By Stephen Emmons. For bass clarinet solo with piano. Solo music. Published by Cimarron Music Press

Choral SSA choir

SKU: CF.CM9580

Composed by Richard Rasch. Arranged by Richard Rasch. Fold. Performance Score. 4 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #CM9580. Published by Carl Fischer Music (CF.CM9580).

ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.

The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase  translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

By Various. Edited by Trevor de Clercq. Fake Book. Softcover. 224 pages. Published by Hal Leonard

Easy-to-Use Drum Charts with Kit Legends and Lyric Cues. Composed by Various. Drum Book. Pop. Softcover. 336 pages. Published by Hal Leonard

SKU: HL.1155284

Five Decades in the Music Products Industry. Reference. Biography / Music Bisac, Biography / Personal Memoir, Biography/Composers & Musicians, Drum Reference. Hardcover. 340 pages. Duration 210 seconds. Hal Leonard #MLIPHC. Published by Hal Leonard (HL.1155284).

ISBN 9781888408591. UPC: 196288122579. 8.75x11.5x0.776 inches.

This memoir by Karl Dustman details his illustrious music industry career. Dustman began his professional career in music retail, leading to a sales forecaster for IBM. This opened the door to an executive position with Ludwig Drum Company where he spent 11 years in the marketing and educational departments. Executive-level stints with Gretsch, Hohner-Sonor-Sabian, Pearl, and Sonor gave Karl great insight into the percussion industry of the 1970's through the '80s, '90s, and into the current era, which he shares here in intimate detail. Striking out on his own as a marketing consultant, Karl worked not only with numerous music industry clients, but other businesses which further developed his skill set. Along the way, Karl authored numerous articles to share his percussion marketing expertise; many are included in the book's appendix. Also included are capsule histories of the Ludwig and Gretsch drum companies, and a good look at the inner workings of the Percussion Marketing Council for the past nineteen years. Pretty much anyone who has worked in the percussion industry over the last five decades has crossed paths with Karl Dustman. This book has been painstakingly written to provide insights and details to a career that spans over fifty-five years and continues to this day. The huge assortment of photos, internal documents, examples of the many different marketing, sales, promotional product launch materials, and massive trade show exhibits are included in each of the nine chapters. The personal stories and memorable moments illustrates an ever-changing industry filled with products, people, company mergers, brand acquisitions, and personal uncertainty for the future through five decades of career development. This could also serve as an industry textbook, illustrating the vast differences in the industry's retail, wholesale distribution, and manufacturing environments and workplaces. The journey is not limited to percussion but includes direct experiences with acoustic and digital pianos, electric, acoustic, and classical guitars, and even sound reinforcement.

30 Favorite Songs. By Various. Piano/Vocal/Guitar Songbook. Softcover. 120 pages. Published by Hal Leonard

Wind Quintet

SKU: ST.C525

Composed by Janne Kolodub. Wind & brass music. Clifton Edition #C525. Published by Clifton Edition (ST.C525).

ISBN 9790570815258.

The Ukrainian Suite for wind quintet dates from 1983 and is in three movements. In the opening Allegretto, there is a hint of minimalist techniques, where the unusual harmonic shifts will challenge the players to forget conventional cadences. Several parts share parallel rhythms in many places, while one part carries the melodic material. Similar principles can be seen at work in the Moderato con moto second movement, where persistent repeated notes accompany the melody. The third movement, also Moderato at the start, builds towards a final section where all five parts share very similar note patterns, and excitement is generated by the contrasting dynamics and the relentless drive of the rhythms. This quintet was originally published by Phylloscopus Publications in 2001 and set from the manuscript by C.M.M. Nex and F.H. Nex.

Flute, Oboe, Clarinet in B flat and A, Horn in F and Bassoon. Score and 5 Parts included.

Former Spartan Press Cat. No.: PP391.

