SKU: HL.4008501

UPC: 196288174387. 9.0x12.0x0.678 inches.

From the striking and somewhat sinister opening strains you'll know immediately that this is not just a normal “dance”! This energetic and rhythmic work features a driving pulse throughout, along with a sprinkling of dissonances and cluster chords to create a sense of tension and excitement. The dynamic percussion writing helps propel this creative piece from start to finish. Dur: ca. 4:30.

SKU: LO.30-3615MD

UPC: 000308151008.

Behold, A Savior! is a portrait of a promise and a portrait of the fulfillment of that promise. Throughout this musical, Jay Rouse and Rose Aspinall skillfully weave scripture and dramatic first-hand accounts of the birth of Jesus into beloved carols and original songs. Each monologue and song will take you on a journey—from the longing of Zechariah, the joy and acceptance of Mary, and the courage of Joseph to the accounts of the shepherds and wise men. Designed with flexibility in mind, these songs and stories can be presented individually across the Advent season or in their entirety for a special event. An optional introduction and closing narration, accessible solos, and gorgeous orchestrations add to the flexibility and will make this one of the most practical collections in your library.

SKU: LO.99-2628L

UPC: 000308124064.

Easy to prepare and perfect for the Lenten season, this anthem is based on the traditional spiritual I Want to Walk This Lonesome Valley. The text calls to the crucified and risen Lord to walk with us throughout our lives, to comfort us in times of trouble, and to bring us to our eternal rest. Passages of call and response and a haunting, optional instrumental obbligato complete the worshipful mood.

SKU: AP.98-RWS201001

Inspired by Native American culture, Dance of the Tribes is the perfect piece to introduce your band to ostinato rhythms and harmonies. Ritual percussion patterns accompany flowing lyrical melodies shared throughout the ensemble. With additional opportunities to vocalize for the wind players, this newest programatic work by Justin Harden is an excellent educational choice.

SKU: LO.99-3557H

UPC: 000308142723.

Douglas Wagner's rhythmically driven treatment of the beloved carol The Holly and the Ivy offers a fantastic opener or closer for your holiday concert. Persistent eighth notes in the piano maintain excitement throughout, and a dynamic choral pyramid ending adds to the festive atmosphere.

SKU: KN.61185S

UPC: 822795611854.

Given the widespread popularity of Jeff Jarvis' funk charts for big band, you're going to love this original for advancing groups. Solos are offered for alto sax, tenor sax, trumpet, and trombone, but can also be played by guitar and piano if desired. After the solo section, the drums and horns have a staccato section a la Tower of Power. Everyone has interesting and challenging parts to play throughout, and each set includes a guitar chord chart by Jim Greeson. Duration 4:50. Available in SmartMusic.

SKU: OU.9780193369139

ISBN 9780193369139. 12 x 9 inches.

Processional bustles with cheerful positivity throughout, its rondo-like structure clarified by the memorability of its abundant melodies. The harmony is modal to begin with, but moves from this deliberately archaic sound to more piquant and modern colours, building to a triumphant conclusion.

SKU: AP.48670

ISBN 9781470643744. UPC: 038081559445. English. Irish Folk Song.

This setting of the popular Irish folk song Londonderry Air begins in the key of B-flat major and modulates to the key of D major. The flowing melody is supported by lush harmonies that span the range of the keyboard. The melody begins in the secondo and moves back and forth between the parts throughout this evenly leveled duet. The piece builds to a dramatic conclusion with rich chords in a slower tempo that is broad and grand.

SKU: CY.CC2613

Ralph Sauer has transcribed six of Mendelssohn's many Songs Without Words for Euphonium. Mendelssohn wrote eight volumes of songs for the Piano throughout his life. These pieces became popular immediately because of their beauty and accessibility technically . The Songs are mostly lyrical and of utmost beauty. Mr. Sauer has found a previously unmined resource and added immeasurably to the Euphonium repertoire.

For advanced performers in Bass Clef.

SKU: LO.30-3242L

UPC: 000308142440.

One Silent Night long ago, a birth story began that forever changed the world. Lying in a crude manger was a new-born babe, who would become the Source of our Christian faith and our abiding hope. Using the power and simplicity of the event itself, composer and creator Pepper Choplin presents each of the familiar elements of that story through ballad-like recitatives of scripture, surrounded by anthems ranging from outbursts of unbridled joy to moving moments of introspection and gentleness. Weaving familiar carols and songs throughout original music, this timeless tale emerges in a deeply moving presentation that will lift one’s faith and deepen one’s understanding of the profound significance of that One Silent Night. Orchestration by Larry Shackley for 2 Fl, Ob, 2 Cl, Bsn (sub Bass Cl), 2 Hn (sub 2 A Sax), 3 Tpt, 2 Tbn (sub 2 T Sax), Tuba, 2 Perc, Timp, Harp, Pno, 2 Vln, Vla, Cello, Bass, Digital Strings.

SKU: IS.FS6796EM

ISBN 9790365067961.

François Glorieux was born in Belgium in 1932, and acclaimed throughout Europe, the USA, Latin America, Canada, Japan, China, the Middle East and Africa. He is one of the most widely accomplished and versatile musicians traveling the international circuit today: pianist composer conductor, commentator, entertainer, honorary professor of chamber music at the Royal Music Conservatory of Ghent and guest professor at Yale University (USA). His particular art was the rare one of improvisation presented in five languages. Glorieux practices all musical styles and has been highly considered by great artists such as André Cluytens, Arthur Rubinstein, Yves Nat, Hiroyuki Iwaki, Enrique Jorda, Raphael Frühbeck de Burgos, but also Michael Jackson, Stan Kenton, Stéphane Grappelli, Paul McCartney, Toots Thielemans, Jacky Collins, Annie Girardot, Dionne Warwick, A.C. Jobim, and so on.

SKU: PR.11641861SP

UPC: 680160685202.

What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.