Grade 2

SKU: CL.011-1781-00

Composed by J. Spears. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR369). Score and set of parts. Composed 1984. C.L. Barnhouse #011-1781-00. Published by C.L. Barnhouse (CL.011-1781-00).

Take the famous old hymn tune, ``Duke Street,’’ set it in overture form, mix in a variety of musical styles and exciting splashes of percussion, bake it with Spears’ skillful scoring for the young band, and you have the recipe for a musical feast.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Performed by Jeff Carson. By Neil Thrasher And Jim Jonosky. Edited by Jeannette Delisa. Piano/Vocal/Chords. Arrangements for piano and voice with guitar chords. 6 pages. Published by Warner Brothers.

(The Ukulele Decade Series). By Various. For Ukulele. Ukulele. Softcover. 304 pages. Published by Hal Leonard

Piano and orchestra

SKU: FG.55011-372-5

Composed by Matthew Whittall. Study score. Fennica Gehrman #55011-372-5. Published by Fennica Gehrman (FG.55011-372-5).

ISBN 9790550113725.

Imag es of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss.
Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water.
The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound.
It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.

By Brian Wren. Sacred. Print Music Collection (Hymn Texts). Published by Hope Publishing Company.

Concert band - Grade 3

SKU: CL.012-4147-75

Arranged by Bond. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR376). Oversized, spiral-bound score. Composed 2012. Duration 3 minutes, 7 seconds. Opus III Wind Orchestra Publications #012-4147-75. Published by Opus III Wind Orchestra Publications (CL.012-4147-75).

This rich arrangement of a popular traditional American melody is aimed at the younger band who wish to showcase their development of a warm sound and expressive phrasing. The palette of colors changes throughout to allow each section to shine as the melodic responsibilities are passed around the various sections of the ensemble. As the piece ebbs and flows from subtle splashes of light to dramatic presentations of the melody, the overall effect is contemporary and picturesque in its essence while remaining accessible to less experienced bands. While performance markings are indicated, the arranger would encourage directors to flavor their interpretation of the score with personal choices of expression, flexibility of tempo and dynamic contrast.

Compiled by Velvel Pasternak. Songbook and performance CD for voice, piano and guitar (chords only). 144 pages. Published by Tara Publications.

40 Hits. By Various. Piano/Vocal/Guitar Songbook. Alternative, Rock. Softcover. Published by Hal Leonard

By Byron Adams. For SATB soli, SATB unaccompanied. Octavo. Published by E.C. Schirmer Publishing

By John Williams. Arranged by John Moss. Music for String Orchestra. Size 9x12 inches. Published by Hal Leonard.

By Various. Guitar Chord Songbook. Softcover. 168 pages. Published by Hal Leonard.

(or The Lass That Loved a Sailor (Vocal Score)). By William S. Gilbert and Arthur S. Sullivan. For Voice. Masterworks; Score; Vocal (Opera) Score. Faber Edition. Masterwork; Romantic. Published by Faber Music

(The Day the Cuckoo Lost Her Colors -- A Mexican Folk Tale for Unison Voices (Teacher's Handbook)). By Sally K. Albrecht and Jay Althouse. Unison Choir. This edition: Teacher's Handbook (100% Reproducible). Book; Classroom/Pre-School; Musicals; Musicals and Programs; Reproducible. Multicultural; World. 52 pages. Published by Alfred Music Publishing

By Chris Brooks. Concert Ensemble. For Bells, Xylophone, 4 Octave Marimba, (4) Timpani, Snare Drum, Bass Drum, Crash Cymbals, Suspended Cymbal, Triangle, Temple Blocks, Mounted Tambourine, Crasher, Sleigh Bells, Siren Whistle, Drum Set, Electric or Keyboard Bass. 1. Duration 3:36

Chamber Music String Quartet

SKU: PR.144404550

Composed by Sydney F. Hodkinson. Set of Score and Parts. With Standard notation. Composed 2002. 53+20+16+16+16 pages. Duration 22 minutes. Theodore Presser Company #144-40455. Published by Theodore Presser Company (PR.144404550).

UPC: 680160030859.

After finishing a serious woodwind quintet in the fall of 2001 [Tela Lacerata], I found, in the ensuing months, that its cinders/ashes were still impregnating my eardrums. Therefore, when I set out to write the present string piece, I realized that the musical veins of the quartet, like related cousins, were sharing the same blood as the earlier wind composition. The resultant Fifth Quartet evolved into two large, extended movements, each one containing seven parts that are played without pause. As the list of the various sub-sections clearly indicates, the formal structure of the movements appear to be identical: each with three main parts enveloped by interludes, plus an introduction and coda. However, the principal segments of the first (slow) movement gradually decrease in length, while those of the second (fast) movement increase. In addition, there is a goodly amount of sonic material stolen from the first movement which reappears -- stitched together in a new guise -- into the world of the second. for example, the bulk of Parts B and C of Movement II are lifted bodily, although elaborately modified, from their first appearances in the Introduction and Part A of the fist movement. This offers, I suppose at least a hint of a traditional recapitulation. As was true in the earlier woodwind piece -- both harmonically and melodically -- the embryonic growth of the musical fabric (primarily the tritone and perfect fifth) is omnipresent, almost obsessively, throughout the course of the whole work. These two intervals, not unlike plasticine, habitually transform themselves into the scales, chords, and melodic lines that pervade the texture of the quartet. Owing to the largely unrelieved dramatic flow, the shifting speed, and the often fervent intensity, the quartet places considerable demands on the dexterity, virtuosity, and stamina of the four performers. String Quartet No. 5 is approximately 22 minutes in duration and affectionately dedicated to my violinist wife Elizabeth, as a gift for our 47 years together. It was commissioned by the Corigliano String Quartet, New York, NY. -- Sydney Hodkinson.

Choir Secular (2-Part choir)

SKU: AP.41542

Composed by Kirby Shaw. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Christmas; Novelty; Secular. Choral Octavo. 12 pages. Alfred Music #00-41542. Published by Alfred Music (AP.41542).

UPC: 038081466224. English.

A little bit vaudeville, a little bit country, this zany novelty number is a hoot! You know Dasher and Dancer, and Prancer and Vixen? Well, this isn't about those guys, it's actually about their wacky cousins. You'll be laughing well into January!

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (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.

By Kenneth Leighton (1921-1988). For Choral (SSAA). Music Sales America. Choral, Secular. 24 pages. Novello and Co Ltd. #NOV160198. Published by Novello and Co Ltd.

Orchestra

SKU: SU.24200230

For Orchestra. Composed by Max A. Friedman. Orchestra. Study Score. Subito Music Corporation #24200230. Published by Subito Music Corporation (SU.24200230).

Tone poem for large orchestra.2,1 2,1 3,1 2,1; 4331; timp, perc; stgs Duration: 15' Composed: 2015-16 Published by: Asher Rose Music Performance materials available on rental only:.

By Handel; J.A. Dasher. For SATB Choir. Choral, Larger Works, Christmas, Masterworks and Sacred. Sheet Music. Published by Shawnee Press.

Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Cello (or Bassoon). Duets. Music for Two. Gilbert & Sullivan, Irish, Rags. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.

Brass Quintet

SKU: SU.24100220

For Brass Quintet. Composed by Stanley Friedman. Brass, Brass Ensemble, Chamber Music, Brass Quartet/Quintet. Set of Parts. Subito Music Corporation #24100220. Published by Subito Music Corporation (SU.24100220).

Fast, furious but highly engaging; written for Spanish Brass; 7 min.brass quintet Composed: 2010 Published by: Asher Rose Music.