SKU: XC.24031CB

9 x 12 inches.

A piece that captures the magic and intrigue of wintry folktales and snow-covered forests where mischievous elves tiptoe and scheme just out of sight. The colorful, whimsical orchestrations and melodies that weave between major and minor tonalities create an enchanting mood perfect for December concerts.

SKU: HL.50490254

ISBN 9790080144930. UPC: 884088531386. 9.0x12.0x0.21 inches. Hungarian, English. Laszlo Dubrovay.

This work was written in 2005, prompted by the composer's determination that young members of junior, music school and conservatoire wind ensembles should not be limited to transcriptions for lack of original compositions, especially contemporary ones. The new devices used in the Little Suite are suitable for student players to try out. Indeed, they enjoy them – for instance, purring or whistling into the instrument. Each of the three- or four-minute movements of this four-movement work can also be performed separately. The titles of the movements are the following: 1. In cheerful mood, 2. Song, 3. Joke, 4. March. This music in modern idiom, full of interesting new effects, offers young players an opportunity for enjoyable music-making together, and at the same time prepares them for playing more difficult contemporary works.

SKU: ET.PNO103

ISBN 9790207009777.

A bold and invigorating first movement, a mysterious and tender second movement and a third movement with several mood shifts from lyrical to highly rhythmical.
In 1971, Lane wrote his Piano Sonata 3 for piano. For whom this piece was intended remains unknown. Karl Tricomi, a student of Lane’s and also a graduate of the Eastman School of Music, performed its world premiere five years later in 1976 at Carnegie Hall (NY), in an all-Lane piano recital. This is the only documented performance of this piece. In 1971, Lane only composed another three pieces which were for tenor saxophone and wind band, soprano voice and piano and a trio for violin, cello and piano, which was dedicated to Paul Van Ness, the dedicatee of Piano Sonata 2.

SKU: ST.Y230

ISBN 9790220221736.

Comm issioned with Arts Council of Wales funds by the School of European Studies, Cardiff University, for the centenary celebrations of Samuel Beckett's birth, The Flowing Sand is a setting of five poems by this seminal 20th-century modernist that are unified as a song-cycle by meaningful contrasts of mood and of musical style. The movements are 'what would I do', 'my way is in the sand', 'Da Tagte Es', 'Roundelay' and 'saying it again'. Artistically challenging, yet well within the technical range of enterprising conservatoire students, The Flowing Sand is a major addition to the repertoire of contemporary art-song by British composers, and a significant contribution to the celebrations of the writer's anniversary year.

SKU: HL.338907

UPC: 840126914290. 6.75x10.5x0.019 inches.

Jack Halloran's arrangement of this Stephen Foster favorite has become a classic, performed by choirs from Chanticleer to the best university chorales in the world. This revoicing opens the door for high school and smaller choirs to enjoy it. A great festival piece and American standard. Easy level.

SKU: HL.14019200

UPC: 884088435592. 2.75x4.25 inches. English.

It was Christmas Eve, and the frost air was cold and still. The house where the kittens lived was snug and warm. In a twinkling of an eye everything changed. One little kitten dashed out into the night through the unexpectedly opened front door. The search for the lost kitten takes us outside, where we encounter sneaky jumping mice, howling alley cats, snuffling hedgehogs and quacking ducks. In the end, all is happily resolved! Opportunities for mime, movement and dance. If you need to license a school/youth theatre performance of this product, please use the online application form.

SKU: HL.394763

UPC: 664101001566. 6.25x10.25x2.899 inches.

Behold the almighty Power Fuzz Wah... One of the great Morley classics. Just like the original it combines Wah and Fuzz that can be used separately or together for a thunderous sound that will send other Wah pedals into hiding. It offers our widest frequency sweep, two Fuzz modes and level controls for when you need to ascend into Guitar Greatness. Try one today and see why it's been featured on countless records and used by many notable musicians. Features: •One of the great Morley classics. Fuzz and Wah packed into one pedal. •Fuzz circuit comes before the Wah circuit just like the original. •Vintage Fuzz mode emulates that old-school ripped speaker sound that the original MPSA12 Transistors achieved. Modern Fuzz mode is tighter and more Guitar Distortion like. •Classic Morley construction: 9.13″ x 5.88″ x 2.75″ (LxWxH) •Our world famous Electro-Optical design. No pots to wear out! •Premium Buffer circuit ensures pure guitar tone and output. •Glow-in-the-dark treadle rubber. •Powered by one 9-volt battery or optional Morley 9V adapter. Compatible with most 9V adapters. •Rugged cold-rolled steel housing, LED indication, quick clip battery door and one-year warranty. •Works with Guitar, Bass or Keys!

