Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500103F

Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F).

ISBN 9781491131763. UPC: 680160680290.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500101F

Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F).

ISBN 9781491131725. UPC: 680160680252.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion, Piano, Snare Drum, Suspended Cymbal, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, Voice 1, Voice 2 and more. - Grade 1.5

SKU: CF.FPS159

Composed by Carl Strommen. Folio. Fps. Set of Score and Parts. 8+2+4+4+2+5+2+2+4+4+3+6+2+3+1+1+3+16 pages. Duration 4 minutes, 29 seconds. Carl Fischer Music #FPS159. Published by Carl Fischer Music (CF.FPS159).

ISBN 9781491158289. UPC: 680160916887. 9 x 12 inches.

The commissioning party of We Are the Heroes requested that the band arrangement work alone and with full chorus. Based on the school theme Building a Better World, the lyrics (see below) were contributed by the students at the Sea Cliff Elementary School, part of the Long Island, New York's North Shore school district. When performed with chorus, the director(s) should consider balance, placement of the chorus (in front of or behind the band), whether on risers, and if amplification is used. At the director's discretion, written dynamics may be altered. Verse: A word and a smile, with hope in our heart with kindness and and love reaching out to us all - a helping hand one step at a time, it starts with a smile, one voice will be heard we will build a better world - for all Chorus: We are the future, we are have a voice we are the future, we have a choice we are the heroes, weall lead the way to make a better world, today we are the future- now hear our song we are the future and we are strong we are the heroes, weall lead the way to build a better world - to-day Chorus 2: to be repeated as many times as desired- with increasing intensity We are the future - we are the heroes we make the music, we have the power Our voices proud and strong the futureas in our hands Weall build a better world - today (repeat).
The commissioning party of We Are the Heroes requested that the band arrangement work alone and with full chorus. Based on the school theme Building a Better World, the lyrics (see below) were contributed by the students at the Sea Cliff Elementary School, part of the Long Island, New York's North Shore school district. When performed with chorus, the director(s) should consider balance, placement of the chorus (in front of or behind the band), whether on risers, and if amplification is used. At the director's discretion, written dynamics may be altered. Verse: A word and a smile, with hope in our heart with kindness and and love reaching out to us all - a helping hand one step at a time, it starts with a smile, one voice will be heard we will build a better world - for all Chorus: We are the future, we are have a voice we are the future, we have a choice we are the heroes, we'll lead the way to make a better world, today we are the future- now hear our song we are the future and we are strong we are the heroes, we'll lead the way to build a better world - to-day Chorus 2: to be repeated as many times as desired- with increasing intensity We are the future - we are the heroes we make the music, we have the power Our voices proud and strong the future's in our hands We'll build a better world - today (repeat).
The commissioning party of We Are the Heroes requested that the band arrangement work alone and with full chorus. Based on the school theme Building a Better World, the lyrics (see below) were contributed by the students at the Sea Cliff Elementary School, part of the Long Island, New York's North Shore school district.When performed with chorus, the director(s) should consider balance, placement of the chorus (in front of or behind the band), whether on risers, and if amplification is used. At the director's discretion, written dynamics may be altered.Verse:A word and a smile, with hope in our heartwith kindness and and love reaching out to us all - a helping hand onestep at a time, it starts with a smile, one voice will be heard we will builda better world - for allChorus:We are the future, we are have a voice we are the future, we have achoice we are the heroes, we’ll lead the way to make a better world,todaywe are the future- now hear our song we are the future and we arestrongwe are the heroes, we’ll lead the way to build a better world - to-dayChorus 2: to be repeated as many times as desired- with increasingintensityWe are the future - we are the heroes we make the music, we have thepower Our voices proud and strongthe future’s in our handsWe’ll build a better world - today (repeat).

By Robin De Smet (Arranger). For Clarinet. Pop. Sheet Music. 96 pages. Published by Wise Publications.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tambourine, Temple Blocks, Timpani, Trombone, Trumpet, Tuba, Xylophone, alto Saxophone and more. - Grade 1

SKU: CF.BPS145

Composed by Richard Summers. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+2+2+6+2+3+1+1+2+2+16 pages. Duration 2:15. Carl Fischer Music #BPS145. Published by Carl Fischer Music (CF.BPS145).

ISBN 9781491161258. UPC: 680160919840.

