(Full Score)

SKU: HL.117676

Composed by Igor Shcherbakov. LKM Music. Classical. 126 pages. Lauren Keiser Music Publishing #X074038. Published by Lauren Keiser Music Publishing (HL.117676).

ISBN 9781581065527. UPC: 884088889616. 9x12 inches.

In memory Dmitry Shostakovich. (2006) ca. 17'.

Solo Violin

SKU: SU.29110060

For Solo Violin. Composed by Wynton Marsalis. Strings, Violin. Unaccompanied. Score. Subito Music Corporation #29110060. Published by Subito Music Corporation (SU.29110060).

1. Sidestep Reel - In 19th Century America, the Afro-Celtic fiddle style was the centerpiece of many a dance. Reels and hornpipes were very popular forms. Their repetitive, even-metered rhythms were easy and fun to dance to, and their infectious singable melodies stayed in the mind and on the tongue. More adventurous fiddlers were given to syncopating on these forms by accenting off beats and by embellishing melodies with oddmetered note groupings. Syncopation is a fundamental rhythmic attitude of jazz and this movement is a celebration of that art. The melodic language is a home-grown concoction of commonality between traditional reels and hornpipes and the Baroque, Ragtime and the quartal concepts of Modern Jazz. 2. As the Wind Goes - the wistful late night song of a lullabye, a campfire song, a ballad...a spiritual. It is sung as if on the wind, yearning to experience once again that which will only ever again live as memory. 3. Jones’ Jig - the Irish Jig, the African 6/8 bell pattern, the shuffle rhythm of jazz and the drum style of Elvin Jones all play around with the relationship of 3 in the time-space of 2. The juxtaposition, negotiation and reconciliation of these opposing rhythmic perspectives create interesting musical relationships all over the globe. 4. Nicola’s Strathspey - In the traditional Strathspey, improvised embellishments, syncopated dotted rhythms and the use of space between notes create expectation, momentum and surprise. These same elements and their effect on the listener are the same in the blues. It seems like a natural marriage. 5. Bye Bye Breakdown - This is good ol’, Saturday night barn dance, hoedown fiddling. It revels in the whining cry of open double stops, in all types of musical onomatopoeia from train sounds to animal calls to country whistling, and in the steady 2/4 rhythm that is as basic as walking. The harmonic framework of several popular fiddle and folk tunes provide a practical grid for the cutting of challenging melodic and rhythmic figures. It is designed to tire fiddler and dancers out. Then we stomp our way home in varying states of delight and disrepair.Solo Violin Duration: 24' Composed: 2018 Published by: Wynton Marsalis (administered by Skayne's Music).

Composed by Various. Piano/Vocal/Guitar Songbook. Pop, Standards. Softcover. 322 pages. Published by Hal Leonard

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

SKU: PR.16500092L

For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L).

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

Chamber Music Violin, cello, Piano

SKU: PR.114418250

Composed by Stacy Garrop. Contemporary. Set of Score and Parts. With Standard notation. Composed 2013. 40+16+16 pages. Duration 23 minutes. Theodore Presser Company #114-41825. Published by Theodore Presser Company (PR.114418250).

UPC: 680160640959. 9 x 12 inches.

In 2011, Barbara Garrop, my mother, commissioned me to write a piano trio in memory of Norman Garrop, my father, who passed away about thirty years ago. When I started brainstorming about topics for the piece, I found it difficult to recall many moments of my early life involving my father. Too many years had passed, and the memories that I could summon were of achild looking up to her father, not an adult relating to an equal. However, while collecting stories of my father from various family members, along with discovering a number of objects that had once belonged to him and that I had stored away in boxes decades ago, I began to realize that this piece wasn't so much about my father as it was about my re-discovering the man that he was: a loving husband and dad who cared deeply about his family and his passions (which included bike riding, collecting coins, strumming our guitar, playing baseball, watching football games, entertaining people, helping to run local theater and puppet productions, and carving objects out of wook); an accountant who dreamed of a better future: a treasurer of our local synagogue; an early advocate for computers (we owned an Apple II+); and a pranster with a great sense of humor. Ultimately, I decided to musically tell the story of my search for these memories. In the first movement (Without), a child calls out in a sing-song voice, searching for her lost parent. This search intesifies over the course of the movement through a series of themes, including a stepping motif in which a two-note progression steadily climbs higher, a pseudo-jewish folksong, and a passionate longing theme. The child's search becomes increasingly intense throughout the movement, calling out fervently and repeatedly to the parent; the movement ends in a moment of great tnesion and uncertainty. The second movment (Within) quietly opens with the lost parent finally answering, represented by a solo cello; the child (now personified by the violin) has found the parent within the sanctuary of her own heart. This movement highlights the joy and solemnity of this beautiful discovery. -S.G.

