Piano/Vocal Piano; Voice

SKU: HL.148619

Composed by Bob Cole, James Weldon Johnson, and John Rosamond Johnson. E.B. Marks. Vaudeville. Softcover. 180 pages. Edward B. Marks Music #EBM148619. Published by Edward B. Marks Music (HL.148619).

ISBN 9781495029684. UPC: 888680078515. 9.0x12.0x0.492 inches. With a Foreword by Thomas Riis.

Late in his life, composer J. Rosamond Johnson (Lift Ev'ry Voice and Sing) submitted to his longtime publisher, E.B. Marks, a list of songs that would comprise a volume of his best early popular songs written with his pre-1910 partner Bob Cole and his brother, James Weldon Johnson (Autobiography of an Ex-Colored Man). That list was never put into print...until now. Featuring an introductionby Dr. Thomas Riis (Just Before Jazz) and several rare photos, this new compilation is the latest legacy offering from the Marks archive, which contains a rich heritage of turn-of-the-century African-American, and thus distinctly American, pre-jazz-era popular song. Includes: Ain't Dat Scan'lous * Big Indian Chief * The Big Red Shawl * The Bleeding Moon * Congo Love Song * The Countess of Alagazam * Fishing * I Don't Want to Be No Actor Man No Mo' * I'll Always Love Old Dixie * I'll Keep a Warm Spot in My Heart for You * I've Got Troubles of My Own * The Katy-Did, the Cricket and the Frog * Lazy Moon * Lit'l Gal * Louisiana Lize * Lovely Daughter of Allah * Ma Mississippi Belle * The Maiden with the Dreamy Eyes * Mudder Knows * My Heart's Desiah is Miss Mariah * My Castle on the Nile * Nobody's Lookin' but de Owl an' de Moon * Oh, Didn't He Ramble * The Old Flag Never Touched the Ground * On the Road to Monterey * The Pathway of Love * Roll Them Cotton Bales * Save It for Me! * The Spirit of the Banjo! * Sugar Babe * Two Eyes * Under the Bamboo Tree * When de Jack O'Lantern Starts to Walk About * When It's All Goin' Out, and Nothin' Comin' In * Who Do You Love?

Concert band - Grade 3

SKU: CL.012-4528-01

Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR392). Extra full score. Composed 2017. Duration 4 minutes, 53 seconds. Opus III Wind Orchestra Publications #012-4528-01. Published by Opus III Wind Orchestra Publications (CL.012-4528-01).

Dr. Martha Smith Geib was a life-long resident of London, Ohio where she routinely applied the practice of medical care and attention to those individuals in need of wellness. Upon her passing, the entire community was deeply saddened, not only for the loss of their doctor, but of their friend as well. It should be noted that this piece was written as a celebration of life for a remarkable lady who meant so much to so many.

Miscellaneous

SKU: CF.TXT10

Passing on the Flame. Composed by Denise Schmidt. Perfect Bind. Text. With Standard notation. 160 pages. Carl Fischer Music #TXT10. Published by Carl Fischer Music (CF.TXT10).

ISBN 9781491150986. UPC: 680160908486. 6 x 9 inches. Text: Denise Schmidt.

Denise A Gainey's Kalmen Opperman: Passing on the Flame combines interviews with Opperman's former students with personal essays and reflections from those closest to the master teacher and performer. Gainey explores Opperman's life, pedagogy, and countless contributions to the clarinet's canon. A longtime student and research colleague of Opperman's, Gainey provides a rare glimpse into the life and work of one of the greatest contributors to the clarinet.

By Greg Gilpin. For TTBB choir div, piano. Prima Cantate Series. Concert. Octavo. Published by Roger Dean Publishing

Piano Solos. Composed by various composers and arrangers. This edition: Piano Solos. Book; Piano Collection; Piano Supplemental. Video Game. 52 pages. Published by Alfred Music

Alto Saxophone & Piano

SKU: ST.C498

Composed by Tom Harrison. Wind & brass music. Clifton Edition #C498. Published by Clifton Edition (ST.C498).

ISBN 9790570814985.

