Band concert band - Grade 4.5

SKU: CF.SPS75

Composed by Brant Karrick. SWS FS. Carl Fischer Symphonic Performance Series. Set of Score and Parts. With Standard notation. 3+12+12+6+12+12+12+6+6+6+6+6+6+9+9+9+6+6+9+9+9+9+6+12+6+9+3+9+9+40 pages. Duration 6 minutes, 44 seconds. Carl Fischer Music #SPS75. Published by Carl Fischer Music (CF.SPS75).

ISBN 9781491147702. UPC: 680160905201. 9 x 12 inches. Key: F major.

When Hearts Tremble is an emotion packed piece dedicated to musician friends lost all to soon. This beautiful composition by Brant Karrick reflects on the fragility of human existence, joyous memories of loved ones and their effect on everyone around them, and maintaining hope for what the future will hold when all feels lost. This tour de force piece perfectly displays Karrick's polished compositional craft with impeccable scoring, beautiful melodic writing, and exceptional orchestrational color.
While the day-to-day grind of our lives can be filled with overwhelming obligations, goals and commitments, it is sometimes very easy to forget just how precious and fragile life is . It is so easy to get caught up in our own personal feelings and worries that we sometimes don’t realize and appreciate the many blessings we have, especially friendships . On Wednesday, November 18, 2015 the Jefferson High School Band in Jefferson, Georgia lost two of its members to a fatal car accident . The victims were brothers . Music was a constant part of their lives, and the boys were talented percussionists in the marching band . To help with the grieving process the school and community commissioned this piece to celebrate the lives of William and Alex Trimble .As a father, I cannot imagine losing a child, let alone two, and beginning this piece was very difficult as I felt extreme anguish, especially for the parents . But it was decided the piece should primarily reflect the enthusiasm, youthful spirits and positive influence these two young men demonstrated as they were deeply loved by their band mates, community and family . There are four main themes, each representing the feelings and emotions that are certain to occur after a loss of loved ones . The first theme is a short, introductory fanfare, strong and bold, to stand for courage . A second dance-like melody features a liltingly mixed meter to portray a youthful and carefree innocence . This soon changes into a third more song-like, and stately theme intended to provide encouragement as we move forward through life .The middle of the piece includes a soft transition as two snare drummers give voice to the boys, allowing them to thank their friends and assuring them that it will be okay . This moves directly into a slow melody introduced by the saxophones (Alex, the younger brother was also a saxophonist) and is a time for reflection and allows for feelings of sadness at losing beloved friends . However, a second statement of the same theme, now at full volume with a strong percussion cadence, intends to lift the spirits and allows all friends to unite in joyous celebration of life . Both the enthusiastic dance theme and stately lyrical theme return, now in different keys, and work their way toward the highly energetic burst of glorious sound in the short and wild coda . When Hearts Tremble was written to celebrate the joys of youth and life, and should remind us that our friends and loved ones are precious, and we should live each day to bring more joy into the world and into the lives of others .

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

SKU: CF.YPS208

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208).

ISBN 9781491152287. UPC: 680160909780. Key: D minor.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

Concert Band/Harmonie - Grade 2

SKU: BT.GOB-001140-140

Composed by Wilco Moerman. Score Only. Gobelin Music Publications #GOB 001140-140. Published by Gobelin Music Publications (BT.GOB-001140-140).

In Theme Park Fun! your orchestra pays a visit to an amusement park. During your visit, you will experience some spectacular rides and attractions this theme park offers. The uniqueness of Theme Park Fun! is the interplay between music and(moving) images. Animations and illustrations support the visual composition.

Part 1: The Entrance & Parade [with animation]
The opening of the park is a fact. A day full of fun and pleasure awaits! You and the other visitors willbe confronted with all the rides, attractions and adventures the theme park has to offer. Which ride shall we do first?! There is so much to do and experience on this day in the park! A parade of colorful floats and park figures is passing by.
Letthe fun begin!

