By John M. Feierabend. Music Education. Instructional. Text language: English. 416 pages. Published by GIA Publications.

On the Lighter Side. By John Kember. Schott. Size 9x12 inches. 22 pages. Published by Schott.

By John Robert Poe. For piano. Piano. Level: Elementary. Collection. Published by Neil A. Kjos Music Company.

12 Favorite Hymns. By Charles C. Converse; Conrad Kocher; Franklin Sheppard; George J. Elvey; John B. Dykes; John Wyeth. Arranged by Albin C Whitworth. Solo piano. For Piano. Classical. Soft Cover. 32 pages. Published by Carl Fischer.

Organ

SKU: SU.80101120

For Organ. Composed by Various. Keyboard, Organ. Score. Zimbel Press #80101120. Published by Zimbel Press (SU.80101120).

Six contemporary composers were invited to write new hymn preludes for this collection. The result is a set of fresh, accessible compositions, highly suitable for worship or recital use. The six compositions are: Prelude on Wachet auf (Frederick Frahm), Prelude on Melita (John S. Dixon), Prelude on Kingsfold (Bruce Polay), Trio on Wareham (Sandra Gay), Prelude on Gelobt sei Gott (David W. Solomons), and Jubilee-Postlude on Converse (Carson Cooman).
Published by: Zimbel Press.

By Charles C. Converse. Arranged by Craig Jessop, John Longhurst. For SSAATTBB Choir. Medium. Duration 4:15

By Fred Bock. Fred Bock Publications. Size 9.3x12 inches. Published by Fred Bock Music Company.

Transcriptions from Buckley's Banjo Guide of 1868. Composed by Tim Twiss. Squareback saddle stitch, Solos and Duets, Banjo: 5-String. Book and online audio. 120 pages. Mel Bay Publications, Inc #30718M. Published by Mel Bay Publications, Inc

The Quintessential Guide to Creating Quality Musical Theatre Programs. Choral. Hardcover. 368 pages. GIA Publications #G9403. Published by GIA Publications

SATB choir

SKU: GI.G-8451

WGRG Liturgy Booklet - Number 12. Composed by Graham Maule and John L. Bell. Iona Community. Sacred. 48 pages. GIA Publications #8451. Published by GIA Publications (GI.G-8451).

ISBN 9781909469112. English. Text Source: Wild Goose Resource Group, Iona Community, Scotland. Text by John L. Bell.

This new liturgy from the Wild Goose Resource Group seeks to engage people with the biblical and contemporary issues of wealth and material possessions in an accessible way. Spare Change & Gilt-Edged Grace is the twelfth in the series of WGRG Liturgy Booklets. It contains a full liturgy formatted in both leader’s and congregational versions. With hope, Liturgies such as this may evoke the beginning of an honest conversation on a subject that is given scant attention in our worship today.

Chamber Music Goodman (Mezzo soprano), Johnson (baritone), McNamara (tenor), Mrs. Chaney (soprano), Piano, alto voice, bass voice, choir:, soprano voice, tenor voice

SKU: PR.441410240

For Soprano, Mezzo Soprano, Tenor, Baritone, Chorus and Orchestra. Composed by Steven Stucky. This edition: Vocal score. Libretto by Gene Scheer. Laquita Mitchell/Soprano, Kelley O?Connor/Mezzo-soprano, Vale Rideout/Tenor, Robert Orth/Baritone, Dallas Symphony Chorus (David Davidson, Director); Dallas Symphony Orchestra, conducted by Jap van Zweden. Contemporary. Vocal Score. With Standard notation. Composed 2008. 132 pages. Duration 1 hour, 10 minutes. Theodore Presser Company #441-41024. Published by Theodore Presser Company (PR.441410240).

UPC: 680160589128. Libretto by Gene Scheer.

August 4, 1964 was commissioned by the Dallas Symphony for the 2008 celebration of President Lyndon B. Johnson’s centennial year. The 75-minute oratorio focuses on two events that came to a head on August 4, 1964, events that defined LBJ’s presidency: the discovery of the bodies of three slain civil rights workers in Mississippi, and the bombing of North Vietnam, which accelerated U.S. involvement in the Vietnam war. Gene Scheer’s thoroughly-researched libretto includes actual transcripts of White House phone conversations and government documents, as well as letters from the mothers of the slain civil rights workers.

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.

By Greg Fishman. For saxophone duet. Play Along, Jazz. Book and 3 CDs. Published by Greg Fishman Jazz Studios.