Clarinet, piano

SKU: FG.55011-708-2

Composed by Kimmo Hakola. Solo part and piano reduction. Fennica Gehrman #55011-708-2. Published by Fennica Gehrman (FG.55011-708-2).

ISBN 9790550117082.

Kimmo Hakola's Clarinet Concerto (2001) is finally available as a piano reduction and a solo part! The concerto created world-wide buzz after the premiere, which was augmented after the CD release. The Clarinet Concerto is a rich and original work lasting some 40 minutes. It has four movements: the opening movement is dominated by the aggressive toccata-like pounding typical of Hakola. The slow movement, Hidden Songs, is a soaring, melodic and captivating piece of music. The third movement, Allegro farara, is a wild and whirling Oriental dance in a quirky 7/8 rhythm. The finale, which follows without a break, begins with crowd noises that slowly fade. The movement title, Khasene, is the Yiddish for 'wedding'. The nuptials turn out to be quite raucous as Hakola rolls out poignant pathos and rollicking klezmer look-alikes in turn. The soloist is given scope for improvisation.

By Casting Crowns. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. 90 pages. Published by Hal Leonard.

Choral

SKU: HL.49003005

Performance Score. Edited by Mervyn Horder. Arranged by Mervyn Horder. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Playing score. 46 pages. Schott Music #ED12072. Published by Schott Music (HL.49003005).

ISBN 9780901938787. UPC: 073999922370. 6.5x10.0x0.214 inches. English.

Alleluia (Mozart) * Alleluia (Boyce) * Cedit Hiems Eminus * Christ is Risen Again * Death and Darkness * Early Morning * Easter Eggs * Easter Morning * Good Christian Men * Good Joseph had a Garden * Hail, Easter Bright * Hilariter * I Danced in the Morning * Jesus Christ is Risen Today * Jesus, Life and Comfort Given * Let the Merry Church Bells Ring * Let the Song be Begun * Let us Sing this Easter Morning * Lord of the Dance * Now the Green Blade Riseth * O Sons and Daughters * Ring the Bell, Ring it Well * Slowly Winter Fades Away * The Angel rolles the Stone away * The Drums of Calvary * The Glory of our King * The Lamb's High Banquet * The Whole Bright World * They were Beating as he dragged himself * The World itself keeps Easter day * This joyful Eastertide * Tomorrow shall be my dancing day * While Christ lay dead * Ye choirs of New Jerusalem.

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

SKU: CF.CPS244

Composed by Michael Boo. Folio. Cps. Set of Score and Parts. 1+8+8+4+8+8+2+2+4+4+2+2+8+8+4+4+6+6+3+2+1+2+1+1+1+4+4+2+20 pages. Duration 3 minutes, 16 seconds. Carl Fischer Music #CPS244. Published by Carl Fischer Music (CF.CPS244).

ISBN 9781491157985. UPC: 680160916580. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

Band Concert Band

SKU: PR.11540431S

Composed by Stacy Garrop. Study Score. 64 pages. Duration 18 minutes. Theodore Presser Company #115-40431S. Published by Theodore Presser Company (PR.11540431S).

UPC: 680160689750.

The first time I saw an alpenglow, I had no idea what it was. It was the late 1980s, and I was at a music camp at the base of theRocky Mountain National Park in Colorado. A few of us got up in the middle of the night so we could hike to a vantage pointat the foot of Longs Peak, to watch the sun rise without any trees obstructing our view. Even though we had a few moreminutes to go before the sun breached the horizon, when I looked up at the face of Longs Peak, it was glowing intensely with amost beautiful peach-pink color. This enchanting vision lasted only about ten minutes, after which the color faded as the sunrose. Throughout the next thirty years, whenever I returned to the Rocky Mountain National Park, I would occasionally catchthis pre-dawn light show in all its glory.An alpenglow is an optical phenomenon that is visible on high altitude mountains. It happens twice daily, right before the sunrises and right after it sets. The earth’s atmosphere scatters the sun’s light, allowing particular wavelengths of light through andblanketing the mountains in rich hues of peach, pink, red, and purple.Alpenglow opens with First Light. This movement begins in the pre-dawn hour. The music starts simply and slowly, thengrows increasingly animated as the sky lightens and the horizon shimmers with color. The movement explodes in a massiveflurry of activity when the sun crosses the horizon; this energy eventually fades as the sun rises in the sky. In Arc of the Sun,we follow the sun as it energetically leaps and surges upwards in the sky. The music moves steadily upwards as it keeps pacewith the sun’s progress, then crests as the sun reaches its zenith. As the sun bends back down towards the earth, the musicfollows suit, getting lower in range and slower as the sun nears the horizon. In Radiant Glow, the sun slips under the horizon,giving way to a most radiant alpenglow. As the alpenglow fades and twilight envelops the earth, stars shimmer in the nightsky.-S.G.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Suspended Cymbal, Timpani, Triangle and more. - Grade 2.5

