Cello and Piano

SKU: ST.CLD148

Composed by Johann Sebastian Bach. String music. CelloLid.com #CLD148. Published by CelloLid.com (ST.CLD148).

ISBN 9790708113485.

SATB choir (a cappella), percussion

SKU: LO.15-4084H

Composed by Brad Nix. Concert, General. Heritage Music Press #15/4084H. Published by Heritage Music Press (LO.15-4084H).

ISBN 9780787789930.

Util izing the expressive nature of vowels and consonances, this piece is a extraordinary exercise in musical expression through diction and choral technique. The text consists of made up words that are inspired by various world languages and historic tradition. Brad Nix has set this text with a driving, contemporary groove that is propelled by the percussion ostinato. Allow these words to inspire imagination in your performance as you choose how to interpret in musical performance!

Composed by Jacob B. Weber. Full score. Concordia Publishing House #977884. Published by Concordia Publishing House

SSAA choir (a cappella)

SKU: LO.15-3843H

Composed by Kate Crellin. Choral. Concert, General. Octavo. Heritage Music Press #15/3843H. Published by Heritage Music Press (LO.15-3843H).

ISBN 9780787774004.

The delicate harmonic beauty of this piece is truly stunning. Though short in length, there is immense opportunity for magical expressive moments. With close harmonies weaving in and out of consonances and unisons and flowing passages paired with moments of rhythmic energy, there is so much music to be made. A repeating ending of layered melodies that gradually fades al niente will have your audience holding their breath. Composed as a set of three compositions, also look for Day of Fire and Sun (15/3898H) and Home–Thoughts, from Abroad (15/3844L).

By Ruth Schonthal. For cello and piano. Work premeried: Neues Kurhaus, Bad Wildungen (D), Corinna Eikmeier: Cello, Brunhilde Eikmeier, Piano. Commissioned by the Delta Omicron International Music Fraternity. Level: advanced. Score and parts. Composed 1989. Duration 13'. Published by Furore-Verlag (German import).

Edited by John Glenn Paton. For Voice. Book; Masterworks; Vocal Collection. Gateway Series. Masterwork. 128 pages. Published by Alfred Music Publishing

Choral Descant, alto voice, soprano voice

SKU: CF.CM9578

Composed by English Carol. Arranged by Ken Berg. Fold. Performance Score. 12 pages. Duration 3 minutes, 52 seconds. Carl Fischer Music #CM9578. Published by Carl Fischer Music (CF.CM9578).

ISBN 9781491154007. UPC: 680160912506. 6.875 x 10.5 inches. Key: E minor. English. William C. Dix.

This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singersA the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sure all singers agree on the notes actually written. This will make the singers the listeners much more comfortable with your performance. The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout. The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word. To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty. Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.
This is a very well known and beloved tune dating from the time of Henry the VIII in Britain. Therefore, there are lots of slight variations in how people have learned this tune. Please be very careful to make sureall singers agree on the notes actually written. This will make the singers  the listeners much more comfortable with your performance.The consonant combination th is very difficult for listeners to hear. Singers should work diligently to be very intentional to articulate the text throughout.The verses are all built in two similar four-measure phrases. Even though the destinations are different, both phrases end with echo words. Therefore, please be careful to sing the second syllable softer than the first. For example,sleep-ing, keep-ing, in the verses. In the repeated refrains, please sing Ma-ry in the same way; it too is an echo word.To bring laud is to bring praise and adoration. A mean estate does not equal angry; it refers to a place of poverty.Part of the reason this is such a well-known and beloved tune is that it is very singable and very lovely. Therefore, when you sing it, always work toward making your very best sound and very best face. You will enjoy your performance more and so will your listeners.

Choral SSAB Choir, piano

SKU: CF.CM9599

Composed by Sonja Poorman. Fold. Performance. 8 pages. Duration 2 minutes, 3 seconds. Carl Fischer Music #CM9599. Published by Carl Fischer Music (CF.CM9599).

ISBN 9781491154212. UPC: 680160912711. 6.875 x 10.5 inches. Key: Eb major. English, Latin. Original.