SKU: AP.46433

SKU: PR.114419070

ISBN 9781491113493. UPC: 680160671540. 9 x 12 inches.

Martin Amlin’s first recital work for Trumpet and Piano brings all the iridescent excitement that has intrigued other performers. Composed for his renowned colleague Terry Everson, Amlin’s sonata pours new wine into old bottles with its three movements titled: 1. Invention, 2. Chaconne, and 3. Moto Perpetuo. The publication provides solo parts for both C and E-flat Trumpet. Composer and pianist Martin Amlin has received grants from the National Endowment for the Arts, Tanglewood Music Center, Massachusetts Cultural Council, Massachusetts Artists Foundation, St. Botolph Club Foundation, and the Massachusetts Council for the Arts. He was a recipient of an ASCAP Grant to Young Composers and has received many ASCAPlus Awards. He has been a resident at Yaddo, the Virginia Center for the Creative Arts, and the MacDowell Colony, where he was named a Norlin Fellow.Much of Amlin’s music is characterized by a pungent tonality and energetic rhythms. His Sonata for Piccolo and Piano and Sonata No. 2 for Flute and Piano both won the National Flute Association’s Newly Published Music Competition. Concerto for Piccolo and Orchestra was premiered by the Atlanta Symphony Orchestra,and he has had performances of his music by the Pro Arte Chamber Orchestra, Tanglewood Festival Chorus, John Oliver Chorale, Back Bay Chorale, Webster Trio, and the American Vocal Arts Quintet. He has had commissions from the Seattle Flute Society, Pacific Serenades, the Chicago Flute Club, ALEA III, the James Pappoutsakis memorial flute competition, pianist Andrew Willis, and clarinetist Michael Webster.Martin Amlin is Chairman of the Department of Composition and Theory at Boston University and Director of the Young Artists Composition Program at the Boston University Tanglewood Institute. He is also recipient of Boston University’s Kahn Award for his Piano Sonata No. 7. He studied with Nadia Boulanger at the Ecoles d’Art Américaines in Fontainebleau and the Ecole Normale de Musique in Paris, and received masters and doctoral degrees as well as the Performer’s Certificate from the Eastman School of Music. Mr. Amlin has appeared as soloist with the Boston Pops Orchestra in performances of Mendelssohn’s Piano Concerto No. 1 and Gershwin’s Rhapsody in Blue, and has performed on the Boston Symphony Orchestra’s Prelude concerts at both Symphony Hall and Tanglewood. He has also appeared on the FleetBoston Celebrity Series and been pianist for the M.I.T. Experimental Music Studio and the New England Ragtime Ensemble. He has often been heard live on Boston’s WGBH radio station as both performer and composer, and has given world premieres of many new works.Martin Amlin has recordings on the Albany, Ashmont Music, Centaur, Crystal, Folkways, Hyperion, Koch International, Opus One, Titanic, and Wergo labels. .

SKU: MH.1-59913-082-3

ISBN 9781599130828.

