Trombone Quartet - moderately advanced

SKU: CY.CC2823

Composed by Thomas Tallis. Arranged by James Haynor. 16th Century English. Score and parts. Published by Cherry Classics (CY.CC2823).

James Haynor has arranged three short liturgical works by Thomas Tallis for Trombone Quartet. Tallis was the first English composer to set English words to music for the Church.
1. If you love me
2. Verily, verily I say unto you
3. Gloria Patri
Number 1. is his most famous anthem, written in English as decreed by King Henry VI.
Number 2, also an anthem, but to be used during the Anglican communion service.
Number 3, Gloria Patri is a Doxology or short hymn of praise to God used by Catholics and high Anglicans.
These three short works total about 3 1/2 minutes in length.
The music is appropriate for moderately advanced performers, the first player should have a good high C (the first part is in tenor clef).

By Various. Jazz. Fake Book. 550 pages. Published by Sher Music Company. CD Included with the book contains 37 melodies played by the following artists: Bob Sheppard - saxes and flute Steve Houghton - drums Dave Carpenter - acoustic bass Paul van Wageningen - drums Marc van Wageningen - electric bass Larry Dunlap - piano and synthesizer Dave Mac Nab - guitar.

(for percussion quartet). Composed by Bradley Slayter. For percussion quartet (6 concert toms, 1 drum set [kick, snare, 2 rack toms, 1 floor tom, hi-hat, crash cymbal], 1 set of bongos, 2 brake drums [high and low], 1 concert bass drum, hi-hat, ride cymbal, 2 china cymbals, 2 splash cymbals, 2 Zil-bells, 1 tambourine). Medium. Folio and parts on CD-ROM. 12 pages. Duration 4'00 . Published by Tapspace Publications

SKU: WD.080689543173

Composed by Marty Hamby. Choral, cantatas. Southern Gospel Songs. Book. Word Music #080689543173. Published by Word Music (WD.080689543173).

UPC: 080689543173.

Southern Gospel Songs…
< br/>Just mention that phrase, and a certain sound and style immediately come to mind. And it comes simultaneously as both a visual and an audible trigger. It is sight and sound encapsulated in so many shapes and forms…from the original, iconic male quartet with a stride-style piano man, to the famous mixed groups—usually a family; Dad, Mom, sons and daughters, spouses—to the not infrequent trio, sometimes all male, sometimes all female, sometimes mixed voices, and even the occasional solo artist…all delivering soulful, joyful, heartfelt and inspiring songs. Songs for the church. Southern Gospel Songs. Songs about life, about prayer, about joy, about sadness, about Heaven, about victory, about coming home and about going home; songs of cheer, songs of love, songs of conviction, songs of salvation…Sou thern Gospel Songs. And whether you first heard one of these songs sung by a quartet, a mixed group, a trio, a soloist, performed with piano accompaniment only, a full band, or accompanied by an orchestra, you haven’t really heard it until you’ve heard it sung by a choir! Southern Gospel Songs for Southern Gospel Choirs...one of the sweetest sounds this side of Heaven!

Thatâ� �™s what this book, with its dynamic arrangements by Marty Hamby, is all about -- Southern Gospel radio hits, classic Southern Gospel songs, and new and emerging Southern Gospel hits; they are all ready and waiting for you to add the one missing ingredient… your choir! So grab your robes, get your choir folders in hand, do a vocal warm-up or two, and get ready to “sing the glory down” with this great new collection of Southern Gospel Songs!

Choral SATB choir

SKU: CF.CM9700

Composed by Hungarian Folk. Arranged by Stacy Garrop. 20 pages. Duration 4:44. Carl Fischer Music #CM9700. Published by Carl Fischer Music (CF.CM9700).

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJa rba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

By Traditional. Arranged by Wesley Hanson. Trombone Quartet. For 3 tenor trombones and 1 bass trombone. German Folk song. Intermediate. Full score and set of parts

SKU: BR.EB-9387

Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387).

ISBN 9790004188576. 0 x 0 inches.

Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

From 'The Messiah'. Composed by George Frideric Handel (1685-1759). Arranged by Andrew Glover. Young band. Command Series. Score and parts. Duration 0:3:53. Published by C.L. Barnhouse (CL.011-4483-00).

