SKU: AP.50782

ISBN 9781470669300. UPC: 038081588124. English.

This showstopper from the movie Wonka is sure to be a crowd-pleaser! This terrific arrangement has many teachable moments, including swinging eighth notes, dynamic shifts, rhythmic interplay, independence, and more. Full of energy and excitement, this expertly scored arrangement of You've Never Had Chocolate Like This by Michael Story is the perfect choice for your next concert. (2:30).

SKU: SU.96010061

Instrumentation: SATB Chorus, & Piano
Duration: 5'
Composed: 2012
Published by: Subito Music Publishing Minimum order quantity: 8 copies. Perusal copies are available by contacting (include the organization name with your request). To order quantities fewer than 8, please call customer service at (973) 857-3440.
About T.N.T

As a matter of practicality, when I was first asked to write a piece for the New York Theatrical Community Choir in 2005 by its music director, David Wolfson, I immediately decided to write a Kyrie. After all, I thought..., the text is only about four words and eliminated the need for a lyricist. Most appealing, however, was the fact that it would bring me one step closer to finishing the Massthat I was in the process of writing. If ever there was a case to be made for divine inspiration this appeared to be it. David Wolfson liked the idea and casually mentioned that there was another Kyrie and a religious hymn on the program. He also mentioned that the choir consisted predominantly of actors that sing.

Like a bolt of lightning, divine intervention interceded whereupon I instantly realized that he needed a piece to wake up the audience, not another Kyrie. I took a breath and spontaneously began to talk through and improvise the concept of a piece that became the basis for Taxi.

At that moment I was clueless as to what kind of piece I would write but it appeared to be a good idea at the time. David's reaction to my presentation was something like Okay,...I have no idea what you are talking about but let's try it. After a very successful public performance, he was delighted that I decided not to write a Kyrie and remarked that writ-ing a piece like Taxi for this group was like feeding raw meat to a pack of hungry lions. At that moment, the idea of doing a trilogy of similar pieces was born. For the last two seasons of the choir's existence I was asked to write a new piece and ... as a matter of practicality, I happily agreed.

-- Joe Gianono

Note: Taxi, Noise, and Time may be performed separately.

SKU: AP.50771S

ISBN 9781470669393. UPC: 038081588216. English.

This showstopper from the movie Wonka is sure to be a crowd-pleaser! This terrific arrangement has many teachable moments, including swinging eighth notes, dynamic shifts, rhythmic interplay, independence, and more. Full of energy and excitement, this expertly scored arrangement by Michael Story is the perfect choice for your next concert. (2:30).

SKU: XC.SATB2310A

6.75 x 10.5 inches.

This sensitive arrangement of the classic Irving Berlin song is full of lush jazz-inspired harmonies, contrasted with moments of stunning simplicity. Singers and audiences alike will find new depths of emotion and heart in this fresh rendition.

SKU: PR.11641861SP

UPC: 680160685202.

What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

SKU: CF.CAS138F

ISBN 9781491160794. UPC: 680160919390.

Named for the west wind, this grade 3 original work makes use of quarter and eighth note triplets to depict a sense of swirling motion. A forward moving theme is passed between sections in the orchestra accompanied by a steady, march-like staccato pulse. The opening B minor theme rises and falls, giving way to a faster, rhythmic section in D major. Ascending and descending scale passages are exchanged between voices with a light, springy spiccato. The music swells with crescendos and decrescendos portraying the sweeping ebb and flow of the wind. The primary minor theme returns with a dramatic unison statement in the violins, shifting modally as it builds to a momentous finale. An excellent piece for working on extended finger patterns, bowing styles, and dynamic changes.
Named for the west wind, this grade 3 original work makes use of quarter and eighth note triplets to depict a sense of swirling motion. A forward moving theme is passed between sections in the orchestra accompanied by a steady, march-like staccato pulse. The opening B minor theme rises andfalls, giving way to a faster, rhythmic section in D major. Ascending and descending scale passages are exchanged between voices with a light, springy spiccato. The music swells with crescendos and decrescendos portraying the sweeping ebb and flow of the wind. The primary minor theme returns with a dramatic unison statement in the violins, shifting modally as it builds to a momentous finale. An excellent piece for working on extended finger patterns, bowing styles, and dynamic changes.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: FT.FM633

ISBN 9790570485321.

The Sonata for Clarinet in B flat and Piano comes from a relatively unsettled period. Much of the music is a reflection on the cyclic nature of negative thought, the recurring arpeggios at the opening give some indication of this. Breaking out of these patterns only seems to lead to further dissonance and uncertainty. It also explores the effect of lowering notes by a single semitone and how the smallest of intervals can have a significant impact on the harmony at any given moment. The work is in four movements: 1. Andante moderato. This movement features two main musical statements pivoting around a central dance like idea. 2. Largo. A movement exploring a sense of isolation and disconnect between the Clarinet and Piano. 3. Largo con moto. A moment of calm, featuring some of the melodic contours from the previous movement but treated as if heard with a different frame of mind. 4. Allegro con moto. A slightly mischievous finale, featuring moments where the instruments imitate each other in an almost mocking fashion.