Fant asia Nova is a suite comprising two concert marches and a slow, middle movement that derives its themes from both marches. Ragtime (composed in early September, 1978) is a new from old sort of piece. Although its tunefulness and harmonies have an old-fashioned character, its structure, development, and orchestration are unusual for a march. In the chorale section (measures 111 - 148) the band director must be very careful in balancing, for each of the elements must come through. More important is that the audience be brought up by this section -- filled with a joyous exaltation; great attention must be paid to sonority and the band must play earnestly. Ragtime stands on its own and may be performed separately. Dreams (composed in late September, 1978) is the traditional march of the two. It is very closely modeled (in structure only) to Sousa's Stars and Stripes Forever. It even includes a tricky piccolo solo, although the accompaniment has a chorale texture, almost like a school alma mater. This march has a patriotic, inspirational sound, because it was composed for the town of Irondequoit, New York -- for a Town March contest held by the town's community concert band. It did not, so far as I know, become the town's march; one can hear the name, Irondequoit, throughout the Trio, for every turn of the melody (in fact, each group of four notes) fits the accent pattern (Ih-RON-dih-kwoit) of the town's name. Parade stands on its own as a complete work and may be performed separately. Ensemble instrumentation: 1 Piccolo, 6 Flutes, 2 1st & 2nd Oboes, 1 English Horn, 1 Eb Clarinet, 3 1st Bb Clarinet, 3 2nd Bb Clarinet, 3 3rd Bb Clarinet, 1 Eb Alto Clarinet, 2 Bb Bass Clarinet, 1 Eb Contrabass Clarinet (optional), 2 1st & 2nd Bassoons, 1 Contrabassoon (optional), 1 1st Eb Alto Saxophone, 1 2nd Eb Alto Saxophone, 1 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 1st Bb Cornets, 3 2nd Bb Cornets, 3 3rd Bb Cornets, 1 1st Horn in F, 1 2nd Horn in F, 2 3rd and 4th Horns in F, 2 1st Trombones, 2 2nd Trombones, 2 3rd Trombones, 1 Euphonium (Treble Clef), 2 Euphonium (Bass Clef), 4 Tuba, 1 String Bass, 1 Timpani (Triangle), 5 Percussion.

SKU: CN.S11268

Time Present, Past and Future.... the melodic themes of this dance travel from the 5/4 meter of the present day, to the 3/4 waltzes of the past, to the 6/8 accented phrases of the future. Players will recognize the themes as they explore the variations and new meters to each dance.

Dances of Time was commissioned by the National School Band Association and first performed on 10 June 2000 at the Adrian Boult Hall, Birmingham Conservatoire, University of Central England, by the Aldridge School Wind Band , conducted by the composer. Time Present, Past and Future.... the melodic themes of this dance travel from the 5/4 meter of the present day, to the 3/4 waltzes of the past, to the 6/8 accented phrases of the future. Players will recognize the themes as they explore the variations and new meters to each dance.

SKU: CF.YPS207

ISBN 9781491152270. UPC: 680160909773. Key: C minor.

Factory Child is a protest song against child sweatshops. The piece depicts the factory life of children laboring many hours a day and manufacturing the shoes and clothes that end up in American retail stores. Young performers will find this thought-provoking piece an excellent way to use their musical voice to affect change.
Factory Child is a protest song against child sweatshops. Written in memory of Mrs. Peterson, who loved children dearly, the piece depicts the factory life of children laboring 16+ hours a day, manufacturing the shoes and clothes that end up in American retail stores.Factory Child begins with factory sounds and an oppressive, repetitive pattern that supports the melody carried by the upper voices. The second section is composed of wistful, dream-like sounds and melodies that have traces of children’s songs that remind us that these children forced into labor would love to have the opportunity to play, attend school, and dream, but cannot and realistically have little hope for a life we consider normal.  The middle section gives way to more sounds from the factory. The climax is a raucous circus-like waltz using themes from both sections.The percussion parts can be covered by six players. Some players will need to cover two parts. Use someone from the wind section if you do not have six, as some of the parts, although important, are not very difficult. The second clarinet never goes over the break and the bass line is usually doubled in the euphonium as well as in the low reeds.This piece is an excellent way for young performers to use their musical voice to affect change. It is a great discussion starter for researching where our apparel comes from and why to stay away from some brands. It can also make students aware of the fantastic opportunity they have to attend school that children in other parts of the world do not. Young students will find this piece very thought provoking.Ed Kiefer .

SKU: MH.1-59913-078-5

ISBN 9781599130781.