Part 2: The Haunted House [with animation]
The only ride in the park that is not related to fun, is the Haunted House. Here visitors will be challenged to visit a house full of ghosts, creepy figures and otherominous things. The clock strikes twelve, there is no turning back. Ghosts are whispering, yelling, screaming... Fortunately it is almost one oclock, so we can leave this creepy place quickly.

Part 3: The Swinging Galleon [withillustrations]
What a huge pirate ship! Each time you swing back and forth, you will feel that weird feeling in your stomach. When you are thrown completely into the top you will have a fantastic view over the park, but you can not enjoy itfor long. Before you know the ship swings back the other way.

Part 4: The Fairy Tale Ride [with illustrations]
After all those exciting and spectacular rides and attractions, it is time for a peaceful tour in The Fairy Tale Ride.Surrounded by a fairytale setting, you will discover fable figures, talking animals and colorful designs. Such a beauty and tranquility. Having had this experience, we are ready again for the big rides in the park!

Part 5: The Bumper Cars[with illustrations]
Now its time to crawl behind the wheel of the Bumper Cars! Shall we all chase the conductor?! Before you know you are hit by another visitor or you will bump against someone else. In this tough ride you can prove yourselfas a real driver, or perhaps as a really bad one.

Part 6: The Roller Coaster [with illustrations]
The largest, fastest and scariest ride in the park ... we should definitely do the Roller Coaster! All together in the train, theover-the-shoulder restraints are lowering... be ready to ride. The train leaves the station and is heading for the big lift hill. It will be very scary when the train reaches the top and the train will be plunged down the first drop! Loops,corkscrews and other spectacular coaster elements will follow... Before you know it, the ride of your life is over. Shall we ride it again?!

Part 7: Leaving the Park [with animation]
Unfortunately everything comes to an end. Thisday in the theme park is over, but we have a lot new experiences to talk about! The memories of all the funny and spectacular rides will come up when we walk through the park to the exit. Just one look over the shoulder, the amusement park figuresare waving at us. Hopefully we will come back again soon!



In 'Theme Park Fun!' bezoek je met de hele muziekvereniging een pretpark. Tijdens het bezoek word je op muzikale wijze geconfronteerd met een aantal spectaculaire attracties die het pretpark rijk is. Het unieke van 'Theme Park Fun!'is het samenspel tussen muziek en beeld.

Deel 1: 'The Entrance & Parade' [met animatiefilm]
De opening van het pretpark is een feit. De dag vol plezier kan beginnen en de bezoekers worden hier geconfronteerdmet alle attracties en avonturen die ze in het pretpark staan te wachten. In welke attractie zullen we als eerst stappen?! Er is zoveel te doen en te beleven deze dag in het pretpark! Een parade met parkfiguren en kleurrijke praalwagenskomt voorbij, de pret kan beginnen!

Deel 2: 'The Haunted House' [met animatiefilm]
De enige attractie in het pretpark die geen 'pret' uitstraalt, is het spookhuis. Hier worden de bezoekers uitgedaagd om zichte begeven in een huis vol spoken, geesten en andere onheilspellende dingen. De klok slaat 12 keer, er is geen weg meer terug. Gefluister..., geschreeuw... Gelukkig slaat de klok bijna 1 uur en kunnen we deze ongure plek snel verlaten.

Deel3: 'The Swinging Galleon' [met illustraties]
Wat een groot piratenschip! Elke keer wanneer je heen en weer schommelt, voel je dat rare gevoel in je buik. Wanneer je helemaal in de top geslingerd bentheb je een fantastisch uitzicht over het pretpark, maar je kunt er niet lang van genieten. Voor je het weet zwaait het schip weer de andere kant op.

Deel 4: 'The Fairy Tale Ride' [met illustraties]
Na al die spannendeen spectaculaire attracties is het tijd voor een rustig ritje in 'The Fairy Tale Ride'. Omgeven door een sprookjesachtige omgeving waan je je tussen elfjes, pratende dieren en kleurrijke decors. Wat een schoonheid en rust, hierna.

