By Monty Norman, Elmer Bernstein, Joseph Barbara, William Hanna, Hoyt Curtain, Henry Mancini, Margaret Cobb, Bruce Channel, David Mook, Ben Raleigh, The Surfaris, And John Philip Sousa. Arranged by Robert Sheldon. For Concert Band. Concert Band. Young Symphonic. Pop. Level: 2.5 (Medium Easy) (grade 2.5). Conductor Score and Parts. 140 pages. Published by Alfred Publishing.

(Featuring: What Child Is This? / We Three Kings). By William Chatterton Dix and John Henry Hopkins, Jr.. Arranged by Roy Phillippe. Concert Band. Concert Band; Score. Belwin Young Band. Christmas; Sacred; Winter. Grade 2. 28 pages. Published by Belwin Music

By S. Drummond Wolff. For keyboard and trumpet. Chamber Music. Level: Medium/Medium-Difficult. Published by MorningStar Music Publishers.

By William Paris Chambers. Arranged by John R. Bourgeois. For Concert Band. Concert Band Music. Bourgeois Editions. Concert March. Level: Medium. Full Score and Set of Parts. Published by Wingert-Jones Publications.

(Brass Parts: 2 trumpets (C or B-flat), 2 trombones)

SKU: HP.C6169B

Composed by William Runyan. Arranged by John Ferguson. Organ with Optional Brass & Congregation. General Worship, Sacred, God - Faithfulness. Choral Parts. Hope Publishing Company #C6169B. Published by Hope Publishing Company (HP.C6169B).

UPC: 763628261696. Thomas O. Chisholm.

Classic hymn Fully expressing God's unwavering faithfulness, this choral setting with organ and optional brass quintet displays the power and grandeur of this time-honored hymn. A reproducible congregational part is included, making it possible for everyone to lift their voices in song!.

By John Philip Sousa. Arranged by Dr. William D. Revelli. Score and full set of parts. Symphonic/Concert Band Series. Size 8.5x11 inches. Published by Hal Leonard.

(Hail to You, Our Savior). Composed by William Byrd (1540-1623). Edited by John Lee. For SATB choir. Good Friday, Body and Blood of Christ, Holy Thursday. Ars Antiqua Series. Sacred. Easy. Octavo. 12 pages. Published by GIA Publications

Edited by Michael Burkhardt. For organ. Medium. Collection. 71 pages. Published by MorningStar Music Publishers

Trumpet - intermediate

SKU: HL.49003109

Trumpet and Piano. Edited by Gwilym Beechey. Arranged by Gwilym Beechey. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 34 pages. Schott Music #ED12312. Published by Schott Music (HL.49003109).

ISBN 9790220115080. UPC: 073999867374. 9.0x12.0x0.128 inches.

Choral SSAA choir

SKU: CF.CM9587

Composed by John Ratledge. Sws. Jbc. Performance Score. 16 pages. Duration 3:30. Carl Fischer Music #CM9587. Published by Carl Fischer Music (CF.CM9587).

ISBN 9781491154090. UPC: 680160912599. 6.875 x 10.5 inches. Key: C major. English. Transcribed by Wilson Hall. Hidegaard Von Bingen translated by William Hall.

I am the secret fire in all things, scored for SSAA divisi and two soprano soloists, was premiered by the Vancouver Chamber Choir, Jon Washbun, conductor, in November 2008. The Hildegard von Bingen text, translated by Wilson Hall (deceased professor of English at Shorter College in Rome, Georgia and dear friend), is a text that fosters many opportunities to depict the mysterious nature of God, His transcendence into all the human experience, and the hope, through vulnerability, that resonates in the gravamen for individual transubstantiation through the struggles inherent in Life's Stuff. This composition celebrates the transforming power of spirituality, the evolution of the human spirit when one amalgamates with unknowing, and the ecstasy that saturates Life when one acknowledges the God Presence already within.  .
I am the secret fire in all things, scored for SSAA divisi and two soprano soloists, was premiered by the Vancouver Chamber Choir, Jon Washbun, conductor, in November 2008. The Hildegard von Bingen text, translated by Wilson Hall (deceased professor of English at Shorter College in Rome, Georgia and dear friend), is a text that fosters many opportunities to depict the mysterious nature of God, His transcendence into all the human experience, and the hope, through vulnerability, that resonates in the gravamen for individual transubstantiation through the struggles inherent in Life's Stuff. This composition celebrates the transforming power of spirituality, the evolution of the human spirit when one amalgamates with unknowing, and the ecstasy that saturates Life when one acknowledges the God Presence already within.  .
I am the secret fire in all things, scored for SSAA divisi and two soprano soloists, was premiered by the Vancouver Chamber Choir, Jon Washbun, conductor, in November 2008. The Hildegard von Bingen text, translated by Wilson Hall (deceased professor of English at Shorter College in Rome, Georgia and dear friend), is a text that fosters many opportunities to depict the mysterious nature of God, His transcendence into all the human experience, and the hope, through vulnerability, that resonates in the gravamen for individual transubstantiation through the struggles inherent in Life's Stuff. This composition celebrates the transforming power of spirituality, the evolution of the human spirit when one amalgamates with unknowing, and the ecstasy that saturates Life when one acknowledges the God Presence already within.  .
I am the secret fire in all things, scored for SSAA divisi and two soprano soloists, was premiered by the Vancouver Chamber Choir, Jon Washbun, conductor, in November 2008. The Hildegard von Bingen text, translated by Wilson Hall (deceased professor of English at Shorter College in Rome, Georgia and dear friend), is a text that fosters many opportunities to depict the mysterious nature of God, His transcendence into all the human experience, and the hope, through vulnerability, that resonates in the gravamen for individual transubstantiation through the struggles inherent in Life's Stuff.This composition celebrates the transforming power of spirituality, the evolution of the human spirit when one amalgamates with unknowing, and the ecstasy that saturates Life when one acknowledges the God Presence already within. .

