C Instruments. By Various. Fake Book (Includes melody line and chords). Published by Hal Leonard.

(E-Flat Instruments, Mini Edition). Composed by Various. For E-flat Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard

Eb Instruments - Difficulty: easy-medium to medium Sixth Edition. Composed by Various. Hal Leonard Instrumental Fake Books. Jazz. Fakebook (spiral bound). With melody, standard notation and chord names. 428 pages. Published by Hal Leonar

Fake Book (Includes melody line and chords). Size 8.5x11 inches. 462 pages. Published by Hal Leonard.

(Book/USB Flash Drive Play-Along Pack). By Various. For C Instruments. Real Book Play-Along. USB Flash Drive. 462 pages. Published by Hal Leonard

(Sixth Edition) Fakebook (spiral bound) for bass clef instrument. With melody, standard notation and chord names. Series: Hal Leonard Instrumental Fake Books. 462 pages. Published by Hal Leonard.

B-flat Edition. Composed by Various. Fake Book. Softcover. 504 pages. Published by Hal Leonard

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3

SKU: CF.CPS234

Composed by Travis Weller. Folio. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+8+4+4+8+8+8+8+6+6+6+4+8+6+2+4+4+6+32 pages. Duration 3 minutes, 10 seconds. Carl Fischer Music #CPS234. Published by Carl Fischer Music (CF.CPS234).

ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

Orchestra String Orchestra - Medium Easy/Medium

SKU: CF.CAS29

Composed by Doris Gazda. This edition: Medium Easy/Medium. Carl Fischer Concert String Orchestra Series. Classical. Score and Parts. With Standard notation. 12 pages. Carl Fischer Music #CAS29. Published by Carl Fischer Music (CF.CAS29).

ISBN 9780825860959. UPC: 798408060954. 8.5 X 11 inches. Key: C major.

A programatic work by composer Doris Gazda that sets out to depict the historic moon landing by the Apollo 11 astronauts and the famous first step by Neil Armstrong. A sound portrait of this remarkable event in America history.
In July, 1959 the world watched and listened as the astronauts of Apollo 11 traveled from the Earth to the moon. The mission, launched by NASA, successfully carried men to the surface of the moon and returned them safely to earth. The spaceship was made up of a command module, Columbia, and a lunar module, Eagle. Astronauts Neil Armstrong, flight commander, and Buzz Aldrin, pilot of the lunar module, actually walked on the moon. The third astronaut, Michael Collins, piloted Columbia, the command module that orbited the moon while Armstrong and Aldrin were on the lunar surface.The 238,000-mile trip to the moon took four days. Apollo 11 fell into orbit 60 miles above the moon's surface. The Eagle separated from Columbia, orbited the moon nine miles above the surface and then made a powered descent, touching down on the moon in the Seat of Tranquility. Six hours after landing, Armstrong stepped onto the moon's surface uttering these memorable words that brought to reality the possibilities of space travel and exploration, That's one small step for man, one giant leap for mankind.Armstrong and Aldrin spent two hours walking on the lunar surface. They set up some scientific equipment, raised an American flag and left a plaque signed by the Apollo 11 crew and President Richard Nixon, reading:Here men from planet earth first set foot upon the moon. July 1969 A.D. We came in peace for all mankind.Twenty-one hours after landing, the Eagle with Armstrong and Aldrin onboard, left the moon to reunite with Columbia. After docking successfully, all three men got into Columbia. They jettisoned the Eagle and Columbia left lunar orbit to make the return trip. Two days later Columbia re-entered the Earth's atmosphere and splashed down in the Pacific Ocean.