Band Concert Band - Grade 2

SKU: CF.YPS200F

Composed by Matthew R. Putnam. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS200F. Published by Carl Fischer Music (CF.YPS200F).

ISBN 9781491152881. UPC: 680160910380.

Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.” This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march.
Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.” This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.” It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange!

Concert Band/Harmonie/Fanfare Band - Grade 3.5

SKU: BT.DHP-1216333-015

Composed by Peter Kleine Schaars. Peter's Compact Collection. Original Light Music. Set (Score & Parts). Composed 2021. De Haske Publications #DHP 1216333-015. Published by De Haske Publications (BT.DHP-1216333-015).

English-German-French-Dutch.

The magnificent shows at the Moulin Rouge have left their mark on the collective imagination of all who read about them. For decades, a small but spectacular band formed one of the basic ingredients in this internationally famedcabaret theatre. With the first sounds of this composition by Peter Kleine Schaars, the exciting Parisian nightlife immediately comes to mind. The musette takes us to quartier Pigalle, the red-light district of Paris, and when thedoors of the Moulin Rouge open, we hear the recognizable rhythms of a contemporary disco: a combination of the rhythmic cells 8 / 4 and 3 / 14. In addition, the composition has been highlighted with a plentiful and varied use of rhythmic cell 5. Naturally, the themes and accompaniments have been divided equally among all parts.

De schitterende shows in de Parijse Moulin Rouge spreken tot ieders verbeelding. Een klein maar spectaculair orkest vormde tientallen jaren een van de basisingrediënten in dit wereldwijd vermaarde variététheater. Met de eersteklanken van deze compositie van Peter Kleine Schaars wanen we ons meteen in de Franse hoofdstad. De musette brengt ons naar quartier Pigalle, de rosse buurt van Parijs, en als de deuren van de Moulin Rouge zich openen, horen we deherkenbare ritmieken van een hedendaagse disco: een combinatie van de ritmische cellen 8-4 en 3-14. Daarnaast is de compositie geaccentueerd met een veelvuldig en gevarieerd gebruik van ritmische cel 5. Uiteraard zijn de thema’sen begeleidingen evenredig verdeeld over alle stemmen.

Die großartigen Shows im Moulin Rouge prägten das kollektive Bewusstsein all jener, die sich damit beschäftigt haben. Jahrzehntelang war eine kleine, aber fantastische Band Bestandteil dieses international bekanntenKabaretttheaters. Mit den ersten Klängen der Komposition von Peter Kleine Schaars fühlt man sich sofort in das aufregende Pariser Nachtleben versetzt. Die Musette führt uns ins Quartier Pigalle, das Rotlichtviertel von Paris, undwenn sich die Türen des Moulin Rouge öffnen, erklingen die bekannten Rhythmen einer modernen Disco: eine Kombination der Rhythmus-Einheiten 8 / 4 und 3 / 14. Darüber hinaus ist die Komposition durch eine vielfältige Verwendung derRhythmus-Einheit 5 geprägt. Die Themen und Begleitungen verteilen sich dabei gleichmäßig auf alle Stimmen.

Les spectacles grandioses du Moulin Rouge ont laissé leur empreinte sur l’imagination de tous ceux qui connaissent leur histoire. Pendant des décennies, un orchestre de taille modeste mais d’une aptitude exceptionnelle formaitl’un des ingrédients de base de ce cabaret de réputation internationale. Dès les premières mesures, cette composition de Peter Kleine Schaars évoque la vie nocturne animée de Paris. Le style musette nous emmène Pigalle, lequartier chaud de la capitale, et lorsque s’ouvrent les portes du Moulin Rouge, nous entendons les rythmes bien reconnaissables d’une discothèque contemporaine : la combinaison des cellules rythmiques 8 / 4 et 3 / 14. Cette œuvrecontient aussi de nombreux exemples variés de la cellule rythmique 5. Naturellement, les divers thèmes et accompagnements sont divisés également entre toutes les parties.

