Clarinet and piano

SKU: LM.26405

Composed by Thierry Masson. Mes Premiers Pas de T. Masson et P. Guillem. Classical. Score. Editions Henry Lemoine #26405. Published by Editions Henry Lemoine (LM.26405).

ISBN 9790230964050.

Le Vieux manege (2 versions) - Dans le froid - La Tortue - Au reveil - Lever du jour - De bonne humeur - La Separation - Image - Le Depart - Berceuse - A petits pas - Dans la cabane - Moment de tristesse - Bleu et vert - Le Papillon.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Jingle Bells, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Snare Drum and more. - Grade 3

SKU: CF.CPS243

Incorporating The First Noel. Composed by Ed Kiefer. Folio. Cps. Set of Score and Parts. 2+8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+6+6+6+4+8+1+2+3+1+2+24 pages. Duration 4:15. Carl Fischer Music #CPS243. Published by Carl Fischer Music (CF.CPS243).

ISBN 9781491158500. UPC: 680160917105. 9 x 12 inches.

This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite. When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet, nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to match articulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.
This setting of The First Noel begins with a percussion intro and dissonant chords that lead to a beautiful flute duet. The melody is freely adapted and at times, outright changed, to give this arrangement a very different sound. Using rhythmic motives, tone clusters, altered melodies and all the sounds available for a concert band, the piece takes the audience on a journey that leads to a statement of the original tune at m. 118. Everyone gets the melody at some point. After a chorale-like section, the composition returns to the fast and upbeat sounds of the beginning. Your musicians and audience will love this unique version of this old-time favorite.When performing this piece, start dark and mysterious and let the sounds crescendo through the introduction all the way to m. 21, the first statement of the hymn. Make sure you keep the tempo moving so the arrangement does not lose excitement. Keep the flute duet, and later the trumpet duet,nice and light. At m. 118, play a little slower and in a standard chorale style, being careful to let the flute and oboe voices be heard. Let the low voices have the reins at m. 126 as they play the melody. Pick the tempo back up to the original tempo at m. 145 and push to the end. The main thing is to matcharticulation throughout the band--at the beginning and at the end, think light accents and separation, and at the chorale section at m. 118, more legato. Keeping everyone on the same page with articulation will be the key to making a great performance.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion, Piccolo, Snare Drum, Suspended Cymbal, Timpani and more. - Grade 1.5

SKU: CF.FPS162

Composed by William Harbinson. Fps. Set of Score and Parts. 2+8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+6+6+6+4+6+4+2+10+24 pages. Duration 4:15. Carl Fischer Music #FPS162. Published by Carl Fischer Music (CF.FPS162).

ISBN 9781491161548. UPC: 680160920198.

Music for a Noble Gathering captures the pomp and dignity of a regal celebration. The composition opens with a percussion flourish to a fanfare. Perform this passage at a stately tempo with marked separation. A legato, lyrical theme appears (m. 17) that contrasts the opening passage. Emphasize the ritard and crescendo in m. 24 in preparation for the return of the opening theme (m. 25) that completes the A section. Although thematically related to the fanfare, the B section (m. 35) provides contrast in tempo, key, and style. Strive for a connected and sustained presentation with careful attention to the shaping of the phrases. Proper balance between the melody and countermelody at m. 45 is paramount. The climax in m. 53 quickly subsides but immediately rebuilds for a lively percussion feature. The restatement of the A section (m. 61) leads to a final climax (m. 91), a brief coda (m. 93) and a dynamic closure. William Harbinson is Professor Emeritus and former Dean of the Hayes School of Music at Appalachian State University. He has received nine J.W. Pepper Editors' Choice Awards that identify the very best of the new music available. His compositions for band appear on contest/festival literature lists of several states and are performed worldwide.  .
Music for a Noble Gathering captures the pomp and dignity of a regal celebration. The composition opens with a percussion flourish to a fanfare. Perform this passage at a stately tempo with marked separation. A legato, lyrical theme appears (m. 17) that contrasts the opening passage. Emphasize the ritard and crescendo in m. 24 in preparation for the return of the opening theme (m. 25) that completes the A section. Although thematically related to the fanfare, the B section (m. 35) provides contrast in tempo, key, and style. Strive for a  connected and sustained presentation with careful attention to the shaping of the phrases. Proper balance between the melody and countermelody at m. 45 is paramount.  The climax in m. 53 quickly subsides but immediately rebuilds for a lively percussion feature. The restatement of the A section (m. 61) leads to a final climax (m. 91), a brief coda (m. 93) and a dynamic closure.William Harbinson is Professor Emeritus and former Dean of the Hayes School of Music at Appalachian State University. He has received nine J.W. Pepper Editors’ Choice Awards that identify the very best of the new music available. His compositions for band appear on contest/festival literature lists of several states and are performed worldwide. .

