Choir Secular (SATB choir)

SKU: AP.48513

Composed by Jimmy Robbins, Laura Veltz, and Maren Morris. Arranged by Alan Billingsley. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Country; Pop; Secular. Choral Octavo. 12 pages. Alfred Music #00-48513. Published by Alfred Music (AP.48513).

UPC: 038081553368. English.

A certified gold crossover hit! When the bones are good, the rest don't matter. The paint could peel, the glass could shatter. A house becomes an effective symbol for an enduring relationship in this solid pop ballad from Maren Morris. This right-from-the-radio arrangement captures all of the earthy harmonies and keeps the strong backbeat groove intact.

About Alfred Pop Choral Series

The Alfred Pop Series features outstanding arrangements of songs from the popular music genre. These publications provide exciting, contemporary, and educationally-sound arrangements for singers of all ages, from elementary through high school, to college and adult choirs.

12 inch. x 16 inch.

SKU: HL.1298844

12″ x 16″. Abysse America Music. Gift Item. Hal Leonard #GBYDCO311. Published by Hal Leonard (HL.1298844).

UPC: 810066353718. 14.0x18.0x0.698 inches.

Celebrate Slayer's sixth studio album with this framed print by GB Eye featuring the epic cover art. Printed on photographic paper. Dimensions: 30.5 x 40.6cm. Frame width: 25mm. Shatter proof styrene. Packaging: plastic film with protective plastic on the covers.

12 inch. x 16 inch.

SKU: HL.1298840

12″ x 16″. Abysse America Music. Gift Item. Hal Leonard #GBYDCO316. Published by Hal Leonard (HL.1298840).

UPC: 810066353671. 14.0x18.0x0.676 inches.

Be ready and honor the battle with the Iron Maiden's iconic “Senjutsu” framed print of the warrior Eddie on your wall by GB Eye. Printed on photographic paper. Dimensions: 30.5 x 40.6cm. Frame width: 25mm. Shatter proof styrene. Packaging: plastic film with protective plastic on the corners.

Piano

SKU: HL.48188983

Et autres inedits pour piano. Composed by Reynaldo Hahn. Leduc. CD. Composed 2013. 44 pages. Heugel & Cie #HE33889. Published by Heugel & Cie (HL.48188983).

UPC: 888680874230. 9x12 inches.

“Having been considered as a 'fashionable' and 'cliché' composer of his day, Hahn's Piano Works remain unknown. Love Pieces and other hitherto unpublished Piano works, however, shatter these prejudices held, representing the engaging diversity of the composer's music. Venezuelan born Reynaldo Hahn (1875-1947) entered the Paris Conservatoire at 10 years old. He received a high standard of musical education from Decombes, Lavignac, Dubois and Massenet before becoming a prolific and versatile composer himself, writing works for all genres. For Hahn, music was a magical art and his Piano compositions often contain expressions of his otherwise hidden emotions and moods. Suitable for intermediate standard pianists, Hahn's Love Pieces and other hitherto unpublished Piano works provide pleasant and evocative short pieces, incorporating a range of expressions, rhythms and other musical features.&rdquo.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.114420410

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Set of Score and Parts. 30+10+8+10+12+10+10+10 pages. Duration 20 minutes. Theodore Presser Company #114-42041. Published by Theodore Presser Company (PR.114420410).

UPC: 680160687015.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.11442041S

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Full score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041S. Published by Theodore Presser Company (PR.11442041S).

UPC: 680160687022.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Score and Parts Concert Band (Score & Parts) - Grade 4

SKU: HL.48024533

Composed by Edward Fairlie. Windependence Master Level. Concert. Softcover. Boosey & Hawkes #M051664085. Published by Boosey & Hawkes (HL.48024533).

ISBN 9781540043443. UPC: 888680905088. 9.0x12.0x0.613 inches.

Recognizing the connection we all have with the stars in the universe, Being Stardust presents a magical and mystical experince in sound and mood. The surreal opening represents a time before the Earth came into being, then with a star-shattering crack, we tumble through space to find ourselves on a newly created planet with the promise of wonder and self-realization as a human race. Sure to be a unique concert experience for players and audiences alike.

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 4

SKU: CF.SAS10F

Composed by Sam Gelfer. Full score. 12 pages. Duration 3 minutes, 14 seconds. Carl Fischer Music #SAS10F. Published by Carl Fischer Music (CF.SAS10F).

ISBN 9781491163238. UPC: 680160921980. Key: D minor.

Tectonic Shift refers to Pangea – the supercontinent that geologists believe shifted over time due to plate tectonics, leaving us with the land masses of today. This spirited work for string orchestra depicts this epic earth-shattering event with a dynamic explosion of sound and rhythm. Set in 7/8 time, the contemporary motif will challenge each section rhythmically and melodically. As suggested by the title, all sections have the opportunity to practice shifting as well. Riffing on the “tonic” of D minor, the bass section is featured with a soli section that drives the momentum of this energizing performance piece. Electrifying!

SKU: HL.3710100

18-inches. Paiste Cymbals. General Merchandise. Hal Leonard #682618. Published by Hal Leonard (HL.3710100).

UPC: 697643304772. 18.0x18.0x0.043 inches.

Series Description: Paiste Sound Technology stands for first-class manufactured cymbals and high quality sound design at an affordable price. PST5 is the entry to Paiste's world of bronze cymbals and since its introduction in 2005, it continues to be a best seller. Considering recent musical trends, the PST5 was newly designed by our Swiss Sound Development Team. Visually the PST5 were consciously altered only in detail but their fundamental sonic value changed considerably. The cymbals are lighter resulting in a deeper, warmer sound while preserving its bright basic character. They have increased flexibility resulting in a more appealing feel. Overall the new PST5 is significantly more musical. PST 5 China: Size: 18″ Weight: medium heavy Volume: medium to very loud Stick Sound: washy Intensity: medium long Sustain: medium long Bell Character: integrated Sound Character: Medium bright, full, shattering. Wide range, fairly complex mix. Giving feel. Fiery, energetic china with a quite aggressive attack and trashy crash sound. Effective cymbal for unique sounds in numerous music styles.

60 Favorites. By Various. Piano/Vocal/Guitar Songbook. Country, Pop, Folk, Rock. Softcover. 344 pages. Published by Hal Leonard (HL.249559).

(The Ukulele Decade Series). By Various. For Ukulele. Ukulele. Softcover. 304 pages. Published by Hal Leonard

Guitar Collection. With notes and tablature. Size 9x12 inches. 240 pages. Published by Hal Leonard.

By The Rolling Stones. Piano/Vocal/Guitar Artist Songbook. Softcover. 160 pages. Published by Hal Leonard (HL.193590).