SKU: KN.8462

UPC: 822795084627.

An excellent example of Baroque literature in a non-contrapuntal style, the parts in this setting are technically simple, thereby allowing directors ample time to work on concepts of musicality and interpretation during rehearsals. In his score notes, John also explains that in Handel's day this piece was typically played three times-- strings alone, winds alone, then strings and winds together-- and gives specific suggestions for directors interested in supplementing this edition with wind parts. An optional piano part is provided with each standard string set.

SKU: AP.47423

ISBN 9781470653811. UPC: 038081544502. English.

Especially well suited for first-year students, this dark-sounding piece gives students a mature, full sound. Written in B natural minor, it utilizes only the notes of the D major scale with easy finger patterns and simple rhythms throughout. (1:45).

SKU: AP.48095

UPC: 038081557120. English.

A lyrical piece in a Viennese waltz style with a lovely, rising main melody, perfect for advanced string orchestras with harp/piano (optional). Grand Ball Waltz by James O. Lockett gives all the instruments moments to shine. Featuring a variety of bowing styles, dynamics, modulations, and coloristic changes, this beautiful waltz will make your students sound like professionals. (3:15) This title is available in MakeMusic Cloud.

SKU: AP.38497S

UPC: 038081436845. English.

Celebrate the spirit of Bohemia at your next festival or concert with this acclaimed masterpiece. This arrangement uses material from the Allegro section of the first movement in the original key of D. The fugal nature of this movement gives each section a chance to play melodic passages. Care has been taken to preserve the energy of the original while seamlessly transferring wind and brass parts into the string section. Advanced shifting is required, along with the ability to perform syncopation and spiccato.

SKU: AP.45842S

UPC: 038081524115. English. Zachary Barnett; James Shelley; Matthew Sanchez; David Rublin; Aaron Accetta; Jonnie Davis; Michael Goodman [American Authors].

Go big and get your audience excited with this bright and energetic sing-along hit arranged by Victor López. American Authors, an indie rock band based in Brooklyn, New York, wrote Go Big or Go Home---a Top 20 hit on Billboard charts and featured in promos for the 2016 NBA Playoff Finals. Given the catchy melody and vibrant rhythms, this song is the hair-raising anthem you have been looking for to complete your program. Great tune for a recruiting demonstration! (2:40).

SKU: HL.14014800

ISBN 9781846091223. 9.75x13.5x0.225 inches.

Hans Werner Henze's Sebastian im Traum was commissioned by the Eduard van Beinum Stichting, the Royal Concertgebouw Orchestra, the Tonhalle-Gesellschaft, and the New York Philharmonic, and given its first performance on 22nd December 2005 by the Royal Concertgebouw Orchestra conducted by Mariss Jansons at the Concertgebouw, Amsterdam.

SKU: AP.47466

ISBN 9781470654542. UPC: 038081544762. English.

Inspired by a painting of the same name, this engaging work by Todd Parrish features memorable rhythmic patterns of sixteenth notes, flat-key fingerings, and varied articulations. The original painting evokes the awesome, eternal nature of the sea that could occur on any given morning. Imagine crashing waves!

SKU: AP.49068S

ISBN 9781470647834. UPC: 038081567051. English.

This multi-level piece includes a full set of parts for grade 2 as well as a full set for grade 3 ensembles. Mix and match the parts as you need---perfect for mixed-ability ensembles!

String Thang by Mark Wood is based on the twelve-bar blues. The blues has deep roots in American history, developed out of the work songs and chants of African-American slaves. The Great Migration of the first half of the 20th century saw freed slaves and their descendants move to northern and eastern parts of the U.S., taking their music with them. The blues took on different forms; in turn it helped to create rock, jazz, hip-hop, and other popular genres. A twelve-bar blues uses a repeating chord progression which allows musicians to express themselves creatively with each recurrence. If anything defines the blues, it is the use of blue notes---pitches that don't usually belong in a given key---and elements of improvisation. String Thang uses both blue notes in the main tune and the solo violin's part, as well as improvisational principles in the solo. For string orchestra with optional rock rhythm section parts. (2:45)

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SKU: AP.49032S

ISBN 9781470645496. UPC: 038081564036. English. American Folk Song.

The American folk song Wayfaring Stranger has been given a fresh treatment by educator and arranger Michael Kamuf. In this setting, all instruments get a chance to play the melody while varying accompaniments create different moods and textures. This is the perfect vehicle to teach expressive playing and will make a great addition to any concert or festival program. (2:50) This title available in MakeMusic Cloud.

SKU: HL.48024683

ISBN 9781784545062. UPC: 888680952570. 8.25x11.75 inches.

TEMPUS FUGIT was commissioned to celebrate the centenary of Finnish independence on 6 December 2017 and it received its first performance in Helsinki on that day, given by the Finnish Radio Symphony Orchestra.

The composer says that “if you translate TEMPUS FUGIT as 'Time Flies', you could say that Finland has travelled a long way already -but 100 years is a short time-span, and living as a human in this part of the world started long ago and, we hope, will continue formillennia to come. This relates to my fascination with Bernd Alois Zimmermann's concept of spherical time - that the past, the present and the future are continuously linked and within reach. You can also examine the inter-connection of musical time in the earlier works of Stockhausen such as Kontakte and Gruppen which had a big impact on me as a young composer. A translation of TEMPUS FUGIT that I prefer is 'Time in Flight', offering the idea that time escapes from us but bequeaths a tangible residue, rather like aplane travelling towards the distance but leaving a visible vapour trail.” This 30-minute score is a major addition to the orchestral repertory.

SKU: SU.25100400

A musical celebration of the River, the Cloud Forest, and the Trees.Orchestra [2,1 2,1 2,1 2,1; 4331; timp, 5perc, pno; stgs] Duration: 35’ Composed: 2017 Published by: Gusthold Music Publisher Performance materials available on rental:.

SKU: BT.MUSM570366699

English.

Le Voyage Dans La Lune is a continuous orchestral score of approximately 14 minutes comprising two outer fast sections and a slower inner section of a dream-like character. The work is directly inspired by the film Le Voyage Dans La Lune (1902), written and directed by the pioneering French film-maker, Georges Méliès. Méliès was influenced by 19th century interests in science and discoveries, as well as the science fiction of Jules Verne. At the same time his work seems fantastic, surreal and satirical. Some critics point out an underlying critique of colonial adventuring. The plot centres on a group of astronomers who decide to launch a rocket to the moon containing a handful of their number. They reach the moon (famously landing on the moon’s face) and then encounter a strange race of aliens, whom they battle and destroy. The return to earth involves a dramatic descent, a plunge into the ocean and then celebratory dancing. The film inhabits a surreal and dream-like space, and uses an idiosyncratic visual language which transforms reality. This inspired an active musical response in my own score, which is by turns abrupt, smooth, lyrical and violent, and expresses something of the strange shifting surfaces and multiple and layered tempos evident in the film. The canons in the horns in the first scene reflect the intense arguments of the astronomers as they consider the project. The slower inner section is inspired by the scenes of the industrial City viewed from its rooftops by the astronomers. It also expresses the wonder of the astronomers as they see the earth rise from the perspective of the moon after their arrival there. The music of the final section is in places conflicted, reflecting the violent encounters with the moon’s inhabitants. It moves into a more harmonious phase at the close to match the celebrations upon the astronomers’ return from their adventuring. The music could be considered to be a surreal mini-opera without voices, voicing instead the characters of the silent screen. - Ed Hughes.