SKU: LO.30-3242L

Composed by Pepper Choplin. Arranged by Larry Shackley. Choral, cantatas. Christmas. Full score. Lorenz Publishing Company #30/3242L. Published by Lorenz Publishing Company (LO.30-3242L).

UPC: 000308142440.

One Silent Night long ago, a birth story began that forever changed the world. Lying in a crude manger was a new-born babe, who would become the Source of our Christian faith and our abiding hope. Using the power and simplicity of the event itself, composer and creator Pepper Choplin presents each of the familiar elements of that story through ballad-like recitatives of scripture, surrounded by anthems ranging from outbursts of unbridled joy to moving moments of introspection and gentleness. Weaving familiar carols and songs throughout original music, this timeless tale emerges in a deeply moving presentation that will lift one’s faith and deepen one’s understanding of the profound significance of that One Silent Night. Orchestration by Larry Shackley for 2 Fl, Ob, 2 Cl, Bsn (sub Bass Cl), 2 Hn (sub 2 A Sax), 3 Tpt, 2 Tbn (sub 2 T Sax), Tuba, 2 Perc, Timp, Harp, Pno, 2 Vln, Vla, Cello, Bass, Digital Strings.

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

By Erik Morales. For concert band. FJH Concert Band. Full set (score and parts). Score only also available: B1391S. Grade 3. Score and set of parts. Composed 2009. Published by The FJH Music Company Inc

Composed by Eric Whitacre. Octavo for SATB choir (divisi a cappella). Choral. Eb Major. 12 pages. Published by Walton Music.

3-6 octave handbells - Level 3

SKU: BP.HB777

Composed by Jason W. Krug. General. Score. Beckenhorst Press #HB777. Published by Beckenhorst Press (BP.HB777).

UPC: 748769307779. 8.5 x 11 inches.

Fanfare and Intrada is a bold and original 3-5 octave handbell composition by Jason W. Krug. The piece opens with a grand fanfare, with the bells ringing out in triumphant bursts of sound that build in intensity. A more reflective middle section offers a respite before the return of the driving rhythm of the opening. This exciting original is not to be missed!

(Mary Had a Baby). By Sally K. Albrecht. Choir Secular. 3-Part Mixed Choir (SAB). Choral Octavo. Choral Designs. Christmas; Winter. Choral Octavo. 12 pages

Composed by Caroline Ailin, Dua Lipa, Emily Warren, and Ian Kirkpatrick. Arranged by Alan Billingsley. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Pop; Radio; Secular. Choral Octavo. 12 pages. Alfred Music #00-48952. Published by Alfred Music

Composed by Sean O'Loughlin. Beginning Band. Score and part(s). 16+124 pages. Duration 1 minute, 47 seconds. Carl Fischer #BPS0085. Published by Carl Fischer (CF.BPS85).

Concert Band Concert Band - Grade 1.5

SKU: FJ.B1490S

Score Only. Composed by William Owens. Concert Band. FJH Developing Band. Score. Duration 2:00. The FJH Music Company Inc #98-B1490S. Published by The FJH Music Company Inc (FJ.B1490S).

English.

Open your next concert with this invigorating fanfare that combines powerful themes with stately lines as music bursts forth in a flurry of energy. A transient middle section incorporates harmonic shifts and texture changes as the music builds into the closing triumphant material. Captivating!

Concert Band - Grade 0.5

SKU: AP.47375S

Composed by Patrick Roszell. Concert Band; Performance Music Ensemble; Single Titles. Belwin Very Beginning Band. Score. 16 pages. Duration 1:45. Belwin Music #00-47375S. Published by Belwin Music (AP.47375S).

ISBN 9781470653156. UPC: 038081541860. English.

A flash point is described as a point at which someone or something bursts suddenly into action or being. Introducing accented, staccato, and legato articulations, all instruments get an opportunity to play one of the contrasting themes. With a variety of teaching opportunities, this exciting and punctuated composition is a welcome addition to any program. (1:45).

Concert Band Concert Band - Grade 1.5

SKU: FJ.B1684

Composed by Tyler S. Grant. Concert Band. FJH Developing Band. Multicultural; Programmatic. Score and Part(s). Duration 2:45. The FJH Music Company Inc #98-B1684. Published by The FJH Music Company Inc (FJ.B1684).

UPC: 241444371718. English.

Travel back in time to 1775 and the Battle of Lexington and Concord, the tipping point for the American Revolutionary War. This fiery engagement is depicted with a slow, ominous introduction as soldiers gather to await the arrival of British forces. As the battle ensues, the music frantically portrays the struggle between the two sides and the percussion emulates the sound of canon bursts and rifles. An aggressive & historical tribute of significant merit!

About FJH Developing Band

Sligh tly more advanced than beginning band. Clarinet 1 begins to play over the break. Rhythms and ranges are expanded to accommodate the end of first-year as well as second-year instruction. Grade 1.5

SATB Choir and Piano

SKU: HL.14029913

Composed by Geoffrey Shaw. Music Sales America. Classical. Choral Score. Music Sales #NOV400960. Published by Music Sales (HL.14029913).

Piano

SKU: FG.042-08397-0

Composed by Einar Englund. Published by Fennica Gehrman (FG.042-08397-0).

ISBN 979-0-042-08397-0.

Englund's second piano sonatina The Parisian dates from 1984. Neoclassical in style, its brilliantly driving first movement gives way to the the sarabande-like middle movement, whose ambiguous harmonic motion in parallel thirds with octave doublings is challenged by a clangorous outburst of polytonality. The last movement is a fiery gigue on a jagged, syncopated theme.

Grade 2.5

SKU: CL.012-1824-01

Overture. Composed by J. Spears. Concert Band. Bach Series arranged by Alfred Reed. Audio recording available separately (items CL.WFR324 & CL.WFR195). Extra full score. Composed 1985. Duration 5 minutes, 10 seconds. Opus III Wind Orchestra Publications #012-1824-01. Published by Opus III Wind Orchestra Publications (CL.012-1824-01).

Opening with colorful bursts from various sections, the music surges forward to an energetic theme supported by driving harmonies and rhythms. A beautifully orchestrated middle section with a lush, expressive melody featuring solo trumpet or trumpet section is followed by a return to the original energetic tempo and an exciting ending.

About Bach Series arranged by Alfred Reed

Maste rful settings for concert band by the venerable Alfred Reed, these works have been scored to achieve richness and beauty without detracting from the textural construction created by Bach himself. Marvelous educational and program material!