Music by Billy Joel. For voice and keyboard. Format: keyboard/vocal/chords songbook. With lyrics, chord names, big note notation and registration guide. Soft Rock and Pop Rock. Series: Hal Leonard E-Z Play Today. 112 pages. 9x12 inches. Published by Hal Leonard.

SATB Choir

SKU: BT.MUSM570368679

For choir and fixed media. Composed by Evis Sammoutis. Score Only. Composed 2019. 14 pages. University of York Music Press #MUSM570368679. Published by University of York Music Press (BT.MUSM570368679).

Isthmus denotes a narrow strip of land with sea on either side, forming a link between two larger ars of land. The title is a metaphor for an effort to bond artistically my experiences of living in Cyprus, my birthplace, and in the USA, my recently adopted homeland. Having lived in a small, partitioned island for my formative years and in England for eleven years, water has always had a double meaning: it has at once served as a gateway to other cultures but also as a border, a violent and absolute interruption of a continuum. While in the USA, or indeed in a now connected Europe, it is possible to travel on land for days without having to encounter a border, in the countries where I lived for most of my life, that was not possible. As an artist, this notion of establishing boundaries and consciously trying to break them is very close to me, as my music deals both with modernity but also with tradition and, similarly, with metaphor and reality. As a Cypriot, the sea, the world of antiquity, the mysteries of the oracles, the notion of borders and the pastoral are all very central to my way of thinking. In Cyprus, different layers of history are frequently superimposed on a single building that might still preserve its Roman, Byzantine, Venetian and Ottoman features in its layers of stone and architecture. Similarly, ancient ruins or the barbed wire of modern conflict often interrupt placid fields. An isthmus, therefore, can be seen to symbolize my artistic struggle to join strikingly different experiences and notions in a cohesive way. Similar to an isthmus, in this short piece, I connect these experiences with the purpose of creating a distinct and unique sonic context, connecting technology and tradition, the pastoral with the urban, the musical with the extra-musical and the abstract with the concrete. For example, the choir does not always sing in the traditional sense, but the singers imitate various natural sounds, such as water, air, crickets or birds, to create a vivid visual impression for the work. Scandinavian herding calls blend with field recordings from the seas of Cyprus and the lakes of Upstate New York, communicated within clearly defined, singular acoustic sources and spaces through wireless speakers. The text used is both onomatopoeic, articulating an imaginary language, but also literal, with a setting of the poem, “To make a prairie” by the iconic American poet Emily Dickinson and a tiny fragment from Callimachus’ “Hymn to Demeter.” Technology is used sparsely and very intentionally to articulate the expressive qualities of pastoral imagery, creating one unified synthetic timbre with the choristers’ sounds. This piece is dedicated to the wonderful singers of the Georgia Institute of Technology Chamber Choir with special thanks to Professors Hsu and Ulrich, without whose support this composition would not have been possible. Practical notes: A choir of no less than 24 singers is sought with 4 additional soloists (2 Sopranos and 2 Altos). Each singer must have their own wireless speaker, secured either in the music folder or as a strap inside their shirts. All sounds must match in volume the sound from the speakers, creating one unified timbre. The speakers should not be noticeable to the public. The four soloists are placed offstage at the beginning of the work. From 1:35’ onwards they enter the hall and take their positions, ideally at the four corners of the hall. If the hall is too large, the singers can find alternate positions, but these should always be antiphonal. The four soloists sing predominantly in the “kulning” style and the antiphonal aspect is very important to the work. There are two sound files for each section (SATB) that are triggered by each singer’s mobile device. The first occurs at the start of the piece, and the second, about a minute before the end. The sound files are able to be purchased separately, on CD, or are available directly from UYMP.

For E-flat Saxophone and Piano. By Zdenek Fibich. Arranged by Wolfgang Birtel. (Saxophone). Misc. 6 pages. Published by Schott.