SATB choir, tenor voice solo, piano accompaniment - Intermediate

SKU: GI.G-9918

Composed by William H. Monk. Arranged by John F. Hudson. Evoking Sound. Tune Name: Eventide. Music Education. Octavo. 8 pages. GIA Publications #9918. Published by GIA Publications (GI.G-9918).

UPC: 785147991809. English. Text by Henry F. Lyte.

A Series for Solo Instruments with CD Play-Along and Piano Accompaniment. By George J. Elvey; George Warren; Henri F. Hemy; James G. Walton; John B. Dykes; Ludwig Van Beethoven; Martin Luther; Samuel Sebastian Wesley; William Walker. Arranged by Larry Clark. For Trombone. This edition: Trombone. Easy Hymn Favorites - A Series for Solo Instruments With CD Play-Along and Piano Accompaniment. Choral. Level: easy. Score and Audio CD. 16 pages. Published by Carl Fischer.

By Monty Norman, Elmer Bernstein, Joseph Barbara, William Hanna, Hoyt Curtain, Henry Mancini, Margaret Cobb, Bruce Channel, David Mook, Ben Raleigh, The Surfaris, And John Philip Sousa. Arranged by Robert Sheldon. For Concert Band. Concert Band. Young Symphonic. Pop. Level: 2.5 (Medium Easy) (grade 2.5). Conductor Score. 24 pages. Published by Alfred Publishing.

Gloria tibi Trinitas. By John Taverner. Arranged by William Tortolano. Translated by: The Grail. For Cantor or Unison Chorus, and String Quartet (2 Violins, Viola, Cello) or Brass quartet (2 Trumpets, 2 Trombones). Bible Reference: Psalm 110. Instrumental. Chamber Music Sacred. Level: easy. Text language: English/Latin. Published by GIA Publications.

By Henry Doktorski. For button accordion. This edition: Paperback. Instructional. Method. Method book and CD. Text Language: English. 48 pages. Published by Santorella Publications

(Elementary Level). By Various. Arranged by Edna Mae Burnam, Glenda Austin, John Thompson, and William L. Gillock. For Piano/Keyboard. Willis. Elementary. 16 pages. Published by Willis Music

by Phil Duncan. For Harmonica (Diatonic). method. All Styles. Level: Multiple Levels. Book. Size 8.75x11.75. 112 pages. Published by Mel Bay Publications, Inc.

By Amy Appleby. For Piano. Classical, Folk, Children's. Sheet Music. 146 pages. Published by Wise Publications.

Composed by Various. Percussion. Jazz, Movies, Pop. Softcover. Published by Hal Leonard

Band Concert Band

SKU: PR.46500013L

For Wind Ensemble. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013L. Published by Theodore Presser Company (PR.46500013L).

UPC: 680160600151. 11 x 14 inches.

I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

Easy ABC/Letter Music (Big notes with the note names written on them). Size 9x12 inches. 176 pages. Published by Hal Leonard.

(52 Titles to Play and Sing). Arranged by Willard A. Palmer, Morton Manus, and Dennis Alexander. For easy piano and voice. Piano - Alfred's Basic Adult Piano Course. Alfred's Basic Adult Piano Course. Classical and Folk. Difficulty: easy-medium. Collection. Easy piano notation, fingerings and lyrics (on some songs). 96 pages. Published by Alfred Music Publishing

Voice

SKU: BT.ALHE32011

Johnny Est Parti Pour Hilo. Composed by William Billings. Choral Score. Composed 2015. Heugel & Cie #ALHE32011. Published by Heugel & Cie (BT.ALHE32011).

French.

(15th Updated Edition) Arranged by Richard Bradley. Collection for easy solo piano. 304 pages. Published by Alfred Publishing.

Band Concert Band

SKU: PR.465000130

For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (PR.465000130).

ISBN 9781598064070. UPC: 680160600144. 9x12 inches.

Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.
In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,” for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,” and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Spring”) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.