Discover Exciting New Chords with Linear Harmonization. By Greg Cooper. Guitar. Book only. With notes and tablature. Size 9x12 inches. 72 pages. Published by Centerstream Publications.

3-part mixed choir and piano

SKU: LO.15-3972H

Composed by Glenda E. Franklin. Choral. Concert, General. Octavo. Heritage Music Press #15/3972H. Published by Heritage Music Press (LO.15-3972H).

ISBN 9780787778323.

Bright and energetic, Glenda E. Franklinâ??s Three-part mixed setting of the traditional Jamaican folk song is irresistible with its Caribbean style and optional percussion instruments. The layering of melodies in each voice part makes this very exciting to sing as the parts come together and separate into independent lines. This is an excellent piece to improve your choirâ??s harmony singing and rhythmic awareness.

By Samuel Applebaum. For 2 Cellos. String Orchestra Method/Supplement. Book. 32 pages. Published by Alfred Publishing.

(Dizzy Dogs and Curious Cats). Composed by Dena C. Adams and Claire D. Clark. Book; CD; Classroom/Pre-School; General Music and Classroom Publications; Other Classroom; Reproducible. This Is Music!. 128 pages. Published by Alfred Music

SKU: BR.EB-9387

Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387).

ISBN 9790004188576. 0 x 0 inches.

Commissioned by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

SATB chorus divisi, piano - Grade 4

SKU: CA.5293903

Composed by Max Reger. Edited by Christopher Grafschmidt, Claudia Seidl. Gattungen vokal: Sacred vocal music. Vocal score. Op. 106. Duration 30 minutes. Carus Verlag #5293903. Published by Carus Verlag (CA.5293903).

ISBN 9790007300272. German.

Max Reger’s setting of Psalm 100 is one of the “grand style” choral-symphonic works of the classical modern repertoire. Contrapuntal skill in the tradition of Bach combines with overwhelmingly powerful expressiveness, rich in contrasts. The full harmonic and stylistic breadth of the early 20th century sings out, not only in frenetic song, but also in the search for awareness in quieter passages. Reger’s opulence, tonal and contrapuntal almost throughout, finally culminates in a double fugue with an off-stage orchestra similar to the trumpets of Jericho over “Ein feste Burg ist unser Gott”. The composer’s declared aim was: “The psalm must go so brilliantly, that all will be simply ’bowled over‘.”.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba, alto Saxophone and more. - Grade 1

SKU: CF.BPS75

Composed by Bill Calhoun. Beginning Performance Series. Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+3+6+2+3+1+1+2+2+8 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #BPS75. Published by Carl Fischer Music (CF.BPS75).

ISBN 9780825892288. UPC: 798408092283. 9 x 12 inches. Key: Bb major.

Expressions is a heartfelt composition for beginning band that will inspire your young students’ sense of musicality. As the title implies, this work is a study in expression, which challenges the ensemble’s command of breath support, tone quality and intonation. Its chorale-like nature makes use of non-chord tones to project its emotion, asking each performer to play with maximum ensemble awareness and sensitivity. If you are looking for that special piece in the middle of your program, Expressions is sure to fulfill that purpose.

Piano

SKU: SU.12900010

For Piano. Composed by Hannah Reimann. Keyboard, Piano/Harpsichord. Music Theory, Childrenâ??s Music. Score. Subito Music Corporation #12900010. Published by Subito Music Corporation (SU.12900010).

This is a colorful picture book of musical games and exercises and features first piano pieces at the earliest reading level for children ages 4-9. Each musical element is introduced in a clear, interactive way, providing opportunities for the child to bond with a parent and/or instructor. Quarter notes, half notes, eighth notes and quarter rests are taught experientially with Rhythm Games and some favorite tunes like My Dreidel and Jingle Bells can be learned quickly with awareness of skills of pitch differentiation, rhythm and fingering. The book starts with simpler character pieces, some with only two or three notes. The cheery and charming illustrations make this a fun musical ride. Staves are introduced in the following book of the same series. Illustrated by Lisa Kaiser Piano Composed: 2020 Published by: Hannah Reimann Innovations, LLC.