A dynamic opener or closer for any concert program, Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing. The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness. Observe the sudden dynamic changes in the final A-section. Latin pronunciation: Kahn-TAH-teh DAW-mee-naw KAHN-tee-koom NAW-voom, Kahn-TAH-teh DAW-mee-naw AWM-nees TEH-rah. Latin text translation: Sing to the Lord a new song, Sing to the Lord all the earth.
A dynamic opener or closer for any concert program,A Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing. The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness. Observe the sudden dynamic changes in the final A-section. Latin pronunciation: Kahn-TAH-tehA A DAW-mee-nawA A KAHN-tee-koomA A A NAW-voom, Kahn-TAH-tehA A DAW-mee-nawA A AWM-neesA A A TEH-rah. Latin text translation: Sing to the Lord a new song, Sing to the Lord all the earth.
A dynamic opener or closer for any concert program, Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing. The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness. Observe the sudden dynamic changes in the final A-section. Latin pronunciation: Kahn-TAH-teh DAW-mee-naw KAHN-tee-koom NAW-voom, Kahn-TAH-teh DAW-mee-naw AWM-nees TEH-rah. Latin text translation: Sing to the Lord a new song, Sing to the Lord all the earth.
A dynamic opener or closer for any concert program, Come Raise a Song on High includes English and the Latin text Cantate Domino, popular because of its joyful nature. The bright, rhythmic A-section contains a powerful, exciting accompaniment and should be sung with strength and exuberance. Keep the syncopated rhythms accurate and sing with precise diction by energizing consonants and executing clean cut-offs. Sing with a full forte, yet maintain beauty and do not over-sing.The slower B-section is legato with a flowing piano accompaniment. Sing expressively with energetic softer dynamics to aid the singers in adding more expressiveness.Observe the sudden dynamic changes in the final A-section.Latin pronunciation:Kahn-TAH-te h   DAW-mee-naw    KAHN-tee-koom     NAW-voom,Kahn-TAH-teh    DAW-mee-naw   AWM-nees     TEH-rah.Latin text translation:Sing to the Lord a new song,Sing to the Lord all the earth.

Composed by Jacob Narverud. Fold. Octavo. 8 pages. Duration 2 minutes. Carl Fischer Music #CM9648. Published by Carl Fischer Music

By David A. Clippinger. For voice, piano. Published by Theodore Presser Company.

Choral SSA Choir and Piano

SKU: CF.CM9716

Day of Wrath. Composed by David (D) Smith. 12 pages. Duration 0:01:57. Carl Fischer Music #CM9716. Published by Carl Fischer Music (CF.CM9716).

ISBN 9781491160954. UPC: 680160919550. Key: D minor. Latin. Early Latin Text.