Grade 2

SKU: CL.011-3499-01

Composed by Neeck. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR342). Extra full score. Composed 2006. Duration 2 minutes, 52 seconds. C.L. Barnhouse #011-3499-01. Published by C.L. Barnhouse (CL.011-3499-01).

A unique Christmas medley which features an optional brass quartet (2 trumpets, horn - cued in alto sax - and trombone) from within the band. Carols included are O Come All Ye Faithful, Deck The Halls, Silent Night, and Jingle Bells. Very playable, the use of the brass quartet allows you to feature four of your best brass players, and Larry's excellent arrangement guarantees it will be a big hit at any holiday season performance! Check this one out!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

4-part Trombone Ensemble - intermediate

SKU: CY.CC2997

Composed by John Frith. Contemporary Rock. Score and Parts. 20 pages. Cherry Classics #2997. Published by Cherry Classics (CY.CC2997).

ISBN 9790530058169.

Thes e TWO SUITES were composed in response to a request form Heini Schneebeli, the musical director of 'TROMBONANZA 2017'. Santa Fe in Argentina is the backdrop for this exciting annual event involving many hundreds of student and professional players.
The FIRST SUITE has three movements and is intended for a trio of younger tenor trombonists working with a teacher on bass trombone who will add richness and depth to the ensemble sound.
It is my hope that this piece will encourage, entertain and challenge student players and provide useful concert material for use in the promotion of this unique and versatile instrument.
John Frith - 2017
This work is appropriate for younger performers at an intermediate level all in bass clef. The three movements total about 5 1/2 minutes in length and have the following titles:
1. Totem Tango
2. Full Steam Ahead
3. Clowning Around

SSAATTBB a cappella. By Benjamin Britten. (SSAATTBB A Cappella). Boosey and Hawkes Sacred Choral. Size 6.75x10.5 inches. 8 pages. Published by Boosey and Hawkes.

Grade 2

SKU: CL.011-3866-01

Composed by Huckeby. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR363). Extra full score. Composed 2009. Duration 1 minute, 57 seconds. C.L. Barnhouse #011-3866-01. Published by C.L. Barnhouse (CL.011-3866-01).

Wow! That's what your audiences will say when your saxophone section, sax quartet, or even your best alto soloist show off with this appealing new sax feature. With clever syncopations and creative use of the saxophone's most effective range, this piece provides a toe-tapping opportunity for your audiences to really have fun at your concert - and your saxes will absolutely love you for giving them a chance to shine!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

By Pat Martino. Pat Martino. For Guitar. Guitar DVD. Alfred's Artist Series. Jazz. DVD. Published by Alfred Publishing.

Concert band - Grade 3

SKU: CL.011-4483-01

From The Messiah. Composed by George Frideric Handel. Arranged by Glover. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR389). Extra full score. Composed 2016. Duration 3 minutes, 53 seconds. C.L. Barnhouse #011-4483-01. Published by C.L. Barnhouse (CL.011-4483-01).

Audiences have always loved Handel’s Hallelujah Chorus at the holiday season. Composed for chorus with orchestra, this arrangement presents this classic work as a brass quartet (taking the role of the chorus) with band accompaniment. Quartet parts are included for two trumpets, trombone (or baritone in either clef, or horn) and baritone (in either clef.) Transposed to B-flat major, this arrangement sounds very full and sonorous, and can be prepared with a minimal amount of rehearsal time. A guaranteed holiday spectacular which will enthrall your audience!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Concert Band Concert Band - Grade 2.5; Grade 3

SKU: FJ.B1737

Composed by Brian Balmages. Concert Band; MakeMusic Cloud. FJH Young Band. Christmas; Holiday Pops. Score and Part(s). Duration 5:00. The FJH Music Company Inc #98-B1737. Published by The FJH Music Company Inc (FJ.B1737).

UPC: 241444392362. English.

This emotional and reflective work paints a stunning picture of the holiday season as seen through the eyes of a homeless person on a street corner. The music relies heavily on a juxtaposition of the Ukrainian Bell Carol and Greensleeves, painting a picture of a lonely person who is eventually joined by others. Ultimately, a quartet performs in dramatic fashion before switching to a final duet, leaving the homeless person with a granted wish - company. A stunning and unique work that brings incredible awareness to the holidays and the true spirit of giving.

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5