(2+1.2.2.2/4.2.3.0,timp,str,chorus)

SKU: TM.03955SET

Composed by Bedrich Smetana. Set Type: D. Set of parts. Lucks Music Library #A4986. Published by Lucks Music Library (TM.03955SET).

Aka Chor der Landleute (Chorus of Villagers).

Concert Band (Score & Parts) - Grade 4

SKU: HL.4003778

Composed by Michael Sweeney. MusicWorks Grade 4. Concert. Published by Hal Leonard (HL.4003778).

UPC: 884088984366. 9x12 inches.

Calling for the band to be divided into four separate ensembles (and spread apart if space permits), Villages explores a wide range of harmonic and rhythmic interplay between each of these musical “villages.” The opening creates a dense canopy of sound, out of which the unique identity of each group variously emerges then melts back into the texture. As the fast pace continues, melodic fragments are bounced from group to group with interjections from the percussion. A slower lyric section provides contrast before the frantic pace returns leading to the exciting conclusion. Innovative in its conception, this stunning work will expose your students and audience to dramatically new sounds for band! Duration: 8:15.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Oboe, Percussion 1 and more. - Grade 3.5

SKU: CF.CPS254

Legend of the “Brown Mountain Lights”. Composed by Joseph Benjamin Earp. Set of Score and Parts. 15+16+2+8+8+8+2+2+2+2+2+2+4+4+4+2+2+3+3+3+2+4+1+1+1+1+1+3 pages. Duration 5 minutes, 11 seconds. Carl Fischer Music #CPS254. Published by Carl Fischer Music (CF.CPS254).

ISBN 9781491159811. UPC: 680160918409.

PROGRAM NOTES As We Search: Legend of the Brown Mountain Lights is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery. The origin of the lights has inspired numerous legends. As We Search: Legend of the Brown Mountain Lights focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTOR The duration of the composition is five minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work. The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5-6, 9-10, 17-18, 21-22, 41-42, 45-46, 76-77 and 80-81. The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman. Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights. Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist As We Search..
PROGRAM NOTESAs We Search: Legend of the “Brown Mountain Lights” is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery.The origin of the lights has inspired numerous legends. As We Search: Legend of the “Brown Mountain Lights” focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTORThe duration of the composition is five minutes at the marked tempo.  Careful attention should be given to articulations, dynamic changes and phrasing throughout the work.The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5–6, 9–10, 17–18, 21–22, 41–42, 45–46, 76–77 and 80–81.The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman.Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights.Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist “As We Search.” .

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Oboe, Percussion 1 and more. - Grade 3.5

SKU: CF.CPS254F

Legend of the “Brown Mountain Lights”. Composed by Joseph Benjamin Earp. Full score. 15 pages. Carl Fischer Music #CPS254F. Published by Carl Fischer Music (CF.CPS254F).

ISBN 9781491159828. UPC: 680160918416.

PROGRAM NOTES As We Search: Legend of the Brown Mountain Lights is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery. The origin of the lights has inspired numerous legends. As We Search: Legend of the Brown Mountain Lights focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTOR The duration of the composition is five minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work. The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5-6, 9-10, 17-18, 21-22, 41-42, 45-46, 76-77 and 80-81. The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman. Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights. Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist As We Search..
PROGRAM NOTESAs We Search: Legend of the “Brown Mountain Lights” is inspired by the many ghost stories that have come from the mysterious occurrence of lights on Brown Mountain (Burke County, North Carolina). These mysterious phenomena appear during evenings in autumn. Many have seen the lights, but the exact cause remains a mystery.The origin of the lights has inspired numerous legends. As We Search: Legend of the “Brown Mountain Lights” focuses on one legend from the nineteenth century. After a local woman went missing, though murder was suspected, villagers engaged in a search of the mountain. Having never been found, it is said the search continues, and ghostly echoes of the search lights can still be seen on Brown Mountain to this day. NOTES TO CONDUCTORThe duration of the composition is five minutes at the marked tempo.  Careful attention should be given to articulations, dynamic changes and phrasing throughout the work.The entire work is based on the idea first stated by the bells in m. 12. Each time the idea is restated, stronger development occurs around it building to m. 74. Attention should be given to the dissonance that resolves in mm. 5–6, 9–10, 17–18, 21–22, 41–42, 45–46, 76–77 and 80–81.The climax of the piece is m. 81, representing the moment the villagers think they have found the lost woman.Measure 82 to the end continues a fading trend as if people are forgetting about the legend of the Brown Mountain Lights.Measure 110 carrying into m. 111 is meant to be unresolved. Even though the legend has faded over time, the lights still exist “As We Search.” .