This text is taken from the Dies Irae Sequence from the Requiem Mass. It is a contemplation of the arrival of judgment day. The A-sections, mm. 1-29 & mm. 43-end, are a manic depiction of the fierce wrath of judgment day. They should be sung with fire, crisp consonants while always enunciating the accents in order to realize the full effect of this powerful text. The entire demeanor of the tone and facial expressions should change for the B-section, mm. 30-42 as it is a plea for mercy. The audience should realize the change in this contrasting section. Translation Dies irae, dies illa: Day of wrath, that day Solvet saeclum in favilla: shall dissolve the world into embers Teste David cum Sibylla: As David prophesied with the Sibyl. Voca me cum benedictis :Call me to be with the blessed. Salva me fons pietatis : Save me, fount of pity. The Sibyl is a reference from a Greek word, which means Prophetess. In this context, the word appears in plural, referring to many prophetesses. David, or King David, has long been considered prophetic among biblical scholars. About the Arranger D. Farrell Smith is the Director of Choirs at Hilldale Middle School, and Hilldale High School in Muskogee, Oklahoma. He holds a B.A. in Music Education and the M.A. in Theological Studies. Currently the Minister of Music at Eastern Heights Baptist Church, he has been a Music educator and Minister for 20 years. Mr. Smith studied with Dr. Gary Foster and Dr. Donald Studebaker and has performed under such notables as R. Evan Copley, Daniel Pinkham, Lloyd Pfautsch, and Bev Henson.
This text is taken from the Dies Irae Sequence from the Requiem Mass. It is a contemplation of the arrival of judgment day. The A-sections, mm. 1-29 & mm. 43-end, are a manic depiction of the fierce wrath of judgment day. They should be sung with fire, crisp consonants while always enunciating the accents in order to realize the full effect of this powerful text. The entire demeanor of the tone and facial expressions should change for the B-section, mm. 30-42 as it is a plea for mercy. The audience should realize the change in this contrasting section.TranslationDies irae, dies illa: Day of wrath, that daySolvet saeclum in favilla: shall dissolve the world into embersTeste David cum Sibylla: As David prophesied with the Sibyl.Voca me cum benedictis :Call me to be with the blessed.Salva me fons pietatis : Save me, fount of pity.The “Sibyl” is a reference from a Greek word, which means Prophetess. In this context, the word appears in plural, referring to many prophetesses. David, or King David, has long been considered prophetic among biblical scholars.About the ArrangerD. Farrell Smith is the Director of Choirs at Hilldale Middle School,  and Hilldale High School in Muskogee, Oklahoma.   He holds a B.A. in Music Education and the M.A. in Theological Studies. Currently the  Minister of Music at Eastern Heights Baptist Church, he has been a Music educator and Minister for 20 years. Mr. Smith studied with Dr. Gary Foster and Dr. Donald Studebaker and has performed under such notables as R. Evan Copley, Daniel Pinkham, Lloyd Pfautsch, and Bev Henson.

String quartet - difficult

SKU: HL.49044143

For string quartet. Composed by Detlev Mueller-Siemens. This edition: Saddle stitching. Sheet music. String Ensemble. Softcover. Composed 2011. 96 pages. Duration 12'. Schott Music #ED21351. Published by Schott Music (HL.49044143).

ISBN 9790001187237.

...c alled dusk II for string quartet draws its inspiration from a line in Samuel Beckett's short story Lessness: 'Figment dawn dispeller of figments and the other called dusk'.The work is a kind of double Chaconne, each part of which contains 26 chords based on specific permutations of fundamental notes and their harmonics. Each of the parts pass through alternating, harmonically contrasted planes, becoming entwined in the manner of a chimera through their rhythmic structure and dynamics. This intermittently produces a sort of 'inner voice' which runs through all four instruments. The fundamental notes and harmonics separate during the progress of the composition, becoming independent and then disintegrating. The consonant harmony resulting from the amalgamation of the two planes ultimately collapses into a rigid motor-like linearity. Detlev Muller-Siemens.

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*) - grade 5

SKU: CN.R10004

Composed by John Ireland. Band Music. Score and parts. Duration 10:30. Published by G & M Brand Music Publishers (CN.R10004).

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

by Misha V Stefanuk. For Piano. theory and harmony. Jazz. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 128 pages. Published by Mel Bay Publications, Inc.

Mixed choir

SKU: FG.55011-348-0

Composed by Matthew Whittall. Score. Fennica Gehrman #55011-348-0. Published by Fennica Gehrman (FG.55011-348-0).

ISBN 9790550113480.

Shik i began as a request for a short winter-themed piece for the Hamalais-Osakunnan Laulajat choir in Helsinki. It eventually grew into a four seasons-type cycle on haiku by a 20th century Japanese monk Santoka Taneda.
The music of Shiki is a progression through various states of near-stasis. The main impression the composer wished to convey was the one of absolute stillness at the heart of each scene, of communion with the outer world, as if the viewer were drawing the landscape into him, and at the same time dissolving himself into it. The voices are treated texturally, as well as textually, moving on slow masses, with the soft but precisecely colored vowels of Japanese creating the basic sounds, and the sharper consonants giving them shape and definition.

Composed by Nancy Raabe. For Unison choir with piano. Sacred Anthem. General. Octavo. Published by Chorister's Guild