SKU: CF.YPS253

Composed by David Bobrowitz. Set of Score and Parts. 4+4+2+4+4+2+2+3+2+2+2+4+4+4+3+3+3+2+3+1+1+1+1+2+16 pages. Duration 3 minutes, 18 seconds. Carl Fischer Music #YPS253. Published by Carl Fischer Music (CF.YPS253).

ISBN 9781491161364. UPC: 680160919956.

A brief introduction sets the mood for this hauntingly beautiful piece. As gentle breezes begin to blow on the surface, the clouds above begin appear in an array of different formations. The clouds float slowly from east to west, as if in an Impressionistic painting. This is one of nature's beautiful settings, and one can seemingly follow the clouds for hours. From a young player's vantage point they must confidently play the intentional dissonance on the third beat of measures 10, 14, 42 and 46. Once they get used to the sound it should become an enjoyable dissonance. In measures 25 to 27, balance the flutes and clarinets so the volume level is consistent between both parts. In general, the piece should be performed at a very relaxed pace, but a disciplined steady beat will be necessary to keep the sixteenth notes even and relaxed at measures 29 through 34. The final chord is a Bb major 7, and the clarinets and alto saxes should be equal in volume before the gradual fade.
A brief introduction sets the mood for this hauntingly beautiful piece. As gentle breezes begin to blow on the surface, the clouds above begin appear in an array of different formations. The clouds float slowly from east to west, as if in an Impressionistic painting. This is one of nature's beautiful settings, and one can seemingly follow the clouds for hours.From a young player's vantage point they must confidently play the intentional dissonance on the third beat of measures 10, 14, 42 and 46. Once they get used to the sound it should become an “enjoyable dissonance.” In measures 25 to 27, balance the flutes and clarinets so the volume level is consistent between both parts. In general, the piece should be performed at a very relaxed pace, but a disciplined steady beat will be necessary to keep the sixteenth notes even and relaxed at measures 29 through 34. The final chord is a Bb major 7, and the clarinets and alto saxes should be equal in volume before the gradual fade.

Piano, wind instruments, double bass and percussion

SKU: BO.B.3668

Composed by Jordi Cervello. Published by Editorial de Musica Boileau (BO.B.3668).

It was commissioned by Banda Municipal de Barcelona (Barcelona's municipal band) and performed for the first time on January 30th 2011 at L'Auditori de Barcelona (auditorium of Barcelona).

This concert is divided into three movements. The first, bearing the name of Preludi (Prelude), is slow and mysterious, with two alternating subject matters flowing gently. It is only towards the end that a rapid cadence of the piano leads to an orchestral tutti which will gradually fade within the general atmosphere.

The second movement is a Scherzo-Cadenza, always in a bar of 6/8, based on triplets and twangs but also tied at the most expressive moments. The piano and the wind and percussion instruments embark in a contrapuntal dialogue in which a burlesque character alternates with forceful moments. The movement ends subtly, with a long scale flowing from a low to a high pitch.

A cadence of the piano serves as a liaison with the third movement, an Allegro molto, the longest and most complex of the whole concert. This movement is clearly virtuosic and it consists of three main subject matters which alternate and blend. The atmosphere is lively and unmistakably burlesque, although there are three thoughtful moments in which it becomes mysterious. The coda is fast, bright and clearly conclusive.

