Chamber Music String Quartet

SKU: PR.UE036720

Composed by Aleksey Igudesman. Contemporary. Full score. With Standard notation. 28 pages. Universal Edition #UE036720. Published by Universal Edition (PR.UE036720).

ISBN 9783702473631. UPC: 803452070757.

Igudesman's entry in the genre of serious string quartet music is a joyful, exciting three-movement set. The music is driving, rhythmic, absorbed, requiring full focus of all four players. A touring and recording artist on the violin, Igudesman naturally imparts the most beautiful lines to his own instrument, but doesn't neglect the other performers, each of whom has a turn in the spotlight.

Grade 2

SKU: CL.024-3704-01

Composed by Grice. Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR360). Extra full score. Composed 2008. Duration 2 minutes, 9 seconds. C.L. Barnhouse #024-3704-01. Published by C.L. Barnhouse (CL.024-3704-01).

This exciting imaginative work by Rob Grice captures the thrill of the treasure hunt and the mystery of the seas. Beginning with a lyrical statement that captures the abandonment of the lost island, our hunt begins with driving rhythms and dynamic effects. Abandoned Treasure Hunt contains all of the musicality and excitement you have come to expect from Rob Grice. Fun and educational for all!

SATB divisi Choral (SATB divisi)

SKU: HL.1071223

Composed by Mark Hayes. Shawnee Press. Concert. Octavo. Duration 210 seconds. Published by Shawnee Press (HL.1071223).

ISBN 9781705175101. UPC: 196288096535. 6.75x10.5x0.036 inches.

Joseph Martin and Mark Hayes have composed a robust opening or closing concert choral with a music-themed text that is hope-filled and inspiring. Mixed meter, sweeping melodic lines and a contrasting B section make this selection perfect to teach crisp diction and legato phrases and the driving piano accompaniment is simply fabulous. A stunning choice for graduation or any celebratory event.

By Brian Hogg. For concert band. Brolga Music Young Band Series. Grade 2. Score and set of parts. Duration 2:00. Published by Brolga Music Publishing Company . Score and Parts.

By Jennifer Hudson. Arranged by Ed Lojeski. Secular Christmas Choral. Light Concert, Holiday, Show Choir, Pop. Octavo. Published by Hal Leonard

Marching Band - Grade 3

SKU: AP.48239S

Composed by Ammar Malik, Eric Howk, Jason Sechrist, John Gourley, John Graham Hill, Kyle O'Quin, Music by Zachary Carothers, Words, and Zoe Manville. Arranged by Brian Scott. Marching Band; Performance Music Ensemble; Single Titles. Mega Sounds for Marching Band. Rock. Score. 8 pages. Duration 2:10. Alfred Music #00-48239S. Published by Alfred Music (AP.48239S).

UPC: 038081560199. English.

Alternative rock band Portugal. The Man had a #1 hit with this hard driving rock shuffle. Colorful scoring and contrasting sections will engage your band and audience alike! (2:10).

Grade 3

SKU: CL.032-3841-01

Composed by Stanton. Jazz Ensemble. Audio recording available separately (item CL.991-2009-02). Extra full score. Composed 2009. Duration 3 minutes, 45 seconds. C.L. Barnhouse #032-3841-01. Published by C.L. Barnhouse (CL.032-3841-01).

Jump, jive and jitterbug your way back to the 1940’s with this up-tempo swing tune reminiscent of big band era. With driving rhythms and limited ranges this chart and all sections get a chance to shine. Optional written solos are included for bands acquiring improvisation skills. A guitar performance helper sheet with suggested voicings is included. This entertaining swinger is sure to put your band In the Groove and your audience in the mood for jazz!

Score and Parts Concert Band (Score & Parts) - Grade 4

SKU: HL.4008501

Composed by Dakota Pederson. MusicWorks Grade 4. Concert, Dance. Softcover. 160 pages. Duration 270 seconds. Published by Hal Leonard (HL.4008501).

UPC: 196288174387. 9.0x12.0x0.678 inches.

From the striking and somewhat sinister opening strains you'll know immediately that this is not just a normal “dance”! This energetic and rhythmic work features a driving pulse throughout, along with a sprinkling of dissonances and cluster chords to create a sense of tension and excitement. The dynamic percussion writing helps propel this creative piece from start to finish. Dur: ca. 4:30.

3-5 octave handbells - Grade 3

SKU: BP.HB624

Composed by Lloyd Larson. Arranged by Lloyd Larson. Handbell choir music. Handbell score. Beckenhorst Press #HB624. Published by Beckenhorst Press (BP.HB624).

Arranged for 3 to 5 octave handbell choir. Level 3-. Lloyd Larson's pairing of God Rest Ye Merry, Gentlemen and Pat-a-Pan is a delight to listen to or play. Driving malleted rhythms underpin the melody until a brief echo section which gives way to the malleted rhythms once more. A key change introduces the Pat-a-Pan melody before a return to the original key brings the piece in to its exciting conclusion. A must-have for this Christmas season!

Concert Band Concert Band - Grade 2

SKU: FJ.B1578

Composed by Jack Wilds. Concert Band; MakeMusic Cloud. FJH Young Band. Score and Part(s). Duration 2:00. The FJH Music Company Inc #98-B1578. Published by The FJH Music Company Inc (FJ.B1578).

UPC: 674398232895. English.

This tribute to the exhilaration and majesty of flight is a perfect opener for your next concert. The aggressive opening fanfare provides the catalyst for the entire work as the music moves through a series of textural shifts. After a more subdued middle section (at the same tempo), the opening music returns once more in heroic fashion, driving to a thrilling ending.

About FJH Young Band

Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

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.

Choral Octavo. Alfred Choral Designs. Sacred; Secular. 16 pages. Published by Alfred Music (AP.46394).

By Cindy Berry. For SATB choir and piano. Sacred Anthem. Choral octavo. Published by Lorenz Publishing Company