Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, 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, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217

Composed by Zachary Cairns. Folio. Yps. Set of Score and Parts. 8+8+4+8+8+4+2+6+4+4+4+8+8+8+8+6+6+6+4+6+4+2+2+4+6+10+24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217. Published by Carl Fischer Music (CF.YPS217).

ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

SKU: HL.755785

IQ Plus. Hal Leonard #IQ-M001-07. Published by Hal Leonard (HL.755785).

UPC: 888680091583. 4.0x12.0x1.269 inches.

With one strike of the chimes with a mallet, children will enjoy discovering a beautiful resonating tone that never seems to end. This instrument can be used to add extra beautiful sounds to any music; it requires no prior musical experience or skills to play. Children will love the sound and how simply it could be played while they could develop their creativity and timing. Making music with IQ Plus Energy Chimes together with other instruments can be a dynamic social learning experience; children will learn to work as a team while they each contribute to the song in their own unique way.

SKU: HL.755784

IQ Plus. Hal Leonard #IQ-M001-06. Published by Hal Leonard (HL.755784).

UPC: 888680091576. 4.0x12.0x1.336 inches.

With one strike of the chimes with a mallet, children will enjoy discovering a beautiful resonating tone that never seems to end. This instrument can be used to add extra beautiful sounds to any music; it requires no prior musical experience or skills to play. Children will love the sound and how simply it could be played while they could develop their creativity and timing. Making music with IQ Plus Energy Chimes together with other instruments can be a dynamic social learning experience; children will learn to work as a team while they each contribute to the song in their own unique way.

SKU: HL.755783

IQ Plus. Hal Leonard #IQ-M001-05. Published by Hal Leonard (HL.755783).

UPC: 888680091569. 4.0x12.0x1.23 inches.

With one strike of the chimes with a mallet, children will enjoy discovering a beautiful resonating tone that never seems to end. This instrument can be used to add extra beautiful sounds to any music; it requires no prior musical experience or skills to play. Children will love the sound and how simply it could be played while they could develop their creativity and timing. Making music with IQ Plus Energy Chimes together with other instruments can be a dynamic social learning experience; children will learn to work as a team while they each contribute to the song in their own unique way.

SKU: HL.755779

IQ Plus. Hal Leonard #IQ-M001-01. Published by Hal Leonard (HL.755779).

UPC: 888680091521. 6.0x13.0x1.181 inches.

With one strike of the chimes with a mallet, children will enjoy discovering a beautiful resonating tone that never seems to end. This instrument can be used to add extra beautiful sounds to any music; it requires no prior musical experience or skills to play. Children will love the sound and how simply it could be played while they could develop their creativity and timing. Making music with IQ Plus Energy Chimes together with other instruments can be a dynamic social learning experience; children will learn to work as a team while they each contribute to the song in their own unique way.

SKU: HL.755794

With Handle. IQ Plus. Hal Leonard #IQ-M006-06. Published by Hal Leonard (HL.755794).

UPC: 888680091675. 4.0x11.0x2.03 inches.

With one strike of the chimes with a mallet, children will enjoy discovering a beautiful resonating tone that never seems to end. This instrument can be used to add extra beautiful sounds to any music; it requires no prior musical experience or skills to play. Children will love the sound and how simply it could be played while they could develop their creativity and timing. Making music with IQ Plus Energy Chimes together with other instruments can be a dynamic social learning experience; children will learn to work as a team while they each contribute to the song in their own unique way.

SKU: HL.755781

IQ Plus. Hal Leonard #IQ-M001-03. Published by Hal Leonard (HL.755781).

UPC: 888680091545. 4.0x12.0x1.335 inches.

With one strike of the chimes with a mallet, children will enjoy discovering a beautiful resonating tone that never seems to end. This instrument can be used to add extra beautiful sounds to any music; it requires no prior musical experience or skills to play. Children will love the sound and how simply it could be played while they could develop their creativity and timing. Making music with IQ Plus Energy Chimes together with other instruments can be a dynamic social learning experience; children will learn to work as a team while they each contribute to the song in their own unique way.

SKU: HL.755791

With Handle. IQ Plus. Hal Leonard #IQ-M006-03. Published by Hal Leonard (HL.755791).

UPC: 888680091644. 4.0x12.0x1.91 inches.

With one strike of the chimes with a mallet, children will enjoy discovering a beautiful resonating tone that never seems to end. This instrument can be used to add extra beautiful sounds to any music; it requires no prior musical experience or skills to play. Children will love the sound and how simply it could be played while they could develop their creativity and timing. Making music with IQ Plus Energy Chimes together with other instruments can be a dynamic social learning experience; children will learn to work as a team while they each contribute to the song in their own unique way.

By Matthew Prins. For 3-6 octave handbells. Level 3. Handbell score. 8 pages. Published by MorningStar Music Publishers

By Samuel R. Hazo. Arranged by Samuel R. Hazo. Concert Band/Wind Ensemble. FJH Concert Band. Score for this title: B1177S. Extra part for this title: B1178P. Concert Band. Level: Grade 3. Score and Set of Parts. Published by The FJH Music Company Inc.