20 Pieces by French Composers in Progressive Order. Composed by Various. Edited by Brendan Fox. Editions Durand. Classical, French. Softcover. 48 pages. Editions Max Eschig #DF16424. Published by Editions Max Eschig

By Andy Beck And Brian Fisher, Recording Orch. Tim Hayden. For Choir. Musicals and Programs. Novelty; Secular. Book. 56 pages. Published by Alfred Publishing.

Intermezzo from Cavalleria Rusticana by Pietro Mascagni (1863-1945). Arranged by Harry I. Phillips. Concert Band. Concert Band; Masterworks. Alfred Concert Band. Easter; Masterwork Arrangement; Romantic; Spring. Grade 3. Conductor Score and Parts. 132 pages. Published by Alfred Music Publishing

Choral TTBB choir

SKU: PR.312416820

Men's Chorus (10 Copies). Composed by Chen Yi. Choral part(s). With Standard notation. 480 pages. Duration 17 minutes. Theodore Presser Company #312-41682. Published by Theodore Presser Company (PR.312416820).

UPC: 680160050376. 8.5 x 11 inches.

Chen Yi’s most performed and most beloved choral music is a series of 10 Chinese folk songs adapted for S.A.T.B. Chorus (published in 3 volumes: 312-41731, 312-41732, 312-41733). This special version is a setting of the familiar collection, adapted for children’s chorus and strings.
Remembering when I studied composition in the Central Conservatory of Music in Beijing, I learned to sing hundreds of Chinese folk songs collected from more than twenty provinces and fifty ethnic groups, and went to countryside to collect original folk music every year.  I got to know that the folk songs are a mirror of people’s daily lives, their thoughts and sentiments, local customs and manners.  They are sung in regional dialects and use the idioms of everyday speech with their particular intonations, accents and cadences.  This correlation between speech and music distinguishes folk songs of one region from another.  I learned all songs by heart and sang them back in the exams every week.  They melted in my blood and became my natural music language.  The more I walk into the music life,the more I treasure the rich culture I have learned from my homeland. When I became the Composer-in-Residence of Chanticleer and was invited to write the first work for its concert program, as well as another version for its Singing-In-The-Schools program, I decided to introduce A Set of Chinese Folk Songs to my American audiences, and add a new flavor to Chanticleer’srich repertoire.  The work includes ten folk songs, taken from eight provinces (Anhui, Shaanxi, Yunnan, Shanxi, Taiwan, Sinkiang, Jiangsu and Guizhou) and five ethnic groups (Han, Hasake, Uighur, Miao and Yi).  I arranged them for choirs (men’s or children’s chorus) with various combinations in voices, to be sung mostly in Chinese, some in English.   From the mysterious mountain songs originally sung in the open air with high and long notes that can carry over great distances, the sweet and delicate melodies of young love compared with nature, the humorous antiphony by little children, and the lively dancing tune by villagers, you may get an idea of various music styles in Chinese folk songs according to geographic, ethnic and linguistic differences, and appreciate the beauty of the Chinese folk music.  The pure choir sound and the sophisticated singing by Chanticleer, in terms of pitches, language and musical expressions, really attract and inspire me to create some more new works in the years to come.  In thisedition of A Set of Chinese Folk Songs for standard SATB mixed choir (with piano rehearsal score), I divided these ten songs into three volumes.  They are Fengyang Song, The Flowing Stream, Guessing, Thinking of My Darling, Mayila, Jasmine Flower, Riding on a Mule, Awariguli, Diu Diu Deng, andMountain Song and Dancing Tune.—Chen Yi.

By Steven Sametz (1954-). For 2 Soprano voice soli, Tenor voice solo, SATB/SATB choir. Secular. Choral score. Published by E.C. Schirmer Publishing

(2.2.2.2/4.2.3.0,timp,perc,2hp,str,SMezTBar soli,chorus)

SKU: TM.14418SC

Composed by Gioachino Rossini. Score. Lucks Music Library #E1614. Published by Lucks Music Library (TM.14418SC).

Act I, No. 1 Introduction. Contains 4 choruses back to back. Vs pg 12-46. Sc pg 51-113.

Arranged by John Lewers. Choir Secular. Women's Choir. Choral Octavo. Lawson-Gould. Folk; Multicultural; Secular. Choral Octavo. 16 pages. Published by Alfred Music