(A Fresh Approach to Piano Sight-Reading). By Alan Bullard (1947-). For Piano Solo. Studies. Education. Grade 5. Sheet Music. 50 pages. Published by ABRSM (Associated Board of the Royal Schools of Music)

SKU: BR.SON-501

Die Rundkopfe u.die Spitzkopfe. Composed by Hanns Eisler. Edited by Th. und A. Dumling Ahrend. Hardback. Complete Works.

Awarded the German Music Edition Prize 2003

Early modern; Music post-1945. Complete Works. 184 pages. Breitkopf and Haertel #SON 501. Published by Breitkopf and Haertel (BR.SON-501).

ISBN 9790004802236. 10 x 12.5 inches.

Editorial BoardThomas Phleps (Music), Georg Witte (Writings)Editorial MembersMusic: Oliver Dahin / Johannes C. Gall, Writings: Maren KosterEditorial CommitteeMusic: Hartmut Fladt, Werner Grunzweig, Elmar Juchem, Roland Kluttig, Giselher SchubertWritings: Albrecht Betz, Albrecht Riethmuller, Jurgen Schebera, Friederike WissmannThe editorial works are supported by the Deutsche Forschungsgemeinschaft.Special volumes are made possible with the support of the following foundations:Klockner-Stiftung, Lotto-Stiftung, Hanns und Steffy Eisler StiftungThe goal of the Hanns Eisler Complete Edition (HEGA) is to present to the public all available compositions, writings and letters in an appropriately scholarly form. It takes a historico-critical approach and seeks to document the history of the works and writings by shedding light on their transformations, thus identifying the various versions as witnesses of evolving aesthetic and historical positions. Eislers complete oeuvre (only a limited number of his works had penetrated the publics awareness up until the 1990s) first became the object of an editorial undertaking when the Eisler - Gesammelte Werke (EGW) was founded by Nathan Notowicz. It was later placed under the direction of Manfred Grabs and Eberhardt Klemm, and began issuing its publications in 1968 through the intermediary of the Deutscher Verlag fur Musik in Leipzig. However, only four volumes of music and five volumes of writings were published. The Hanns Eisler Complete Edition pursues the work begun at that time, although it has had to fundamentally revise its editorial principles. In this respect, the Hanns Eisler Complete Edition can be considered as a completely new editorial undertaking. It became necessary to reconceive the organization of the volumes and series as well as the editorial guidelines in order to adapt the standards of historico-critical editing generally applicable today to the specific and sometimes singular circumstances of Eislers works.The Critical Commentaries pertaining to the main volumes follow the music section or, whenever they are too extensive, appear in a special volume.Series I: Choral MusicSeries II: Music for Voice and Instrumental Ensemble or OrchestraSeries III: Music for Voice and PianoSeries IV: Instrumental MusicSeries V: Incidental MusicSeries VI: Film MusicSeries VII: Sketches and FragmentsSeries VIII: Arrangements of works by other composersSeries IX: Writings, Letters and InterviewsSON 501 has been awarded the German Music Edition Prize 2003.SON 502 has been awarded the German Music Edition Prize 2007.

The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are reason enough to make his works accessible to musical scholarship and practice in a comprehensive fashion. Price reduction for a subscription.

Piano

SKU: A2.S034

Composed by Hans Samuel. Edited by Tina Fruhauf. Score. Published by A-R Editions (A2.S034).

ISBN 978-0-89579-775-9. 8.5x11 inches.

This edition includes three piano works by the German-Jewish composer Hans Samuel (1901-76), who was active primarily as an organist and composer of organ music. The selected works - Hassidic Hanukkah Tune: Al hanissim we al hapurkan (1946), Sounds of Slichoth: Paraphrases on S'lichoth Tunes According to the Ashkenas-Western Mode (1957, dedicated to the composer's parents, who perished in Theresienstadt), and Variations on a Yemenite Tune (undated) - were composed after Samuel's emigration to Palestine in 1939. Besides exemplifying the heightened awareness of diverse Jewish musical traditions that characterizes Samuel's music after his emigration, these works are representative of Israeli immigrant composers' early struggles to attempt to define their new nation musically.