(8 Unique Piano Pieces). By Wynn-Anne Rossi. For Piano. Book; Piano Collection; Piano Supplemental. One of a Kind Solos. Recital. Intermediate. 24 pages. Published by Alfred Music

Jazz Ensemble plus 5th TrumpetSAATTB saxes have opt. flute 2, clarinet 2 or bass clarinet 1 doubles - Grade 3.5

SKU: KN.52945

Composed by Thad Jones. Kendor Jazz Archive Series. Bossa Nova. Score and set of parts. Duration 4 minutes. Kendor Music Inc #52945. Published by Kendor Music Inc (KN.52945).

Written during Thad's later years in Denmark after he and Mel Lewis parted ways, this bright, double-time tune designates piano as the main soloist, but includes an optional repeat of the solo chorus for trumpet and/or soprano (or alto) sax. A rubato intro and ending, both featuring solo piano, give the chart a strong sense of form and symmetry. Duration 4:00.

Cello - Intermediate-Advanced

SKU: HL.14017469

Composed by Kaija Saariaho. Music Sales America. Post-1900. Sheet Music, Score. With Text language: English. Chester Music #CH61806. Published by Chester Music (HL.14017469).

UPC: 884088812041. 8.5x11.0x0.419 inches.

Composer's Note When I considered the ensemble of eight cellos, I first thought of matt and dark textures. I also wanted to go back to some ideas on symmetry. While I was pondering all that, I saw snow flakes falling from the dark sky of the Finnish autumn. Focusing on the snow, the idea of writing variations on it and its various forms became clearer in my mind.Nuages de neige is a uniform and linear texture in which I realise my first impressions of that ensemble. The two Etoiles de neige are based on the idea of symmetry and repetition: the first one develops up to a certain point where it doubles back as in a mirror image, the second one consists of eight sections in which the harmonic structure is repeated, as well as a linear gesture that becomes ever more present. Aguilles de glace focuses on different pizzicati and superimposed ostinati. With Fleurs de neige I sought to recall the texture of those harmonic trills at the end of the first section, although more airy and diversified here. Kaija Saariaho.

(GEB)

SKU: HL.49033206

Ausgewahlte Schriften. Composed by Arnold Schoenberg. Edited by Anna Maria Morazzoni. This edition: hard-coverbinding with book jacket. Book with CD. Edition Schott. Edition with CD. 576 pages. Schott Music #ED9624. Published by Schott Music (HL.49033206).

ISBN 9783795704865. German.

Arnold Schonberg war nicht nur ein grosser Komponist, sondern auch ein geistreicher Autor, der zu zahlreichen Themen teils heiter, teils ernst seine Gedanken formulierte. Untergliedert in funf Bereiche geben viele bisher unveroffentlichte, an Originalquellen uberprufte Texte mannigfaltigen Einblick in die Kunstlerpersonlichkeit Schonbergs: Aphorismen uber Themen wie Kunst, Talent und komponierende Wunderkinder, aber auch uber grossen Damenhute oder die Bugelfalte; allgemeine theoretische Erorterungen zu Inspiration, Symmetrie oder Gelehrsamkeit; soziale Fragen zu Menschenrechten und militarischer Friedenssicherung. Dokumente rund um Schonbergs Leben und Werk sowie Zeugnisse im Kontakt mit anderen Kunstlern.Eine Chronologie zu Leben und Werk sowie ein Personen- und Werkverzeichnis runden das Buch ab.

Piano solo - Grade 2

SKU: IG.PMS121

Composed by Peter Nostrand. Score. Duration 3 minutes, 35 seconds. Imagine Music Publishing #PMS121. Published by Imagine Music Publishing (IG.PMS121).

9 x 12 in inches.

Innocence is available for either piano solo or piano and chamber accompaniment (flute, clarinet, first and second violins, viola and cello). It is a good learning tool for aspiring musicians at or above a beginner's level.

Technically, the piece contains several tertian harmonies and simple flares of credenza-like complexities. The form is a through composed inspiration that later becomes more refined in terms of symmetry and balance. Less technically described, Innocence was written to demonstrate the differences and the compatibility between traditional and untraditional harmonic development. Students will or should recognize the two different approaches.

In the most traditional approach, the listener is typically able to predict how the melody will unfold. It is like a journey down a road where the passengers can see all the straight-aways and turns ahead. Innocence , however, while never discarding or disrespecting musical grammar, is occasionally innocently twisted to hijack the listener into gently surprising and unanticipated turns. It is a good learning tool to point out the different approaches to composition. It is also simply a fun and entertaining piece in and of itself.

Harp

SKU: UT.MAG-274

Composed by Philipp-Joseph Hinner. Edited by Francesca La Carrubba Jessica Pettenà. Saddle stitching. Magadis. Classical. Score and Parts. Ut Orpheus #MAG 274. Published by Ut Orpheus (UT.MAG-274).

ISBN 9790215326859. 9 x 12 inches.

Rediscovering, studying and analyzing the musical art of Philipp Joseph Hinner means enhancing a piece of the eighteenth-century harp music mosaic. Hinner's work intrigues for its extraordinary simplicity, for its regularity and harmony; the ordered balance of the parts, symmetry and sense of proportion are essential elements for the author, and give character and unity to his work. The harp repertoire has long been overshadowed by the keyboard one, which boasts extensive solo and chamber literature, and consolidated for over two centuries. The rediscovery of the history of our instrument, however, is still recent and the research work in the field of harp music is still long.
Hinner, with the apparent simplicity of his opus 10, can thus regain his role in the harp repertoire of the eighteenth century, as well as covering a considerable didactic value today. The part of the first harp undoubtedly presents characteristics of greater rhythmic and virtuosic complexity than that of the second, which consists of a continuous accompaniment interspersed with simple thematic imitated episodes. Furthermore in the composition are included arias such as O ma tendre Musette, a French popular melody of the 18th century (previously set to music by Pierre-Alexandre Monsigny), and <>, taken from the opera-comique L'erreur d'un moment ou la Suite de Julie by Nicolas Dezede, as well as themes from Gluck's Iphigenie en Aulide, which had been all used also by Hinner's first harp master, Francesco Petrini (1744-1819).
Hinner's opus 10, originally written in separate parts for two harps, or harp and fortepiano, is presented here updated and completed with its score, for a thorough perception of the work.

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

SKU: CF.CAS137

Composed by Kathryn Griesinger. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. 16+2+2+10+10+10 pages. Duration 3 minutes, 26 seconds. Carl Fischer Music #CAS137. Published by Carl Fischer Music (CF.CAS137).

ISBN 9781491159262. UPC: 680160917846.

The title refers to the Latin word for rhythm as well as to the ancient Greek term meaning symmetry, harmony, and rhythm in music or speech. This original work for string orchestra explores a variety of interlocking rhythmic structures that support a solemn melody in A minor. The theme moves through several dramatic modal shifts, with a spiccato rhythmic motif re-appearing throughout the sections of the orchestra.

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

Piano Trio

SKU: BR.EB-9258

Piano Trio. Composed by Manuela Kerer. Chamber music; stapled. Edition Breitkopf. New music (post-2000); Music post-1945. Score. Composed 2016/17. 36 pages. Duration 9'. Breitkopf and Haertel #EB 9258. Published by Breitkopf and Haertel (BR.EB-9258).

ISBN 9790004185582. 9 x 12 inches.

Spherical: What a wonderful word. Spherical, magical, shimmering, kaleidoscopic, spectral. These were my associations. Only when researching this piece did I notice that sphere derives from the Greek hull or ball. It was used in antiquity to designate the firmament, imagined as a hollow sphere. Pythagoras assumed that the movements of the spheres or heavenly bodies created tones with pitches depending on their distances and velocities. Then I came across a text by Stefan Zweig, which, besides the idea of the firmament in constant motion, is perfectly consistent with Canto sferico (song of the spheres). Art knows no more beautiful moment than when it may show the excessive in its symmetry, in those spherically sounding seconds, when at the blink of an eye dissonance dissolves into primal blissful harmony: the more ghastly the rupture, so much the more powerful this collapse, so much the more effervescent the consonance of the plunging streams. (Manuela Kerer, 2017).

By Lon Beery. For Choir. (3-Part/SATB). Choral Octavo. Choral Designs. Folk Song. Choral Octavo. 12 pages. Published by Alfred Publishing.

Jazz Ensemble Jazz Ensemble - Grade 3

SKU: FJ.JE4152S

Score Only. Composed by Erik Morales. Jazz Ensemble. FJH Intermediate Jazz Ensemble. Latin. Score. Duration 5:00. The FJH Music Company Inc #98-JE4152S. Published by The FJH Music Company Inc (FJ.JE4152S).

English.

Sporting a diverse set of styles, this incredibly unique chart features a flugelhorn solo and the trumpet section with angular themes that invoke images of light, color and symmetry. The swing section features your best alto sax player with simple chord changes and an optional written-out solo.

About FJH Intermediate Jazz Ensemble

Appropriate for high school jazz ensembles. Lead trumpet ranges are modest and occasionally include optional notes for more accomplished players. Written solos are provided along with suggested parts for rhythm section and drum set. Guitar chord guide included. Grades 3 - 3.5

Piano

SKU: FG.55011-542-2

Composed by Kirmo Lintinen. Fennica Gehrman #55011-542-2. Published by Fennica Gehrman (FG.55011-542-2).

ISBN 9790550115422.

In his work Palindrome for piano (2000), Kirmo Lintinen has chosen a predetermined form: perfectly mirrored symmetry, and he makes it work wonderfully! Lintinen is not interested in hidden structures and working with minutiae, but rather lets the palindromic qualities of the palindrome be clearly visible and audible. Rather than using abstract tonerows, Lintinen mirrors a three-tiered musical characteristics, adding and then letting go suspension: Cantabile semplice/Giocoso/Fuocoso e flessibile - Fuocoso e flessibile/Giocoso/Cantabile semplice. The duration of the work, 180 seconds, is divided into six segments: 45sec:30sec:15sec:15sec:30sec:45sec (3:2:1:1:2:3). The shorter the segment, the more raucuous the material.

3-part upper-voice choir (Upper Voices - 3 parts or more) - Easy to Moderately Difficult

SKU: OU.9780193360051

Composed by Richard Causton. Secular Choral - Upp. Voices. Secular, Choral Leaflet. Vocal score. 12 pages. Duration 4'. Oxford University Press #9780193360051. Published by Oxford University Press (OU.9780193360051).

ISBN 9780193360051. 10 x 7 inches.

For three-part upper-voice choir. This is a witty and ingenious work, scored for three-part upper voices (either unaccompanied or with instruments doubling the voices). The three riddles each explore ideas of balance and symmetry, whether through the use of canon, inversion, or palindrome, and the result is an intriguing and unusual concert piece.

String quartet

SKU: HL.49045639

Chaconne. Composed by Fred Lerdahl. This edition: Saddle stitching. Sheet music. String Ensemble. Softcover. Composed 2016. 108 pages. Duration 990 seconds. Schott Music #ED 30174. Published by Schott Music (HL.49045639).

ISBN 9781540004796. UPC: 888680710774. 9.5x12.0x0.37 inches.

Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music.My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach's D minor violin partita and the finale of Brahms's Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern.My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl.