366 More Great Songs for Better Living. Arranged by Jim Beloff, Liz Beloff. Fake Book. Country, Pop, Standards. Softcover. 416 pages. Published by Hal Leonard (HL.212971).

SKU: PR.16400212S

Composed by Dan Welcher. With Standard notation. Duration 16 minutes. Theodore Presser Company #164-00212S. Published by Theodore Presser Company (PR.16400212S).

UPC: 680160037605.

Works of chamber music including flute and strings are not nearly as numerous as those for clarinet, or even the oboe. Probably the reason for this is the less assertive, more pure tone the flute possesses - it can't compete for volume or range with the clarinet, except in its top octave, and the oboe's tone is more penetrating and easily discerned from within a string texture. Consequently, composers who have written for flute and strings have done so in lightweight divertimento works: compare, for instance, the delicate flute quartets of Mozart with his monumental quintet for clarinet and strings.   When Karl and Joan Karber approached me with the ideas of writing a work for flute and string trio, I originally thought it would be best to write a humorous, rather offhand piece - but a look at their repertoire (mostly comprised of smaller works of the Rococo period) convinced me that it was the last thing they needed. In spite of the challenge (or maybe because of it?), I determined to write a large work, and a serious work. Zephyrus (named for the God of the West Wind, in deference to the flute) is a three-movement work, with each movement cast in a very different form, but all three being built of the same twelve-note series. There is also a rhythmic motive and a pair of themes that appear in all three movements.   The first movement plays with the idea of contrast and persuasion. The flute, at the outset, is the hell-for-leather protagonist, charging and swooping around the strings - who seem oddly unconcerned by his passion. Indeed, they have a more somber song to sing - and as the movement unfolds, the flute becomes less and less active, while the strings become increasingly enlivened. By the midpoint, when all four instruments are finally in the same meter and the same tempo, the flute's energy has finally infected the other three players, and this energy does not let up until the movement's abrupt final cadence.   The second movement begins with a tag from the first - as if the energy left over was too great to simply stop. At length, though, a very poignant flute melody appears over an almost bluesy harmony in the strings. After this has been fully exposed, a slight increase in motion, marked gently rocking in triplets, features a theme-fragment from Leonard Bernstein's Symphony No. 2 (Kaddish). Bernstein died as I was writing this work, and it seemed quite natural to encourage what was already implicit in the music, and create an Elegy for L.B. The music rises and peaks, then in the recapitulation of the opening the Kaddish theme reappears, as the ensemble suggests a gentle song of sleep.   The final movement is a Rondo-Variations form, with the slight alteration of adding the main theme of the second movement in what would be the trio of the form. The ritornello theme is a kind of ethnic dance music, almost an allusion to the Klezmer ensembles of Eastern Europe. The successive episodes between the ritornelli are loosely organized variations on the basic theme, but always beginning with a metric modulation, a rhythmic changing of gears. The movement reaches and apex of speed and furious pulsing, then abruptly pirouttes, and finishes.   Zephyrus was written between April and November of 1990 in Austin, Aspen, and Honolulu, and is dedicated to Karl Kraber and The Chamber Soloists of Austin. --Dan Welcher.

(4th Edition ) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Pop rock, rock and pop. Series: Hal Leonard Fake Books. 584 pages. 9x12 inches. Published by Hal Leonard.

Over 400 Songs to Strum and Sing. By Various. Ukulele. Pop. Softcover. 632 pages. Published by Hal Leonard

Over 400 Songs to Strum and Sing. Composed by Various. Ukulele. Folk, Standards. Softcover. 632 pages. Published by Hal Leonard

Piano Solo - Easy-Intermediate

SKU: FP.FBS03

Composed by Sarah Baker. Sheet Music and Books. Nine pieces on a day time theme for solo piano, by Sarah Baker. Suggested grade 4-5. Classical. Collection. Forsyths Publications #FBS03. Published by Forsyths Publications (FP.FBS03).

ISBN 9790570500192.

Sara h Baker is Vocal Composer in Residence at Education Music Services, an ABRSM examiner and a well known composer of songs and musicals for primary schools and massed-choral events.

All this experience has come together in the creation of this album of piano pieces, inspired by growing up in the Chiltern Hills. Suitable for players of around grade 4-5 standard, her evocative sound pieces describe a crash-landing hot air balloon, garden invading cows and a even a snake in a pond!

Air Balloon!: One vivid memory I have as a child is of the day that a hot air balloon passed over our house and made an emergency landing on the road in front! The sound of the gas being blown into the balloon to try to keep it high enough to pass the house sounded so loud and intimidating, and then there was the bustle of the neighbours as we all went out into the street to watch. It was both terrifying and exhilarating to watch the balloon float past and then land so near by.

Buzzards Circling: There is something so calming and restful about watching birds of prey circling in the thermal currents of a summer sky. Growing up in the Chilterns gave me plenty of opportunity to watch buzzards and red kites. This piano solo captures the beauty of their flight as they glide so effortlessly through the air.

There’ s A Cow In The Garden Eating The Flowers: Inspired by the memory of seeing an unexpected cow in the garden! This surreal image is captured in a quirky waltz, as I portray both the absurdity of the moment and the sense of wonder I felt as a child, looking out of the window and seeing the cow walking round and eating the flowers. The final phrase articulates my longing: ‘I wish it would come again’.

Wat ching The World Go By: A short, reflective piece, remembering what it was like to have time to just sit and watch the world go by from my bedroom window.

Autumn Skies: A miniature about the beauty of Autumn skies and the poignant sense of loss for a summer gone. Friends I was fortunate to have several children of my own age living close by. We seemed to be forever making dens, playing out in the street and generally enjoying each other’s company. This piece reflects that sense of well-being.

Snake In The Pond: One hot summer I was astonished and scared to see a grass snake cooling off in our garden pond! I watched, both horrified and fascinated, as it rose up from the depths and then disappeared again. Here I portray the sense of the hazy summer afternoon as I peacefully watched the tiny movements of fish in the pond, contrasted with the fear and excitement of seeing the snake appear.

Morning Commute: I recollect many mornings stuck in traffic as my Dad took me to school on his way to work. There is one main road out of the village where I grew up, and that got more and more congested the closer we got to the town. We may not have chatted a lot, but it was always good to be together with my Dad, lost in our own thoughts.

The Witch’s Cottage: My siblings and I had a fascination with a small cottage nearby. It was set back from the road in a dark part of the woods and we called it 'the witch's cottage’. Every time we passed, I imagined I heard the distant cackle of the witch and wished I could catch a glimpse of her.

These pieces are written to complement my other collection, Night Time Impressions, which also draw on childhood recollections, particularly of the woods behind the house where I grew up. - Sarah Baker 2023.

By Various. Almost 600 pages of world-famous Sher Music transcriptions! Don't go to the gig without it!. Various. Fake Book. Published by Sher Music Company.

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.

Composed by David Leisner (1953-). Sws. Duration 10 minutes. Theodore Presser Company #144-40721. Published by Theodore Presser Company

By Music Sales. Songbooks and Methods. Book and 2CDs, Mixed Songbook. Text language: English. 136 pages. Published by Music Sales.

String quartet String Quartet

SKU: PR.16400272S

Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S).

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

Chamber Music String Quartet

SKU: PR.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

By Johann Sebastian Bach. For Choral. (Vocal Scores). CD Sheet Music (Version 2.0). PDF file on CD. 2500 pages. Published by Subito Music.

Guitar - Intermediate

SKU: MB.WBM75M

Saddle-stitched. Folk. Book and online audio. Mel Bay Publications, Inc #WBM75M. Published by Mel Bay Publications, Inc (MB.WBM75M).

ISBN 9781737795353. 8.75X11.75 inches.

This is a collection of 86 guitar solos in notation only from William Bayâ??s books, Solo Guitar in Worship, Communion, Psalms, Timeless Gospel Melodies and Spirituals. The solos work well as preludes, offertories, communion hymns, recessionals or they can be played for enjoyment.  All 86 solos have been recorded and are available as online downloads with this book.

For C Instruments. Composed by Various. Fake Book. Softcover. 456 pages. Published by Hal Leonard (HL.160838).

Fakebook for Eb instruments. Series: Just Real Books Series, Fake Book. 408 pages. Published by Alfred Publishing.

Lyrics/Chords Ukulele

SKU: HL.232108

By The Beatles. Ukulele. Pop. Softcover. Composed 2014. 384 pages. Hal Leonard #NO91894. Published by Hal Leonard (HL.232108).

ISBN 9781783052738. UPC: 888680677329. 4.5x7.5x0.899 inches.

Complete lyrics and chords to 195 Beatles songs, including: Across the Universe • All My Loving • All You Need Is Love • And I Love Her • Back in the U.S.S.R. • The Ballad of John and Yoko • Birthday • Blackbird • A Day in the Life • Day Tripper • Dear Prudence • Drive My Car • Eight Days a Week • Eleanor Rigby • Good Day Sunshine • Got to Get You into My Life • A Hard Day's Night • Help! • Helter Skelter • Here Comes the Sun • Hey Jude • I Saw Her Standing There • I Want to Hold Your Hand • In My Life • Let It Be • The Long and Winding Road • Lucy in the Sky with Diamonds • Penny Lane • Revolution • Something • Ticket to Ride • Twist and Shout • When I'm Sixty-Four • While My Guitar Gently Weeps • Yellow Submarine • Yesterday • and more. 4-1/2 inches x 7-1/2 inches.

Lyrics/Chords Guitar

SKU: HL.242081

By The Beatles. The Little Black Songbook. Pop. 384 pages. Hal Leonard #HL00242081. Published by Hal Leonard (HL.242081).

ISBN 9781785588617. UPC: 888680704407. 4.75x7.75x0.956 inches.

A pocket-sized collection of 195 Beatles hits presented in chord songbook format. Includes complete lyrics, chord names & a handy chord box reference sheet. Including classic hits such as: All You Need Is Love • Can't Buy Me Love • Day Tripper • Do You Want to Know a Secret • Eleanor Rigby • From Me to You • Get Back • Help! • Hey Jude • I Want to Hold Your Hand • Let It Be • Magical Mystery Tour • Ob-La-Di Ob-La-Da • Please Please Me • Ticket to Ride • Twist and Shout • and more.

(High Voice). By Various. For Vocal. Fake Book. 438 pages. Published by Hal Leonard

(Low Voice). Composed by Various. For Vocal. Fake Book. 440 pages. Published by Hal Leonard

C Edition. Fake Book (Includes melody line and chords). Book only. Size 9x12 inches. 352 pages. Published by Hal Leonard.

Dan Welcher’s most enduringly and frequently played orchestral work, Prairie Light is a fascinating musical companion to three of Georgia O’Keeffe’s most unusual paintings, Light Coming on the Plains, Canyon with Crows, and Starlight Night. This work is ideal for performances using visual projections of the paintings, and is frequently programmed for subscription concerts as well as those for educational settings. Duration: 14’ Parts available on rental.
This work for full orchestra was inspired by three paintings of the noted Americanartist Georgia O’Keeffe. These three watercolors were done in 1917 while the artist was living in Canyon, Texas (near Amarillo), and deal primarily with color and shape. Consequently, the music is primarily concerned with broad lines and shapes rather than rhythms, with subtle washes of color rather than constant harmonic movement, and with arching melody instead of linear counterpoint.The first movement, Light Coming on the Plains, is an elliptical-shaped painting, deep blue to indigo with a “horizon” at the bottom that seems flat and unchanging. The sun hasn’t risen yet, although it does in the course of this movement, but it seems instead to be providing light from behind the canvas. The music is unmoving in terms of rhythm or harmony (although there is a modulation midway through), a color-infused mantra of sound that is almost Eastern.At the height of the sun, we proceed to the second movement, entitled Canyon with Crows. The canyon is red-orange, with black crows circling above friendly unfolding hills. The music is gentle but lively and more rhythmic, with the birds represented by solo oboe, clarinet, and sometimes flute. Halfway through, the brass have a chorale version of the opening motive, played very slowly, over the unending triplets of woodwinds and strings. At the end of the movement, the birds return for a duo-cadenza, accompanied by the dying rays of the sun in muted strings and the ongoing triplets of the solo quartet.The stage is set for the final movement, Starlight Night. In O’Keeffe’s painting, the stars are represented by regularly-spaced rectangles of bright pale yellow on a blue-black sky, with the same shape to the field of vision and the horizon that is found in Light Coming on the Plains. The stars become audible: harp, celesta, glockenspiel, and string pizzicati all lend a sparkle while a solo flute introduces a slowly unfolding theme. After this theme has been heard twice and the sky has begun to really brighten, there is a sudden interruption: a xylophone and a piano begin another “mantra” in brittle staccato chords. This is the same mechanical eternity as O’Keeffe’s regularly-spaced square stars, and it continues on its own as the night progresses. The music builds and grows as the moon rises and arcs, then falls as the pre-dawn light that opened the work returns to bring it to a close. Acycle of light, changing with the movements of sun, moon, and stars, appearing differently from various points of view