Handbell - Grade 2

SKU: BP.HB701

Composed by Beth Elston. Arranged by Beth Elston. Handbell choir music. Handbell score. Beckenhorst Press #HB701. Published by Beckenhorst Press (BP.HB701).

Arranged for 3 to 5 octave handbell choir. Level 2. A slow, ethereal opening gives way to a lush, flowing iteration of the hymntune NICAEA. The tempo increases for a verse set in 3/4 time before the piece slowly and delicately fades away. An ideal piece for working on musicianship and phrasing!

Clarinet and piano

SKU: FG.55011-573-6

Composed by Kalevi Aho. Solo part, piano reduction. Fennica Gehrman #55011-573-6. Published by Fennica Gehrman (FG.55011-573-6).

ISBN 9790550115736.

Kalevi Aho's (b. 1949) Clarinet concerto (2005) has five movements played without pause. The beginning Tempestoso is dramatic and powerful, but there is also a beautiful, slow middle section. The second movement consists of a virtuosic solo cadenza, which is dominated by mysterious tremolos on the clarinet.The cadenza leads to Vivace, con brio, which is the central climax of the concerto and the most virtuosic movement both for the orchestra and the soloist. Then follows the slow, melancholic and lyrical fourth movement Adagio molto. The Epilogue is slow, too; the atmosphere of the last movement is unreal, mysterious. The solo part at the end consists largely of broken, multiphonic clarinet sounds before the concerto fades out into a silence. The orchestral study score (ISMN 9790550096332) is available for sale and the orchestral material for hire.

SKU: HL.1455816

AlphaTheta. DJ Gear. Hal Leonard #EUPHONIA. Published by Hal Leonard (HL.1455816).

UPC: 841300102434. 19.0x21.0x9.0 inches.

The euphonia produces a euphoric sound with the clarity of digital and the richness of analog that's never been heard from a DJ mixer before. To deliver a clearer sound quality that accurately reproduces the expression of the music, the euphonia uses high-quality 32-bit A/D and D/A converters as well as 96kHz/64 bit floating point mixing processing operations in the DSP, utilizing the digital signal processing technology AlphaTheta has developed over many years. All sound coming out of the euphonia passes through a transformer circuit co-designed by AlphaTheta and Rupert Neve Designs, the legendary makers of outstanding analog audio circuitry and mixing desks revered by artists and sound engineers around the world. This transformer circuit, tuned specifically for the euphonia, adds harmonics to the music and creates a glossy and energetic sound that's smoother for mixing. Low frequencies such as kicks and bass are more stable and punchy, mid frequencies like vocals and instruments have more presence and gloss, and high frequencies such as hi-hats sound silky and natural. The transformer breaks down the barrier between vintage live and modern electric sounds, making mixing easier and surprisingly natural, as if recordings in different styles were orginally one piece of music. When you touch the faders on the euphonia, you won't want to let go. To enhance its intuitive mixing experience, the unit is loaded with rotary faders that feature a brand-new carefully developed design to give you the feeling that you and the mixer are one. After extensive testing, the perfect knob sizers were chosen, with an elastomer applied to the outer circumference of each to ensure a comfortable and reliable grip as well as a high level of vibration absorption. The uniquely developed mechanism for the faders also benefits from optimum weighting. You'll notice a difference in the feel of the knobs when you turn them at different speeds, as a smooth load is applied when you turn a knob slowly for delicate fine-tuning and a limited load level is applied when you turn the knob quickly to instantly reach your intended volume level. And the fader volume curves have been optimized through feedback from numerous DJs, enabling smooth and natural mixing without equalizing, so you can concentrate on volume control. This innovative fader allows for musical expression that will move your audience and enhance your performance. Get an instant visual grasp of the status of your mix and the balance of tack volume levels by glancing at the euphonia's Energy Visualizer. Conventional VU meters only have 1 needle meter, making it difficult for DJs to graps multiple channel levels at the same time. But the euphonia's uniquely developed Mix Level Meter features a needle meter for each channel so you can visually check the levels for all channels and mix smoothly.

Chamber Music String Quartet

SKU: PR.11440505S

Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S).

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.