Flute, Percussion

SKU: PR.16400248S

Composed by Dan Welcher. With Standard notation. Duration 14 minutes. Theodore Presser Company #164-00248S. Published by Theodore Presser Company (PR.16400248S).

UPC: 680160038244.

This work is my second for a solo woodwind and a solo percussionist, following Firewing: The Flame and the Moth for oboe and percussion by nine years. The earlier piece followed a specific story line, and pitted the oboe against the percussionist as both adversary and lover. In Spirit Realms, my aim was not only to juxtapose the very different sounds of flute (plus alto flute and piccolo) against a large array of percussion, but also to attempt three different meditative spaces, each named for a different type of spiritual practice. The musical means of expression is very different for each of the three movements (as is the instrumentation), although they share a common scale-source: the looped pentatonic scale I have been developing over the last several years.   The first movement is called Prayer Tunnel, and is named for the Eskimo practice of solo meditation within a tunnel of ice blocks. This is said to be a means of overcoming demons within, and in my musical rendering it takes the form of an unaccompanied alto flute solo. The flute begins rather angrily, full of tension, but in the course of the solo passage manages to slowly unwind. The percussionist then plays the exact same music the alto flute had played....on seven tuned cymbals. Toward the end, the alto flute re-enters, its original meditation having fused with its mirror.   Kiva represents the circular, subterranean pit in which the Anasazi practiced their religion, a form of which still can be found in the Hopi tribes of the American southwest. These are not spaces for solo meditation, but rather a group meeting place in which only the sanctified are permitted. After an introductory invocation (dove call), the music begins. At first, it is flowing, in a repetitive double-five meter. It then traces several sections, with metric shifts forcing the pulse to race faster and faster, until it halves itself in the coda and returns to the exact pulse of the beginning. The flutist here uses the C flute, and the percussionist plays on both pitched (marimba) and unpitched instruments (various drums and struck sources).   Zendo is the meditation room used by Zen Buddhists. My music begins with another invocation (wind chimes, temple cup gongs, and temple blocks), then moves on to a slow subject stated by the flute. The subject is taken up by the vibraphone, and after several modulations and tempo changes, the flutist takes up the piccolo. The music continues higher and higher, and faster and faster (Zen meditation is NOT all about becoming lost!) until it breaks free at the very end. The percussionist is put through his paces in this movement, having to reach a staggering number of instruments in a short time.   Spirit Realms was commissioned by, and is dedicated to, the Armstrong Duo. -- Dan Welcher.

Concert band - Grade 2

SKU: CL.024-4595-00

Young Concert Band. Rising Band Series for Developing Bands! Audio recording available separately (item CL.WFR393). Score and set of parts. Composed 2017. Duration 2 minutes, 37 seconds. C.L. Barnhouse #024-4595-00. Published by C.L. Barnhouse (CL.024-4595-00).

A march written in a tradition form and style, Chimes Of Freedom is suitable for concert and festival performance, as well as patriotic and ceremonial events throughout the year. The chimes are featured throughout as they interact with the melodic lines presented in the wind sections. Accessible to most developing bands in their second and third year of instruction, Chimes Of Freedom is an instant classic and standard in the band repertoire!

Opera Bell Tree, Cello, Clarinet, Cowbell, Mark Tree, Percussion, Piano, Ratchet, Suspended Cymbal, Triangle, Vibraslap, Violin, Wind Chimes

SKU: PR.446412930

A Children's Opera In One Act. Composed by Lauren Bernofsky. This edition: full score. Libretto by Scott Russell Sanders. Premiered by Roundabout Opera for Kids at the Monroe County Public Library in Bloomington, IN. Opera. Full score. With Standard notation. Composed 2012. 120 pages. Duration 40 minutes. Theodore Presser Company #446-41293. Published by Theodore Presser Company (PR.446412930).

UPC: 680160614196. Letter inches. Libretto by Scott Russell Sanders. Libretto by Scott Russell Sanders.

Commissioned, premiered, and frequently performed by Roundabout Opera for Kids, Mooch the Magnificent is a 40-minute opera (with a 30-minute alternate version), scored for SATB principal roles, extra speaking and non-speaking parts, and an ensemble of Clarinet, Cello, Percussion, and Piano. It may also be performed in piano reduction. In a zoo of the future, populated not by animals but by robots in animal form, Mooch, an orphan girl, convinces the zookeeper to hire her to fix the robots when they break down, but she is actually reprogramming them to be increasingly wild. The opera takes place in a dome-covered city that is part of a worldwide network of such cities, connected by travel tubes, sealed off from the outside. The time is late twenty-first century, after human beings, afraid of the wilds, have moved indoors.

By Holst, Gustav. Arranged by Brad Printz. For Handbells, Percussion, Windchimes. (Two-Part). Classics, Hymntune and Sacred. Print Music Single (Two-Part Mixed). 12 pages. Published by Hope Publishing Company.