By Thomas Morley (1557-1602). Arranged by McDuffie. For Trombone Quartet (3 tenor trombones, 1 bass trombone). Published by BrassWorks4

SKU: HL.48186444

Composed by Armando Ghidoni. Leduc. Softcover. Alphonse Leduc #AL30679. Published by Alphonse Leduc (HL.48186444).

UPC: 888680829742. 9x12 inches.

“This piece for Flute, Clarinet, Horn and Bassoon was premiered April 18th, 2012 in Istanbul by its commissioner, the Nis'tanbul Quartet, composed of Sibel Pensel, Aysegül Kirmanoglu, Patrick Peignier and Arthur Menrath. Armando Ghidoni's Swinging Counterpoint keeps all of its title's promises: flowing with the same naturalness, the same fluidity as Bach's, the counterpoint masterfully blends the colours and the lilt of swing. Recorded by the Nis'tanbul Quartet for the label Chant de Linos, the work bursts with inspiration, a melodic sincerity and a joyful insouciance.&rdquo.

Chamber Music, Quatuor Young Trombone Quartet: 4 Tenor Trombones or 3 Tenor Trombones & 1 Bass Trombone - Grade 2

SKU: FL.FX073676

Composed by Eddie Souchois. Original Composition. Jazz. Score and Set of Parts. 4 (score); 4 (parts) pages. Duration 1 minute, 15 seconds. FLEX Editions #FX073676. Published by FLEX Editions (FL.FX073676).

Instruments:Young Trombone Quartet: 4 Tenor Trombones or 3 Tenor Trombones & 1 Bass Trombone; Difficuly Level: Grade 2.

By Giles Farnaby (c. 1563-1640), John Wilbye (1574-1638), Thomas Morley (1557-1602). Full score and set of performance parts for brass quartet (2 trumpets and 2 trombones or horn and trombone). Published by International Music Co.

For Drums. Jazz/RandB. Includes a high-quality printed music book with drum charts and a compact disc containing a complete performance with soloist; then a second version with the accompaniment, minus you, the soloist. Published by Music Minus One.

Performed by Pat Metheny. For guitar (no tablature). Format: fake book. With leadsheet notation and chord names. Jazz and jazz fusion. 448 pages. 9x12 inches. Published by Hal Leonard.

Tuba-euphonium quartet

SKU: P2.80109

Composed by Alice Gomez. Chamber music, 20th century. Published by Potenza Music (P2.80109).

El Bosque Verde (The Green Forest) was written for the Junction Tuba Quartet in April 2001. This piece is an imaginative journey through the equatorial forest area between west to east Africa. The lower brass instruments represent indigenous end-blown horns used by the BaMbuti Pygmies in their music praising the living forest. The composition imitates natural sounds that one may hear while walking through the forest, such as the rustling of trees, insects singing, and the sounds of nightfall. African musical techniques employed are interlocking parts, ostinatos, hocketing, and polyrhythmic melodic lines.

For Four Bassoons. By Peter Schickele. Wind quartet. For Bassoon I, Bassoon II, Bassoon III, Bassoon IV. Premiered by the Bassoon Brothers (Mark Eubanks, Robert Naglee, Juan de Gomar, and Bonnie Filmore Cox) on April 18, 1997 in Portland, Oregon. Classical. Score and parts. Composed 1996. 16 pages. Duration 12:00. Published by Theodore Presser Company.

Chamber Group, Flute, Cello (Chamber Orchestra)

SKU: HL.14014073

Composed by Haflidi Hallgrimsson. Music Sales America. Post-1900. Sheet Music, Instrumental Work. With Text language: English. Chester Music #CH55853. Published by Chester Music (HL.14014073).

UPC: 884088808891. 8.5x11.0x0.108 inches.

'Verse 1' marks the beginning of a more ambitious and intense style of composition. The ideas are relatively simple and develop gradually in a cyclic fashion within a one movement, sectional design. Progressively faster tempi lead to the main climax of the work near the end of the piece. Then a short coda leads to a very quiet ending and a return to the original tonal centre of C. Quoting composer:'In April 1975 I occupied a flat in Aldeburgh, Suffolk, near the seafront. As a member of the English Chamber Orchestra, I had come to work for a week on a recording of Britten's opera 'Death in Venice', so the real and suggested sound of the sea was in my ears, so to speak, for days on end. A few weeks later, when I started work on 'Verse 1', it became clear in the first few bars that I was recalling and suggesting the sea and the beach at Aldeburgh. I am not aware of any direct influence from Britten's music, but I do, however, quote a small fragment from a theme to be found in a piano quartet by Mahler, played early in the piece by the flute (bars 6 & 7). This work was awarded the First Prize in the Viotti International Competition for composers, in Italy in 1975.

Orchestra

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

By Various. Jazz. Fake Book. 550 pages. Published by Sher Music Company. CD Included with the book contains 37 melodies played by the following artists: Bob Sheppard - saxes and flute Steve Houghton - drums Dave Carpenter - acoustic bass Paul van Wageningen - drums Marc van Wageningen - electric bass Larry Dunlap - piano and synthesizer Dave Mac Nab - guitar.