What if you found out that someone had left you a precious gift? Someone you had never met yet somehow felt like you had known forever. Wouldn’t you want the chance to thank them for it? It Was a Sound is a collection of music and stories inspired by the life and playing style of the great Johnny Hodges. Twelve original compositions for Alto Saxophone & Piano are paired with twelve short stories about Hodges, his life in jazz and his quirky way of being.

Through playing the music and reading the stories, music lovers will gain a deeper understanding of the roots of Jazz Music and its cultural legacy. You already owe something to Johnny Hodges, even if you do not yet realise it. This book is suitable for Alto Saxophone players of Grades 1-5 standard, with illustrations by Kareen Cox and a foreword by Julian Joseph OBE.

‘Tom has thoroughly researched the genius of Johnny Hodges and has opened a gateway that lets the reader explore and experience the artistry of the master saxophonist. Excellent work!’
–Jean Toussaint

‘Fabulous quotes and thought-provoking questions. So informative, I love it.’
–Tony Kofi

‘A brilliant book which thoroughly captures the excellence of Hodges. With fitting musical examples aimed to inspire young musicians today, perhaps there will be another little Johnny Hodges in the making!’
–Camilla George.

By Barry Milner. For Concert Band. Concert Band. Alfred Concert Band. Level: 3 (Medium) (grade 3). Conductor Score and Parts. 160 pages. Published by Alfred Publishing.

Baritone voice & Piano

SKU: ST.Y329

Composed by Rhian Samuel. Five songs for baritone and piano to texts by Charles Hamilton Sorley. Vocal Score. Stainer & Bell Ltd. #Y329. Published by Stainer & Bell Ltd. (ST.Y329).

ISBN 9790220224553.

In her song-set for baritone and piano A Swift Radiant Morning, Rhian Samuel, a noted contemporary composer of English song, has created a portrait in words and music of the young poet Charles Hamilton Sorley (1895-1915). Robert Graves described Sorley's death - at the Battle of Loos - as among the three most significant amongst poets in the First World War (the others being Wilfred Owen and Isaac Rosenberg). The five songs are 'Rooks', 'The Sounds of War', 'The Signpost', 'In Memoriam', and 'Earth's King'. The composer offers in the last song a celebration of Sorley's life, and a testament to his enduring legacy. A Swift Radiant Morning was commissioned by the Three Choirs Festival, Hereford, 2015, for a first performance by Roderick Williams, baritone, and Susie Allan, piano, at Holy Trinity Church, Hereford, on 25 July 2015.

CONTENTS
1 Rooks
2 The Sounds of War
3 The Signpost
4 In Memoriam
5 Earth's King.

9 Volumes in a Slipcase Study Score. Composed by Lugwig Van Beethoven. Edited by Bathia Churgin, Jens Dufner, Ernst Herttrich, and Armin Raab. Henle Study Scores. Classical. Softcover. G. Henle #HN9800. Published by G. Henle

Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by Lara Downes. Collection. Theodore Presser Company #440-40028. Published by Theodore Presser Company

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2.5

SKU: CF.YAS186

Shlof, Mayn Kind. Composed by Larry Clark. Young String Orchestra (YAS). Set of Score and Parts. With Standard notation. 8+5+2+8+5+5+3+12 pages. Duration 2018. Carl Fischer Music #YAS186. Published by Carl Fischer Music (CF.YAS186).

ISBN 9781491151518. UPC: 680160909018. 9 x 12 inches. 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 violin solo on the song. It them 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, so 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.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

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.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.11441690S

String Quartet No. 3. Composed by Shulamit Ran. Sws. Contemporary. Full score. With Standard notation. Composed March 9 2013. 32 pages. Duration 23 minutes. Theodore Presser Company #114-41690S. Published by Theodore Presser Company (PR.11441690S).

UPC: 680160626021. 9 x 12 inches.

Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.
My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago.  Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination.  Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars.  It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07.  Nussbaum would have been a bit too young to be included in this exhibit.  His most noteworthy art was created in the last very few years of his short life.  The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.    The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) ”If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes.  All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .