Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pages. Published by Hal Leonard.

Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Library. Softcover. Size 8.5x11 inches. 373 pages. Published by Hal Leonard.

For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Randb and classic soul. Series: Hal Leonard Fake Books. 437 pages. 9x12 inches. Published by Hal Leonard.

By Various. For Ukulele. Ukulele. Softcover. 416 pages. Published by Hal Leonard

SKU: BR.EB-9387

Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387).

ISBN 9790004188576. 0 x 0 inches.

Commissioned by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

By Various. Text: Many. For Various Instruments. Hymns; Sacred. Level: Medium Easy. Published by Jackman Music Corporation.

SKU: HL.14060485

Fake Books. General Merchandise. Duration 240 seconds. Music Sales #AM1013177. Published by Music Sales (HL.14060485).

UPC: 196288099512. 4.75x7.5x0.872 inches.

By Various. Text: Many. For Hymnal Extender. Hymns; Sacred. Level: Medium Easy. Published by Jackman Music Corporation.

RehearsalTrax CDs (Part-Predominant, Reproducible) Choral (REHEARSAL TX)

SKU: HL.293405

A Cantata for Christmas. Composed by Joseph M. Martin. Shawnee Sacred. Advent, Cantata, Christmas, Christmas/Advent Sacred. CD. Duration 3000 seconds. Published by Shawnee Press (HL.293405).

ISBN 9781540051073. UPC: 888680936228. 5.0x5.0x1.059 inches.

This cantata is a celebration of light. Filled with time-honored carols and expressive original songs, this work will dazzle and inspire. The first half of the cantata is dedicated to hopeful prophecies associated with the coming Light of the World. With the birth of Jesus, the second part moves forward to declare the tidings of great joy and is crowned with an opportunity for the congregation to join in singing, Joy to the World. Brant Adams and Robert Sterling shine as orchestrators of this truly festive work. Glorious! Songs include: A Festive Call to Christmas; Celebration of Light; Come, Golden Light; Dazzling Joy; Beautiful Name; Dreamer of Stars; Angel Song; Silver and Shadows; Joyous Carols of Christmas. Score and Parts for Full Orchestra (fl 1-2, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn, 1-2, tba, timp, perc 1-2, hp, pno, vn 1-2, va, vc, db) available as a Printed Edition and as a digital download. Score and Parts for Consort (fl, cl, tpt 1-2, tbn, perc, kybd str) available as a Printed Edition and as a digital download.

Choral (Studiotrax CD)

SKU: HL.293400

A Cantata for Christmas. Composed by Joseph M. Martin. Shawnee Sacred. Advent, Cantata, Christmas, Christmas/Advent Sacred. CD. Duration 3000 seconds. Published by Shawnee Press (HL.293400).

ISBN 9781540051028. UPC: 888680936174. 5.0x5.0x0.197 inches.

This cantata is a celebration of light. Filled with time-honored carols and expressive original songs, this work will dazzle and inspire. The first half of the cantata is dedicated to hopeful prophecies associated with the coming Light of the World. With the birth of Jesus, the second part moves forward to declare the tidings of great joy and is crowned with an opportunity for the congregation to join in singing, Joy to the World. Brant Adams and Robert Sterling shine as orchestrators of this truly festive work. Glorious! Songs include: A Festive Call to Christmas; Celebration of Light; Come, Golden Light; Dazzling Joy; Beautiful Name; Dreamer of Stars; Angel Song; Silver and Shadows; Joyous Carols of Christmas. Score and Parts for Full Orchestra (fl 1-2, ob, cl 1-2, bn, hn 1-2, tpt 1-3, tbn, 1-2, tba, timp, perc 1-2, hp, pno, vn 1-2, va, vc, db) available as a Printed Edition and as a digital download. Score and Parts for Consort (fl, cl, tpt 1-2, tbn, perc, kybd str) available as a Printed Edition and as a digital download.