(Decade Series Play-Along). Composed by Various. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Songbook. Softcover Audio Online. 336 pages. Published by Hal Leonard

Concert Band Concert Band - Grade 2

SKU: FJ.B1515S

Score Only. Composed by Neil Simon. Concert Band. FJH Young Band. Programmatic. Score. Duration 2:15. The FJH Music Company Inc #98-B1515S. Published by The FJH Music Company Inc (FJ.B1515S).

English.

An ideal change of pace, this clever work depicts a forest full of snakes that are enchanted by the beating drums. The chromatic melodies are an ideal teaching tool while colorful percussion writing brings the snakes to life. Enchanting!

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

Concert Band - Grade 2

SKU: FJ.B1880

Composed by Randall Standridge. Concert Band; MakeMusic Cloud. FJH Young Band. Form: March; March. Multicultural. Score and Part(s). The FJH Music Company Inc #98-B1880. Published by The FJH Music Company Inc (FJ.B1880).

English.

Guten Tag! This charming march takes inspiration from the polka music and fall festivals of Germany. The folk-like melodies and boisterous dynamic changes bring life to the traditional march form. A great choice for your next concert or festival that is sure to make your audience say wunderbar!.

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

Concert Band Concert Band - Grade 2.5

SKU: FJ.B1799

Composed by Jack Wilds. Concert Band. FJH Young Band. Score and Part(s). The FJH Music Company Inc #98-B1799. Published by The FJH Music Company Inc (FJ.B1799).

UPC: 241444413524. English.

This dynamic concert opener is built on an American shape-note melody. Rich percussion textures and modern harmonies breathe new life into a charming pentatonic tune. The result is a unique composition full of exceptional opportunities for music-making.

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

Flute, clarinet - Level 5

SKU: BA.BA11060

Composed by Dieter Ammann. In a folder. Performance score. Composed 2011. 14/4 pages. Duration 12 hours. Baerenreiter Verlag #BA11060_00. Published by Baerenreiter Verlag (BA.BA11060).

ISBN 9790006559022. 42 x 29.5 cm inches.

... she stood leering hideously, and much dust sodden with tears lay upon her shoulders.

These snippets from Johann Heinrich Voss's translation of Hesiod's Shield of Hercules, where the din of battle is brought to a standstill for the wink of an eye, made me think of music that describes the 'inwardness' of a particular feeling, close to the much-cited metaphor of an entire life flitting past the inner eye in the space of a second, when, as in Hesiod, Atropos severs the thread of life. Viola and piano join forces on an equal basis to inscribe ever more lines and shapes which, however, relate in their inmost essence to intertwining circles laden with melancholy.
(Philipp Maintz)

Fanfare Band - Grade 3

SKU: BT.GOB-000854-020

Arranged by David Well. Set (Score & Parts). Gobelin Music Publications #GOB 000854-020. Published by Gobelin Music Publications (BT.GOB-000854-020).

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights, so it was believed, evil spirits tried to ‘kill’ nature. Needle-leaved trees were the only ones which kept their green colour throughout the year, and therefore became symbols of immortality. These ‘living’ trees, said to be the work of benign spirits, were brought into people’s houses to ward off evil, life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom, originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles, such as apples and wafers, but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ’s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ‘O Tannenbaum’, the melody being a well-known folk song. Next to ‘Stille Nacht’ ‘O Tannenbaum’ is the most famous German Christmas song, now known throughout the world. In the United States of America the melody of ‘O Tannenbaum’ has even been used in four States (among which the State of Maryland) for their State song. In David Well’s arrangement the song is first heard as many of us know it. After this introduction, however, it is transformed into a solid rock version, and the beat has been changed. In the second part the familiar three-four time is back, but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

De traditie van de ‘Kerstboom’ gaat in West-Europa terug tot ver voordat er van enige kerstening sprake was. Gedurende de koude strenge winters dacht men dat kwade geesten de natuur ‘vermoordde’. Naaldbomen behielden als enige hungroene kleur en werden daardoor symbolen van onsterflijkheid. Deze ‘levende’ bomen, het werk van goede machten, werden in huis gehaald om kwade geesten en levensbedreigende krachten buitenshuis te houden. Van ‘versierde’ kerstbomenwas het eerst sprake in de 14e eeuw. Het was een heidens gebruik, dat in deze periode in de Elzas voorkwam. Tijdens de 15e en 16e eeuw werd het versieren van de kerstboom door de kerk overgenomen. De versiering bestond in eersteinstantie vooral uit etenswaar, als appels en koekjes. Later ging men ook kleine cadeautjes als versiering gebruiken. Er wordt beweerd dat Martin Luther, de hervormer, als eerste kaarsen in een kerstboom deed. De fonkelendevlammetjes creëerden een sterrenhemel waarin men Christus’ verschijning leek te herkennen. De Duitse organist Ernst Anschütz uit Leipzig, was de eerste die het lied ‘O Tannenbaum’ op schrift stelde. De melodie was een bekend volkswijsje.Naast ‘Stille Nacht’ is ‘O Tannenbaum’ het meest bekende kerstlied dat vanuit Duitsland de hele wereld veroverde. De melodie van ‘O Tannenbaum’ wordt zelfs in de Verenigde Staten van Amerika in vier verschillende staten(o.a. Maryland) als volkslied gebruikt. In het arrangement van David Well hoort u het lied eerst op de manier zoals velen het kennen. Na deze inleiding klinkt een stevige rock-versie en is de maatsoort niet meer de gebruikelijke.Het tussendeel is weer in de vertrouwde driekwarts-maatsoort. Hier is echter de ritmiek in een ander jasje gestoken. Na de rijkelijk met slingers versierde rock-beat klinkt nog één keer het oorspronkelijke thema om daarna feestelijk.

Fanfare Band - Grade 3

SKU: BT.GOB-000854-120

Arranged by David Well. Score Only. 10 pages. Gobelin Music Publications #GOB 000854-120. Published by Gobelin Music Publications (BT.GOB-000854-120).

The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights, so it was believed, evil spirits tried to ‘kill’ nature. Needle-leaved trees were the only ones which kept their green colour throughout the year, and therefore became symbols of immortality. These ‘living’ trees, said to be the work of benign spirits, were brought into people’s houses to ward off evil, life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom, originated by the inhabitants of Alsace. This custom was taken over by the Church in thecourse of the 15th and 16th century. At first the decoration consisted mainly of edibles, such as apples and wafers, but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ’s apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song ‘O Tannenbaum’, the melody being a well-known folk song. Next to ‘Stille Nacht’ ‘O Tannenbaum’ is the most famous German Christmas song, now known throughout the world. In the United States of America the melody of ‘O Tannenbaum’ has even been used in four States (among which the State of Maryland) for their State song. In David Well’s arrangement the song is first heard as many of us know it. After this introduction, however, it is transformed into a solid rock version, and the beat has been changed. In the second part the familiar three-four time is back, but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner.

De traditie van de ‘Kerstboom’ gaat in West-Europa terug tot ver voordat er van enige kerstening sprake was. Gedurende de koude strenge winters dacht men dat kwade geesten de natuur ‘vermoordde’. Naaldbomen behielden als enige hungroene kleur en werden daardoor symbolen van onsterflijkheid. Deze ‘levende’ bomen, het werk van goede machten, werden in huis gehaald om kwade geesten en levensbedreigende krachten buitenshuis te houden. Van ‘versierde’ kerstbomenwas het eerst sprake in de 14e eeuw. Het was een heidens gebruik, dat in deze periode in de Elzas voorkwam. Tijdens de 15e en 16e eeuw werd het versieren van de kerstboom door de kerk overgenomen. De versiering bestond in eersteinstantie vooral uit etenswaar, als appels en koekjes. Later ging men ook kleine cadeautjes als versiering gebruiken. Er wordt beweerd dat Martin Luther, de hervormer, als eerste kaarsen in een kerstboom deed. De fonkelendevlammetjes creëerden een sterrenhemel waarin men Christus’ verschijning leek te herkennen. De Duitse organist Ernst Anschütz uit Leipzig, was de eerste die het lied ‘O Tannenbaum’ op schrift stelde. De melodie was een bekend volkswijsje.Naast ‘Stille Nacht’ is ‘O Tannenbaum’ het meest bekende kerstlied dat vanuit Duitsland de hele wereld veroverde. De melodie van ‘O Tannenbaum’ wordt zelfs in de Verenigde Staten van Amerika in vier verschillende staten(o.a. Maryland) als volkslied gebruikt. In het arrangement van David Well hoort u het lied eerst op de manier zoals velen het kennen. Na deze inleiding klinkt een stevige rock-versie en is de maatsoort niet meer de gebruikelijke.Het tussendeel is weer in de vertrouwde driekwarts-maatsoort. Hier is echter de ritmiek in een ander jasje gestoken. Na de rijkelijk met slingers versierde rock-beat klinkt nog één keer het oorspronkelijke thema om daarna feestelijk.

Score and Parts Concert Band Set (Score & Parts) - Level 3.5

SKU: HL.4008300

For Concert Band, Grade 3.5 9:10 Score and Parts. Composed by Otto Schwarz. Symphonic Dimensions. Concert. Softcover. Duration 550 seconds. Hal Leonard #SDP1042102. Published by Hal Leonard (HL.4008300).

ISBN 9781705197059. UPC: 196288145219.

A city is founded—– it has a heart that beats. But visible achievements such as buildings and infrastructure merely bear witness to what its true heart is made of—the people who have lived, and still live, in the city. The pulse of the city, brought to life by itsheartbeat, changes over time. Who hasn't seen those time-lapse images showing twinkling lines of car lights as people make their wayto work, while others stand at traffic lights, only moving as if at the push of a button? These are like life flowing in the veins, driven by a strong heart. Leonardo da Vinci had already imagined the rivers as the blood vessels of the Earth. In any city, though, it's not the rivers but the movement and activities of the people who live there. The heart doesn't always beat steadily, however, but its rhythm can be influenced by joy, fear, and many other things. Every city has its own pulse. This is also true of the university city of Marburg, where people from over 100 nations now live together in a cosmopolitan and tolerant community. This work describes the city from its founding in 1222, and the charity of Saint Elizabeth, all the way to the present day.

SKU: GI.G-10493

An Adventure with Arioso. Composed by Lillie Feierabend. First Steps in Music. Music Education. 44 pages. GIA Publications #10493. Published by GIA Publications (GI.G-10493).

ISBN 9781622775637.

Includes book, DVD, and unique code to access DVD online.   The purpose of Arioso, one of the eight parts of John Feierabend’s First Steps in Music curriculum, is to provide children with the opportunity to spontaneously create their own tunes. To do this, the catalyst must be inviting and accessible. The opera Hansel and Gretel provides the perfect opportunity while also introducing students, even very young ones, to the wonderful world of opera. In addition to creating Arioso, children will be able to sing some of the more accessible songs. This opera comes to life when children are invited to actively participate, to become each character and sing their songs, and to create Arioso to convey their thoughts and feelings. Lillie Feierabend has presented Hansel and Gretel for over twenty years to the delight of her entire school community. Join her as she guides the first, second, and third grade students of the Indianapolis Children’s Choir as they sing songs from the opera and create Arioso for each character. Also included on this DVD: A voiceover track with John and Lillie Feierabend discussing the songs and Arioso opportunities in each scene  Complete storyline with ideas for implementation  Parent engagement as they interact and create Arioso with their children  Lillie Feierabend is known for her work with young children and instilling a love of music within them. She has been a general music teacher in Connecticut for thirty years and a director of the Connecticut Children’s Chorus for seventeen. She is a frequent clinician at local, state, national, and international conferences, speaking on many aspects of early childhood music. Dr. John Feierabend is considered one of the leading authorities on child development in music and movement. He is a Professor Emeritus and former Director of Music Education at the University of Hartford’s The Hartt School and is a past President of the Organization of American Kodály Educators (OAKE).