By Various. For Ukulele. Ukulele. Softcover. 416 pages. Published by Hal Leonard

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

By Various. Piano/Vocal/Guitar Songbook. Softcover. 400 pages. Published by Hal Leonard

SKU: HL.3712056

Beyer-Dynamic. Monitors and Headphones. Hal Leonard #729906. Published by Hal Leonard (HL.3712056).

UPC: 196288220565. 8.5x9.0x4.5 inches.

With the open DT 900 PRO X, beyerdynamic presents a pair of circumaural studio headphones that are suitable for professional monitoring, mixing and mastering in the studio as well as on the road. This is enabled by the STELLAR.45 driver, developed in Heilbronn - Germany, which reproduces the best studio-quality sound loudly and powerfully on all playback devices. Whether on an interface, laptop, tablet or mobile phone, there are no limits to creativity. The detachable mini-XLR cable can be replaced by cables of different lengths and connection options. The rugged spring steel headband construction gives the over-ear headphones a secure fit and ensures durability. The supple velour ear pads are soft to touch, as you would expect, and ensure comfortable air. Thanks to soft memory foam, the headband adapts ergonomically to the shape of the head and, like the ear pads, it can be replaced when necessary. Robust and high-quality materials complete these headphones, which are handmade in Germany.

Solo Marimba

SKU: SU.50500220

For solo Marimba. Composed by Faye-Ellen Silverman. Percussion, Solo Percussion. Score. Seesaw Music Corp #50500220. Published by Seesaw Music Corp (SU.50500220).

Marimba Duration: 7' Composed: 2008 Published by: Seesaw Music Composer's Note: Two bagatelles for Marimba, designed to challenge the intermediate level player.

With online audio of piano accompaniments. By Various. By Various. Broadway. Softcover Audio Online. 48 pages. Published by Hal Leonard

Horn

SKU: FG.55011-426-5

Composed by Kai Nieminen. Part. Fennica Gehrman #55011-426-5. Published by Fennica Gehrman (FG.55011-426-5).

ISBN 9790550114265.

Kai Nieminen's music has been described as often constructed according to a narrative logic, as fantasy journeys in imaginary or dream-like worlds. Most of his works have an extra-musical stimulus, alluded to in their titles. They are not, however, really programmatic music, being constructed according to their own musical laws. The titles do nevertheless reflect the original stimuls and provide something of a guideline to the listening experience. The initial inspiration may be in literature or art, or equally well in an urban streetscape or nature.
Arioso for solo horn is dedicated to the memory of Holger Fransman, the now-late grand old man of Finnish horn circles. The work can be performed also with four horns.

For euphonium solo. De Haske Play-along Books. Love, Adult Contemporary and Play Along. Difficulty: medium to medium-difficult. Euphonium solo book and accompaniment CD. Standard notation. 21 pages. De Haske Publications #1001918. Published by De Haske Pu euphonium solo book and accompaniment CD Love, Adult Contemporary and Play Along

SATB a cappella Choral (SATB ACAPPEL)

SKU: HL.35018019

Composed by Ken Galbreath. SATB choir, a cappella. Mark Foster. Concert, Festival, Love. Octavo. 16 pages. Shawnee Press #MF4020. Published by Shawnee Press (HL.35018019).

UPC: 747510069416. 7.0x10.5x0.059 inches. Kenneth Galbreath.

For Valentine's Day, spring, or anytime, “Reflections of the Heart” is a wonderful musical triptych of love. Each of the three pieces could easily stand on its own, or the entire trio may be performed as one work. “Blessings” is a sprightly madrigal-style wish for the good health and happiness of a beloved. “Impressions” is a beautiful memory of the moment when hands first touched. “One Perfect Treasure” is an expression of true love and contentment. A must for your library!