By Various. For Trumpet. Santorella Publications is the place to shop for quality instrumental arrangements. Our acute sensitivity to detail, range restrictions and physical limitations of the younger players as well as our incredibly talented composer's staff has contributed to the success of our titles. Breaking into an industry ruled by giants was a significant task and without your help, may have been impossible. But, we have you, the teacher, student, performer, hobbyist or novice, to be grateful to for assisting us in reaching this goal. It is now our turn to give back to a receptive audience that has been supportive since the beginning. Our gift to you is Santorella Singles, Volume 1, a remarkable collection of the six titles that provided our foundation; Pachelbel's Canon In D / Bach's Jesu, Joy of Man's Desiring / Scott Joplin's Entertainer Beethoven's Fur Elise / Ode to Joy / Moonlight Sonata / for Trumpet and Piano All six arrangements are beautifully packaged in an attractive "band type" folder and if sold separately, these arrangements are valued in excess of $47. We are now offering them all, in pure form, for just $29.95. This is our way of saying thank you for making everything possible. All arrangements are sold separately and although arranged specifically for trumpet and piano, they are certainly suitable for clarinet as well.

Nos. 1-6. Composed by Franz Liszt (1811-1886). Edited by Zoltan Gardonyi and Istvan Szelenyi. Romantic. Separate editions from the New Liszt Complete Critical Edition. Studies and Exercises. Book Only. 68 pages. Editio Musica Budapest #EMBZ6500. Published by Editio Musica Budapest

Choir; rhythm

SKU: HP.C5673C

Composed by Pepper Choplin. General Worship, God's Love, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C5673C. Published by Hope Publishing Company (HP.C5673C).

UPC: 763628956738. Pepper Choplin. Romans 8:35-39.

Original Composition Pepper Choplin sets the familiar words from Paul's letter to the Romans in this remarkable composition that both begins and ends with the question, Who shall separate us from the love of our Lord? The text provides comfort and encouragement as it reiterates the indisputable truth that nothing can ever separate us from the love of God. Choirs will enjoy the contemporary flavor and sing-able choral writing in this scripturally rich anthem. The Rhythm packet contains parts for Guitar, Bass and Drums.

2 violins and cello (viola) - easy

SKU: HL.49018669

Composed by Toirdhealbhach O Cearbhallain. Arranged by Patrick Pfoess. This edition: Saddle stitching. Sheet music. Edition Schott. Separate part, Viola. 12 pages. Schott Music #ED20335-13. Published by Schott Music (HL.49018669).

ISBN 9790001153249.

Today, Turlough O'Carolan (1670-1738) is considered to be the last great harp player of Ireland and is surrounded by an almost mystical aura. Numerous anecdotes have been handed down which testify to a strong personality, a huge musical talent and enormous self-confidence. Unlike any other, he knew how to combine old Irish music with Italian Baroque music, thus creating a large number of compositions about 200 of which have survived. Beautiful pieces between folk and art music. 16 of them were selected by Patrick Pfoss and arranged for string trio. A separate viola part is also available - in case no violoncello is available.

(Kyrie-Gloria-Messe (Lutherische Messe)). By Johann Sebastian Bach (1685-1750). Edited by Leisinger, Ulrich. Arranged by Paul Horn. For Soli SATB, SATB Choir, 2 Oboes, 2 Violins, Viola, Basso continuo. This edition: paperbound. BWV 236. Full score available separately - see item CA.3123600. Masses, Latin, Incomplete Masses (also Kyrie and Gloria); Stuttgart Urtext editions. Level 3. Piano/Vocal score. Language: Latin. Composed 1742 (terminus ante quem). 52 pages. Duration 30 min

By Peter Schindler. For SATB Choir, Organ, Saxophone, Percussion. This edition: paperbound. Full score available separately - see item CA.2702800. Masses, Latin. Choral score. Language: Latin. Composed 2001. 48 pages

Weihnachtskantate. By Felix Mendelssohn. Edited by Lehmann, Karen. For Soli SBar, SSATB Choir, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, Timpani, 2 Violins, 2 Violas, 2 Cellos, Contrabass. Full score available separately - see item CA.4018900. Cantatas; Stuttgart Urtext editions; Use during church year: Christmas. Study score. Language: German/English. Composed 1831. 72 pages. Duration 16 min. Published by Carus Verlag (German import).

The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3

In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3

The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3

En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3

The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.” His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.” Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252

March. Composed by John Philip Sousa (1854-1932). Arranged by Keith Brion and Loras Schissel. Concert Band. Sousa Centennial. Audio recording available separately (item CL.WFR137). March. Score and set of parts. Composed 1999. Duration 2 minutes, 17 seconds. Published by Willow Blossom Music

By Journey. By Jonathan Cain and Steve Perry. Arranged by Paul Murtha. Easy Jazz Ensemble Series. Classic Rock. Softcover. Published by Hal Leonard

(Ein Musical-Happening). By Wolfgang Konig. For Arrangement 1: Solo, divisi Speaker, Unison Children's Choir (2-part and 3-part ad lib.) Flute, 2 Clarinet, Horn, Tuba, Guitar, Electric Guitar, Electric Bass, Pianoforte, Keyboard, Percussion / Arrangement 2: Solo, divisi Speaker, Unison Children's Choir. Full score available separately - see item CA.1200800. Musicals; Children's Music/Musicals. Piano/Vocal score. Language: German. 56 pages. Duration 60 min