Alle gro Brillante is the first movement of Dragonland for band. The first performance (under the original title, A Short Symphony) was given by the L.E. Dieruff High School Concert Band, conducted by Raymond S. Becker, Jr., on April 21, 1978. The work was subsequently revised, and first performed in its new version by the University of Wisconsin-Eau Claire Symphony Band, conducted by Donald S. George, on November 23rd, 1980. Allegro Brillante is the first movement of four. The music is almost profligate in its tunefulness, quick to change tack and tempo, and will benefit from an interpretation of headstrong abandon. Ensemble instrumentation: 1 Piccolo, 7 Flute I-II, 2 Oboe I-II, 2 Bassoon I-II, 1 Eb Clarinet, 4 Bb Clarinet I, 4 Bb Clarinet II, 4 Bb Clarinet III, 2 Eb Alto Clarinet, 2 Eb Bass Clarinet, 2 Eb Contra Alto Clarinet, 2 Eb Alto Saxophone I, 2 Eb Alto Saxophone II, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 2 Bb Cornet I, 4 Bb Cornet II-III, 2 Bb Trumpet I-II, 2 F Horn I-II, 2 F Horn III-IV, 2 Trombone I, 4 Trombone II-III, 3 Euphonium B.C., 2 Euphonium T.C., 6 Tuba, 2 String Bass, 1 Timpani, 1 Percussion I, 2 Percussion II, 2 Percussion III, 1 Percussion IV, 2 Percussion V.

SKU: CN.R10268

Time Present, Past and Future.... the melodic themes of this dance travel from the 5/4 meter of the present day, to the 3/4 waltzes of the past, to the 6/8 accented phrases of the future. Players will recognize the themes as they explore the variations and new meters to each dance.

Dances of Time was commissioned by the National School Band Association and first performed on 10 June 2000 at the Adrian Boult Hall, Birmingham Conservatoire, University of Central England, by the Aldridge School Wind Band , conducted by the composer. Time Present, Past and Future.... the melodic themes of this dance travel from the 5/4 meter of the present day, to the 3/4 waltzes of the past, to the 6/8 accented phrases of the future. Players will recognize the themes as they explore the variations and new meters to each dance.

SKU: CF.YPS207F

ISBN 9781491152959. UPC: 680160910458.

Facto ry Child is a protest song against child sweatshops. The piece depicts the factory life of children laboring many hours a day and manufacturing the shoes and clothes that end up in American retail stores. Young performers will find this thought-provoking piece an excellent way to use their musical voice to affect change.
Factory Child is a protest song against child sweatshops. Written in memory of Mrs. Peterson, who loved children dearly, the piece depicts the factory life of children laboring 16+ hours a day, manufacturing the shoes and clothes that end up in American retail stores.Factory Child begins with factory sounds and an oppressive, repetitive pattern that supports the melody carried by the upper voices. The second section is composed of wistful, dream-like sounds and melodies that have traces of children’s songs that remind us that these children forced into labor would love to have the opportunity to play, attend school, and dream, but cannot and realistically have little hope for a life we consider normal.  The middle section gives way to more sounds from the factory. The climax is a raucous circus-like waltz using themes from both sections.The percussion parts can be covered by six players. Some players will need to cover two parts. Use someone from the wind section if you do not have six, as some of the parts, although important, are not very difficult. The second clarinet never goes over the break and the bass line is usually doubled in the euphonium as well as in the low reeds.This piece is an excellent way for young performers to use their musical voice to affect change. It is a great discussion starter for researching where our apparel comes from and why to stay away from some brands. It can also make students aware of the fantastic opportunity they have to attend school that children in other parts of the world do not. Young students will find this piece very thought provoking.Ed Kiefer .

SKU: CF.YPS201F

ISBN 9781491152898. UPC: 680160910397.

Alrea dy one of the most popular choral settings in the Carl Fischer Music catalog, Michael John Trotta's setting of Veni, Veni Emmanuel has now been skillfully transcribed by James Meredith for band. Trotta's setting of this seminal carol juxtaposes the old and new together in a refreshingly different approach to the song. The piece can work with band alone or with the popular choral setting. It is sophisticated enough for high school groups to put together quickly and can also work well with middle school groups.
This piece was conceived as a dialogue between the supplicants and the creator, a combination of old and new, juxtaposing a personal longing for something still to come, with the steadfast assurance of something ever-present yet not always seen. While the original theme is associated with the Christmas season, the wider theme of longing for something greater is universal to the human condition and allows this piece to be programmed throughout the year.This work may be performed with SATB Voices (published by Carl Fischer Music, CM9418).