With Suggested Chordal Accompaniment. Composed by Craig Duncan. Violin,Guitar: Gospel and Sacred,Style,Featured Products,Duets and Ensembles,Solos,Duets and Ensemble,Solos,Holiday: Christmas,. 100 Hymns. Book. 124 pages. Published by Mel Bay Publications, Inc

With Suggested Chordal Accompaniment. Composed by Craig Duncan. Squareback saddle stitch, Solos, Holiday: Christmas, Duet/Ensemble, Duets and Ensemble. 100 HYMNS. Style. Book. 124 pages. Mel Bay Publications, Inc #30703. Published by Mel Bay Publications, Inc

With Suggested Chordal Accompaniment. Composed by William Bay. Flute, Fife and Oboe,Guitar: Gospel and Sacred,Style,Duets and Ensembles,Solos,Duets and Ensemble,Solos,Holiday: Christmas. 100 Hymns. Book. 124 pages. Published by Mel Bay Publications, Inc

With Suggested Chordal Accompaniment. Composed by William Bay. Guitar: Gospel and Sacred,Style,Trumpet and Bugle,Duet and Ensembles,Solos,Duets and Ensemble,Solos,Holiday: Christmas. 100 Hymns. Book. 124 pages. Published by Mel Bay Publications, Inc

(for Music Groups of All Ages). By Bonnie J Krueger. For Games, Enhanced CD. General music

by Stacy Phillips. For fiddle and violin. Jewish. Level: Intermediate. Book. Solos. Size 8.75x11.75. 192 pages. Published by Mel Bay Pub., Inc.

Guitar and Chamber Ensemble

SKU: HL.14028004

Composed by Poul Ruders. Music Sales America. Classical. Score. 40 pages. Edition Wilhelm Hansen #WH30178. Published by Edition Wilhelm Hansen (HL.14028004).

ISBN 9788759860984. 12.0x16.5x0.438 inches.

Full score for this work for Guitar and Small Ensemble. Ruders writes: The word has its origin in ancient Greek: Psalmoidia i.e. 'singing to the harp', and we find the word again in Psalter, derived from Psallein 'playing the strings with the fingers'. 'Psalmodies' written for and dedicated to David Starobin, has no specific religious content or aim; the collection of eleven pieces forms a concert-suite, displaying a wide range of emotions; from the jubilant to the dismal, the guitar playing the natural leading part 'inside' a chorus of woodwinds and strings. The title and each movement mirrors the variety of moods, from the secular feast of A Fanfare for All to the sacred introversion of A Prayer with Halo. 'Psalmodies' opens with a guitar-solo and closes down with one: the rejoicing Entrance for One and the hushed, melancholy Exit for One, thus exemplifying the emotional compass, which I, in an essay on my first symphony; 'Himmelhoch Jauchsend-zum Tode betrubt' entitle: Of Joy and Grief. Of Worship and Oblivion.

('Tramonto'). By Luigi Zaninelli. For concert band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Solo Bb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Eb Contralto Clarinet, Bassoon 1, Bassoon 2, Eb Alto Saxophone 1,

Band concert band - Grade 3.5

SKU: KJ.WB217F

Composed by John Zdechlik. Bandworks. Score. Neil A. Kjos Music Company #WB217F. Published by Neil A. Kjos Music Company (KJ.WB217F).

a delicate and delightful feature for three solo flutes or the entire flute section!

Barcarole for flutes is a flute feature for three solo flutes. (If desired, the solo can be played by six flutes.) both the first and the last section are in unison for the solo flutes while the middle section is divisi. The piece should be performed with the band accompaniment clearly in the background. If needed, the conductor should reduce the number of players to achieve proper balance.

The piece begins with a smoothly flowing melody in the oboe and fist clarinet, accompanied by a countermelody in the alto saxophones, then flows into a lyrical melody for the solo flutes. The low woodwinds and low brass punctuate the sensitive and delicate melody with a rhythmical accompaniment. The ensemble builds in a sweeping sound toward the end of the first section. The middle section contains rhythmical variety within the flute solo as well as in an agitated accompaniment before returning to the original melody. After the return of the original melody, the brass and low woodwind accompaniment builds to a point before falling back to finish with the gentle hush of the flute solo.

Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Chamber Music String Quartet

SKU: PR.11440505S

Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S).

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.