Dating back to the 13th century, the clock tower was located in the center of a town and used by townspeople to hear the time through bells and chimes ringing out. There are clock towers all over the world and they are wonderful landmarks to towns and communities. This work begins and ends with the Westminster Chimes theme, which is used by many clocks and clock towers, including Big Ben, the famous clock tower in London. Clock Tower contains many essential musical and technical skills for a beginning level band piece. The tick of the clock mechanism is imitated by pitched woodblocks, and the main theme is based on ascending and descending scale patterns, reinforcing note-reading ability for the beginning student. There are layers of new countermelodies and contrasting sections with dynamics and legato passages, giving the students an opportunity to play in different musical styles. There is a low brass and woodwind feature and a section introducing eighth notes to the upper winds. The sound between the woodwinds and the brass are also important, but many woodwind passages are cued in the brass in case a beginning band might need extra players to help with the balance and blend. This gives the director the opportunity to experiment with these cues and add a few other instruments when needed.
Dating back to the 13th century, the clock tower was located in the center of a town and used by townspeople to hear the time through bells and chimes ringing out. There are clock towers all over the world and they are wonderful landmarks to towns and communities. This work begins and ends with the Westminster Chimes theme, which is used by many clocks and clock towers, including Big Ben, the famous clock tower in London.  Clock Tower contains many essential musical and technical skills for a beginning level band piece. The tick of the clock mechanism is imitated by pitched woodblocks, and the main theme is based on ascending and descending scale patterns, reinforcing note-reading ability for the beginning student. There are layers of new countermelodies and contrasting sections with dynamics and legato passages, giving the students an opportunity to play in different musical styles. There is a low brass and woodwind feature and a section introducing eighth notes to the upper winds. The sound between the woodwinds and the brass are also important, but many woodwind passages are cued in the brass in case a beginning band might need extra players to help with the balance and blend. This gives the director the opportunity to experiment with these cues and add a few other instruments when needed. .

Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.44641192L

For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L).

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

Orchestra Bassoon, Cello, Clarinet, Contrabass, Flute, Harp, Horn, Marimba, Oboe, Vibraphone, Viola, Violin 1, Violin 2

SKU: PR.416414230

For Chamber Orchestra. Composed by James Matheson. This edition: Version 6/10/10. Sws. Contemporary. Full score. With Standard notation. Composed February 13 2003. 84 pages. Duration 18 minutes. Theodore Presser Company #416-41423. Published by Theodore Presser Company (PR.416414230).

ISBN 9781598066630. UPC: 680160602087. 9x12 inches.

Colonnade is James Matheson’s intriguing response to the Albany Symphony’s commission to create a work inspired by the NY State Board of Education Building, designed by the renowned architect Rafael Guastavino. Matheson explains that “A colonnade acts as a metaphor for the tension between knowledge and perception. The columns are the same height and equidistant from each other; while the mind understands this fully, there exists no place from which one can perceive this – the columns always appear to be of uneven height and spacing. If one then adds motion to perspective, identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart.” This structural paradox is given musical life in the outer sections of Colonnade, while the long, arching middle section is inspired by the vaulted ceiling of one of the building’s largest rooms, enhancing the structure’s spacious openness and lightness.
Colonnade is inspired by Albany’s majestic New York State Board of Education Building, and written on a commission from the Albany Symphony Orchestra. It was an intriguing task, in part because in order to accept the commission I had to agree to write a work “inspired by” a building I had not yet seen. Thisproblem was compounded by the fact that, for me, the very notion of extra-musical inspiration is a complex one, particularly with respect to literary or visual sources. I generally find ideas and abstracted notions more generative of musical ideas than specific ones (a poem, an experience, a painting). So when I went to seeand tour the building, I sought to identify fundamental formal aspects of the building which I could process into musical ideas, and would then be linked to the building through a sense of formal relationship. In theend, two characteristics of the building stood out as noteworthy and undiminished by time (compared with, for instance, the building’s rotunda, which contains a series of quaintly outdated allegorical paintings): theexterior colonnade and a beautiful interior vaulted ceiling, designed by Rafael Guastavino.For me, a colonnade acts as a metaphor for the tension between knowledge and perception. We all know, for instance, that the columns are of the same height and are equidistant from each other. Nevertheless, while the mind understands this fully, it is also the case that there exists no place – no standpoint or viewpoint – anywhere in the universe – from which one can perceive this; the columns always appear to be of uneven height and spacing. If one then adds motion to perspective – a walk along the colonnade, for instance – the fixed, even, rigidly identical columns acquire elasticity, and begin to change kaleidoscopically – they shrink, grow, become closer, and then further apart. Further, the detail of the building’s façade behind the colonnadeshifts into and out of visibility, with different portions obscured by the columns from each vantage point. These considerations underlie the outer sections of Colonnade, in which a continuously repeated, continuously varied rising figure – suggestive of a column – dominates. The iterations of this elastic, evolvingfigure are interspersed with other music – suggestive of the building’s façade. The second feature of the building that caught my attention was the vaulted ceiling, designed by Guastavino,of one of the building’s largest rooms. The ceiling enhances the spaciousness of the room, giving it an openness and lightness that is quite captivating. The middle section of Colonnade has this openness at its core, and is dominated by long, arching lines that, to me, suggest the refined beauty of this ceiling.World premiere March 8, 2003; Albany Symphony Orchestra conducted by David Alan Miller.