(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/). Band Music. Grade 4. Score and parts. Duration 14:50. Published by C. Alan Publications

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 6:30. Published by Manhattan Beach Music.

Mixed Choir

SKU: CF.CFD16

Composed by Charles H. Gabriel, Conrad Kocher, Dennis Allen, Fanny J. Crosby, John Bacchus Dykes, John Darwell, Lelia Morris, Lowell Mason, Phoebe Knapp, Robert Lowry, Samuel Wesley, Traditional, Various, Walter Knapp, and William H. Doane. Arranged by Bob Burroughs, Dana Mengel, Dennis Allen, Elizabeth Campbell, Hal H. Hopson, Ken Berg, Melodie Tunney, Patrick M. Liebergen, Ruth Elaine Schram, Stan Pethel, and Walter Knapp. Jewel Case. Carl Fischer Concert Band Recordings. Audio CD. With Standard notation. Carl Fischer Music #CFD16. Published by Carl Fischer Music (CF.CFD16).

ISBN 9780825860164. UPC: 798408060169.

Since the beginning of the Protestant Reformation, hymns have been the tie binding the hearts and spirits of Christians together. With their beautiful melodies and poetically penned words, hymns are the universal language of Christian worship, the bond that draws believers together from all walks of life and across the world. With texts of faith and inspiration, hymns speak to present time with words of assurance of hope, and help direct us toward the future in glory. Next to the Bible, they have endured as the timeless voice of the Christian faith, teaching and inspiring believers throughout generations. In this collection of “favorites” we offer listeners a compilation of the genre’s most beloved and inspirational hymns of faith. Arranged by some of today’s most distinguished church music icons, the hymns in this collection will thrill and comfort the faithful listener. Drawing upon the words and melodies of some of the world’s greatest hymn writers, including Fanny Crosby, Charles Wesley, and Martin Luther, the arrangers in this collection maintain each work’s original integrity while beautifully transporting each hymn into the realm of today’s modern worship world. From the stirring strains of “Amazing Grace” to the majestic power of “Holy, Holy, Holy,” this collection will inspire Christian worshipers.

By Frank Ticheli. Concert band. Suitable for middle school and high school bands. Grade 2. Conductor score and set of parts. Duration 2:15. Published by Manhattan Beach Music

Concert Band - Grade 5

SKU: AP.29638S

Composed by Matthew Tommasini. Concert Band; Performance Music Ensemble; Single Titles. Donald Hunsberger Wind Library. Contemporary; Latin. Score. 96 pages. Alfred Music #00-29638S. Published by Alfred Music (AP.29638S).

ISBN 9780739050972. UPC: 038081322872. English.

This cycle is a setting of three contrasting poems by Latin-American poets Leopoldo Lugones, Rube én Dari ío and Jose é Marti í. Olas Grises uses evocative rain and sea imagery to meditate on the nature of life and death. Set as a lyrical, quasi-strophic song, these images are portrayed through the opening percussion raindrop motive and the moaning vocal line used throughout the movement. Nocturno is a frantic soliloquy set as an extended opera scene. The opening recitative is followed by a surreal aria. This is followed by a re-statement of both sections. Suen ño Despierto is a short poem about the contrasting images of a waking dream. Based on a fragment of the lullaby Nanita Nana, heard in its entirety at the opening, the song is a set of three variations, followed by a coda, which portray these various images. Three Spanish Songs was commissioned by Michael Haithcock and the University of Michigan Symphony Band. This is the recital/rehearsal version of this piece. The vocal solo with wind ensemble accompaniment is also available (00-29639/$150).

By Jackson Anderson. For concert band. Grade 3.5. Score and set of parts. Duration 4 minutes, 38 seconds. Published by C.L. Barnhouse

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2.5

SKU: CF.YPS212

Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8+12+6+6+2+2+4+10+20+4 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #YPS212. Published by Carl Fischer Music (CF.YPS212).

ISBN 9781491152317. UPC: 680160909810. Key: C minor.

Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.
Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.” They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.  That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.