: PR.11641139L

Composed by Lowell Liebermann. Large Score. Duration 15 minutes. Theodore Presser Company #116-41139L. Published by Theodore Presser Company (PR.11641139L).

UPC: 680160682126.

Barcarolles for a Sinking City was inspired by the city of Venice, a place that has long held the fascination of artists, writers and composers, and which I have been lucky enough to visit on several occasions. Sadly it seems that future generations may not be so lucky: in addition to the city's slow sinking and recently discovered tilting, studies predict that if global warming and the resultant rise of ocean levels is unabated, the entire city (as well as many other coastal cities around the globe) will be under water by 2100.   I. Funeral Gondola The late, cryptic piano works of Franz Liszt made a profound impression on me as a young composer, among them two works he entitled La Lugubre Gondola (usually translated as The Funeral Gondola ) which were said to be a premonition of Wagner's death in Venice, his coffin transported through the canals in a black gondola. These late pieces of Liszt acquired even greater significance to me after I spent two summers in Bayreuth under the patronage of Friedelind Wagner, the granddaughter of Wagner and great-granddaughter of Liszt. This movement is a meditation on Wagner, Liszt, Venice and its own evanescence. II. Barcarolle/Quodlibet The Quodlibet (Latin for what pleases) is a musical form dating back to the 15th century where many disparate melodies are juxtaposed. Popular in the Renaissance, sacred and secular melodies were combined, often to comical effect due to the resultant incongruity of the words. The form was considered the ultimate test of a composer's mastery of counterpoint. The most famous Quodlibet is without doubt the final Variation of Bach's Goldberg Variations. As a form the Quodlibet is less common in more recent music, although examples can be found in the works of Kurt Weill and David Del Tredici.   My own Barcarolle/Quodlibet was inspired by the (perhaps apocryphal) story of the funeral where musicians were asked to play a Bach Choral, but due to miscommunication played instead the Bacarolle from The Tales of Hoffmann. Here, the Bach Choral Allen Menschen mussen sterben (All Men Must Die) is heard in the strings pizzicato, with a tempo indication In slow motion. The alto line of the Bach suggests a phrase from Beethoven's Ninth Symphony (Alle Menchen werden Bruder) heard in the muted trombone. Before long, the famous tune from Offenbach's opera is heard, followed by quotations from iconic Barcarolles by Chopin, Mendelssohn and Faure, as well as two Venetian popular songs and more Beethoven.   III. Barcarola/Ostinato/Carillon An ostinato is a repeated musical figure, and carillon is Italian for music box. This movement references the obsolete genre of salon pieces that imitated music boxes: such works by composers like Liadov and Gretchaninov used to be a mainstay of pianists' encore repertoire. This movement is however much darker in conception than those pleasant trifles. Utilizing the full battery of percussion, the carefully notated temporal slowing of the ostinato becomes overwhelmed by a poignant chorale melody before this box is snapped shut.   IV. Barcarolle Oubliee (Forgotten Barcarolle) Marked limpido (still) the final movement begins with the sound of rain produced by a percussion instrument called (appropriately) a rain stick. Halting phrases in the harp coalesce into the accompaniment for a plangent melody heard in the clarinet. The central Adagio of this movement leads to a shattering climax, before the opening phrases return and dissipate into nothingness.