Orchestra Soli STB, Coro SATB, 2 Fl, 2 Ob, 2 Fg, Cfg, 2 Cor, 3 Trb, 2 Vl, Va, Vc, Cb

SKU: CA.7006509

Composed by Franz Schubert. Edited by Stefan Schuck. 1x 70.065/21 flute 1, 1x 70.065/22 flute 2, 1x 70.065/23 oboe 1, 1x 70.065/24 oboe 2, 1x 70.065/25 bassoon 1, 1x 70.065/26 bassoon 2, 1x 70.065/27 double bassoon, 1x 70.065/31 horn 1, 1x 70.065/32 horn 2, 1x 70.065/33 trombone 1, 1x 70.065/34 trombone 2, . Stuttgart Urtext Edition: Schubert. Harmony parts. Sacred vocal music, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Set of Orchestra Parts. D 383. Duration 37 minutes. Carus Verlag #CV 70.065/09. Published by Carus Verlag (CA.7006509).

ISBN 9790007244729. Language: German.

In spring 1816 Franz Schubert, just nineteen years old, completed his second setting of the Stabat Mater in the midst of a highly productive period. In contrast with his first setting written the previous year, just five minutes in length, this time Schubert used the German translation by Klopstock as the basis for his composition. Stefan Schuck's edition is the first one of this work to be based on a critical evaluation of the primary sources, with complete performance material. The work, in a dark F minor, with its text by Klopstock, places Jesus Christ, rather than Mary, at the center of the contemplation. With his fugues, but particularly in the eight-part lamenting chorus Wer wird Zahren sanften Mitleids, Schubert shows himself at the height of his creative output. He composed his 4th Symphony, the Tragic, at almost the same time. The Stabat Mater is a rewarding work for choral societies and choirs to perform, because the choir has the largest portion to sing, and the choral parts are not too demanding. The composition is also a beautiful introduction to the choral-symphonic music of Schubert for less experienced choirs. Score and parts available separately - see item CA.7006500.

Orchestra Soli STB, Coro SATB, 2 Fl, 2 Ob, 2 Fg, Cfg, 2 Cor, 3 Trb, 2 Vl, Va, Vc, Cb

SKU: CA.7006513

Composed by Franz Schubert. Edited by Stefan Schuck. Stuttgart Urtext Edition: Schubert. Viola. Sacred vocal music, Lent and Passiontide, Holy Week, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Single Part, Viola. D 383. 16 pages. Duration 37 minutes. Carus Verlag #CV 70.065/13. Published by Carus Verlag (CA.7006513).

ISBN 9790007244705. Language: German.

In spring 1816 Franz Schubert, just nineteen years old, completed his second setting of the Stabat Mater in the midst of a highly productive period. In contrast with his first setting written the previous year, just five minutes in length, this time Schubert used the German translation by Klopstock as the basis for his composition. Stefan Schuck's edition is the first one of this work to be based on a critical evaluation of the primary sources, with complete performance material. The work, in a dark F minor, with its text by Klopstock, places Jesus Christ, rather than Mary, at the center of the contemplation. With his fugues, but particularly in the eight-part lamenting chorus Wer wird Zahren sanften Mitleids, Schubert shows himself at the height of his creative output. He composed his 4th Symphony, the Tragic, at almost the same time. The Stabat Mater is a rewarding work for choral societies and choirs to perform, because the choir has the largest portion to sing, and the choral parts are not too demanding. The composition is also a beautiful introduction to the choral-symphonic music of Schubert for less experienced choirs. Score and part available separately - see item CA.7006500.

Melodyline, Lyrics and Chords

SKU: HL.14042638

By Adrian Hopkins. By Paul Weller. Arranged by Matt Cowe. The Little Black Songbook. Pop & Rock. Softcover. Wise Publications #AM996853. Published by Wise Publications (HL.14042638).

ISBN 9781847729965.

For the first time, this pocket-sized collection brings together all the big songs by The Jam and The Style Council alongside classics from Paul Weller's acclaimed solo albums.

78 classics are presented in chordsongbook format with chord symbols, guitar chord boxes and complete lyrics, this is the ultimate Paul Weller songbook!