For Clarinet. By Various. Instrumental Folio. Softcover. 160 pages. Published by Hal Leonard

(Clarinet). For Clarinet. Book; CD; Instrumental Series; Play-Along. Instrumental Solos Series. Pop; Pop/Rock. Grade 2; Grade 3. 52 pages. Published by Alfred Music

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Clarinet 4, Clarinet 5, Clarinet 6, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Flute 4, Flute 5, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1 and more.

SKU: PR.415411560

Composed by Stacy Garrop. Study Score. With Standard notation. 66 pages. Duration 19 minutes. Theodore Presser Company #415-41156. Published by Theodore Presser Company (PR.415411560).

UPC: 680160642946. 9 x 12 inches.

The Mythology Suite consists of three movements of my Mythology Symphony, which I arranged for large wind ensemble. The arrangements of The Lovely Sirens and Penelope Waits were commissioned by James Ripley and Carthage College for the Carthage Wind Orchestra's 2017 Japan tour. I added Pandora Undone to complete the set; Stephen Squires and the Chicago College of Performing Arts gave the premiere of the entire Suite in February 2017. Movement 1: The Lovely Sirens The Sirens were sea nymphs, usually pictured as part woman and part bird, who lived on a secluded island surrounded by rocks. Their enchanting song was irresistible to passing sailors, who were lured to their deaths as their ships were destroyed upon the rocks. The Lovely Sirens presents three ideas: the Sirens' beautiful song, an unfortunate group of sailors whose course takes them near the island, and the disaster that befalls the sailors. The sailors' peril is represented by the Morse code S.O.S. signal (three dots, three dashes, and three dots--represented musically by short and long rhythms). The S.O.S. signal grows increasingly more insistent and distressed as it becomes obvious that the sailors, smitten with the voices of the Sirens, are headed for their demise. Movement 2: Penelope Waits This quiet movement represents Queen Penelope, the faithful wife of Odysseus, as she patiently waits twenty years for her husband's return from fighting the Trojan Wars. Penelope herself is represented as an oboe. She is accompanied by the ensemble as she keeps at bay the suitors who wish to marry her and inherit her riches. Movement 3: Pandora Undone This movement is, in turns, both lighthearted and serious. The music depicts a young, naive Pandora who, while dancing around her house, spies a mysterious box. She tries to resist opening it, but her curiosity ultimately gets the best of her. When she cracks the lid open and looks inside, all evils escape into the world. Dismayed by what she has done, she looks inside the box once more. She discovers hope still in the box and releases it to temper the escaped evils and assuage mankind's new burden.
The Mythology Suite consists of three movements of my Mythology Symphony, which I arranged for large wind ensemble. The arrangements of The Lovely Sirens and Penelope Waits were commissioned by James Ripley and Carthage College for the Carthage Wind Orchestra’s 2017 Japan tour. I added Pandora Undone to complete the set; Stephen Squires and the Chicago College of Performing Arts gave the premiere of the entire Suite in February 2017.Movement 1: The Lovely SirensThe Sirens were sea nymphs, usually pictured as part woman and part bird, who lived on a secluded island surrounded by rocks. Their enchanting song was irresistible to passing sailors, who were lured to their deaths as their ships were destroyed upon the rocks. The Lovely Sirens presents three ideas: the Sirens’ beautiful song, an unfortunate group of sailors whose course takes them near the island, and the disaster that befalls the sailors. The sailors’ peril is represented by the Morse code S.O.S. signal (three dots, three dashes, and three dots—represented musically by short and long rhythms). The S.O.S. signal grows increasingly more insistent and distressed as it becomes obvious that the sailors, smitten with the voices of the Sirens, are headed for their demise.Movement 2: Penelope WaitsThis quiet movement represents Queen Penelope, the faithful wife of Odysseus, as she patiently waits twenty years for her husband's return from fighting the Trojan Wars. Penelope herself is represented as an oboe. She is accompanied by the ensemble as she keeps at bay the suitors who wish to marry her and inherit her riches.Movement 3: Pandora UndoneThis movement is, in turns, both lighthearted and serious. The music depicts a young, naïve Pandora who, while dancing around her house, spies a mysterious box. She tries to resist opening it, but her curiosity ultimately gets the best of her. When she cracks the lid open and looks inside, all evils escape into the world. Dismayed by what she has done, she looks inside the box once more. She discovers hope still in the box and releases it to temper the escaped evils and assuage mankind's new burden.

Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Oboe 1, Oboe 2, Percussion, Timpani, Trombone, Trumpet, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.41641613L

Composed by Diane Wittry. Large Score. With Standard notation. Duration 16 minutes. Theodore Presser Company #416-41613L. Published by Theodore Presser Company (PR.41641613L).

UPC: 680160642199. 11 x 17 inches.

On the island of Elba, off the coast of Italy, I composed this work as the sun was rising over the ocean in the mornings and gently sifting through the clouds against the lingering fog. As the piece developed, it took on a shape of its own and gradually became centered around diminished chords and the interval of a tri-tone (diminished 5th). I love these chords for their angst and for their sadness, but also for their flexibility. My piece is very textural in nature; and yes, it does have a melody of sorts, and yet, this melody comes and goes, and is never quite grasped until the end. Portions of it are repeated and spun out creating layers of sound without the heaviness of form. It is indeed a depiction of mist, where one minute you see things and the next they are gone. As you move through the piece, you find that the trumpet is also an antagonist, creeping in with a haunting cry; a reminder of things unsettled. Throughout the piece, we are quietly searching. We search for a tonal center for stability, and also for a melody that will make us feel fulfilled. Once found, we hold them for an instant, and then like the clouds and like life itself, they are gone. We are warmed by their presence and saddened by their loss. I hope that you will reflect upon your own memories of life's quiet moments as we enjoy the world premiere of this new work together. Mist is not a piece to be analyzed, but rather a piece to be experienced and absorbed. As you listen, release your mind, embrace your emotions, close your eyes, and allow the mist to creep in.

Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, String Bass, Suspended Cymbal, Timpani and more. - Grade 3

SKU: CF.CPS265

Composed by Dong-In Choi. Set of Score and Parts. 8+8+4+8+8+8+4+4+4+4+4+4+8+4+4+4+6+6+4+6+4+8+2+4+1+2+1+20 pages. Duration 5 minutes. Carl Fischer Music #CPS265. Published by Carl Fischer Music (CF.CPS265).

ISBN 9781491161289. UPC: 680160919871.

Remembrance was written in November 2018. In remembrance of what it took for us to be here... was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance. We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect--nor is it anywhere near complete--but with each generation's responsibility to carry the torch and never forget, hopefully we can make everything worth it. Performance Notes This tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece's major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates. The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.
Remembrance was written in November 2018. “In remembrance of what it took for us to be here...” was the only original program note. The piece can mean different things to different people; however, it brings unity to all under the theme of remembrance.We fight for many things: love, patriotism, freedom, ideology, possession...all of which have cost tremendous sacrifice. It was the battles, the blood and sweat, and the sacrifice of those that came before us that created the world as we know it. Remembrance is a tender, melancholic reflection that silently gives thanks to every step and every sacrifice that was made to bring us what we have today. Yes, what we have may not be perfect—nor is it anywhere near complete—but with each generation’s responsibility to carry the torch and never forget, hopefully we can make everything worth it.Performance NotesThis tender piece is an excellent opportunity to explore nuanced phrasing. While many sections may play similar parts, often the phrasing and dynamics are marked differently across the band. Each of these discrepancies should be brought out and add to the perpetual motion of the piece. Encourage confident, yet subtle entrances and furthermore, think about the ends of notes as important as the beginning. Really bring out the hairpins in sections such as m. 29, m. 67, and m. 81 as expressive devices. Despite the piece’s major key, through the various levels of dissonance and tension, both the ensemble and the audience should feel the sacrifices and tragedy that this piece celebrates.The tempo should not be much slower than the marked tempos and with the careful observation of the various tempo changes, there should be a constant momentum pushing throughout the piece, all the way past the end that leaves the audience in thought with an uplifting, pensive, and gentle clarinet chord.

Bass

SKU: SP.TS179

Composed by Denise Gendron. Arranged by Denise Gendron. Collection; Christmas. Book and CD. Santorella Publications #TS179. Published by Santorella Publications (SP.TS179).

ISBN 9781585604616. UPC: 649571101794.

Music has always been an integral part of the holiday season. As everyone knows, there is no better way to celebrate than with a song. Re-live your childhood memories and share your love of music this holiday season with Santa's Little Helper published by Santorella Publications. Santa's Little Helper for Bass is also written as solos or duets in accommodating keys for Violin, Viola and Cello. This best selling Santorella collection includes a piano accompaniment CD with lyrics, so the whole family can sing along. The Piano Accompaniment book for this Stringed Instrument Edition is sold separately. Santorella's Horn Edition is also available for trumpet, clarinet, flute, alto sax and trombone. . Angels We Have Heard on High - Away in a Manger - Birthday of a King - Deck the Halls - God Rest Ye, Merry Gentlemen - Good King Wenceslas - Hark! The Herald Angels Sing - I Saw Three Ships - It Came Upon a Midnight Clear - Jingle Bells - Jolly Old Saint Nicholas - Joy to the World - O Christmas Tree - O Come All Ye Faithful - O, Holy Night - O Little Town of Bethlehem - Silent Night - We Wish You A Merry Christmas - Good Christian Men Rejoice - I Heard The Bells On Christmas Day - We Three Kings Of Orient Are - Star Of The East - The First Noel - Here We Come Awassailing.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Claves, Congas, Cowbell, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Percussion 3, Piano and more. - Grade 4

SKU: CF.SPS98F

Composed by Megan Vinther. Full score. Duration 4 minutes, 31 seconds. Carl Fischer Music #SPS98F. Published by Carl Fischer Music (CF.SPS98F).

ISBN 9781491166680. UPC: 680160925735. Key: C minor.

Farallones is inspired by the Greater Farallones National Marine Sanctuary (GFNMS) off the Northern California coast, spanning 3,295 square miles north and west of San Francisco. The Farallones (Spanish for cliffs) are a set of islands that are sometimes referred to as The Devil’s Teeth by mariners, citing the many dangerous underwater shoals and shipwrecks. The first recorded observation of these islands was in 1579 by Sir Frances Drake, with the first reference to the outcroppings as “farallones” written by Spanish Friar Antonio de la Ascension in 1603. The location of the islands and their rugged and ominous appearance likely were responsible for the relatively late discovery by explorers of San Francisco Bay, which didn’t happen until 1769, nearly 200 years after Sir Frances Drake’s expedition. The islands and their natural resources and habitat have been used and exploited in many different ways over the centuries, from the seal fur trade in the early 1800s to a nuclear waste dumping ground in the 1940s–1960s. The islands have been hosts to hunting camps, weather stations, rum runners during prohibition, lighthouse keepers, and even a U.S. Naval station during World War II. The first protections for the area were established in 1981 and expanded over the following decades. Over time, species and habitats have been restored. The Farallones is now home to a beautiful and diverse marine ecosystem that supports many endangered and threatened species. This piece began as a chamber work for a septet that included piano and string bass. When I reworked it for wind ensemble, I left the piano and string bass in the orchestration as a nod to my original (unfinished) chamber piece. The opening section in 7/4 depicts the rugged environment and unpredictability of the swirling currents around the islands. Descending scalar motifs and trills emphasize the fluidity of the seascape. The exploitation of the islands and conflict surrounding the use of natural resources drive the accented passages throughout the piece. The 12/8 section is a development into the resilience and dangerous beauty of the area. Recalled themes and motifs from the first section in an even rather than uneven meter depict the solid future of the ecosystem.