Flute. Arranged by Various. Book; CD; Instrumental Series; Play-Along; Worship Resources. Instrumental Solo Series. Contemporary Christian; Pop; Sacred. 32 pages. Published by Alfred Music

Cello. Arranged by Various. Book; CD; Play-Along; String Series; Worship Resources. Instrumental Solo Series. Contemporary Christian; Pop; Sacred. 32 pages. Published by Alfred Music

Horn in F. Arranged by Various. Book; CD; Instrumental Series; Play- Along; Worship Resources. Instrumental Solo Series. Contemporary Christian; Pop; Sacred. 32 pages. Published by Alfred Music

Composed by Mary McDonald. Musicals. Holy Week. Preview pack - book and listening CD (limit 1 per customer). Published by Hope Publishing Company (HP.8706).

Composed by Mary McDonald. Musicals. Holy Week. Listening CD. Published by Hope Publishing Company (HP.8702).

By Mack Wilberg (1955-). For SATB choir and piano 4-hands/full orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon, 4 horn, 3 trumpet, 3 trombone, tuba, timpani, 5 percussion (glockenspiel, finger cymbals, chimes, suspended cymbal, tambourine, Snare Drum), harp, organ, strings). Mixed Voices. Christmas Choral Leaflet. Vocal score. Duration 5'

Trumpet - intermediate

SKU: BT.DHP-1002332-401

Arranged by Robert van Beringen. Educational Tool. Book Only. Composed 2000. 44 pages. De Haske Publications #DHP 1002332-401. Published by De Haske Publications (BT.DHP-1002332-401).

ISBN 9789043112130. English-German-French-Dut ch.

This is a great value collection of 24 pop songs and traditional melodies arranged for unaccompanied solo. Every style of pop music is included with songs by Britney Spears (Sometimes and Born To Make You Happy), Queen (Crazy Little Thing Called Love), Lou Bega (Mambo No 5), Brian Adams (Everything I Do), Elvis (You’ll Never Walk Alone) and many more.

Inhoud: Mambo No. 5 • Sometimes • Vive l’amour • A Woman in Love • Love Is All • Crazy Little Thing Called Love • Conquest of Paradise • Fly Me to The Moon • Havah Nagilah • This Melody • I Don’t Need Her, I Need You • A WhiterShade of Pale • On Top of Old Smokey • Everything I Do, I Do It for You • Reach Out, I’ll Be There • Swing Low, Sweet Chariot • The Yellow Rose of Texas • Butterfly • Born to Make You Happy • You’ll Never Walk Alone • And the BandPlayed on • Waltzing Matilda • We Shall Overcome • When the Saints Come Marching In

Nach dem großen Erfolg von Top Hits Solo I> wird die Reihe hier mit noch mehr unvergesslichen Pophits fortgesetzt.

Composed by Mary McDonald. For SATB choir choir. Musicals. Holy Week. Voice-Dominant SA/TB Rehearsal CDs (set of 2) Reproducible. Published by Hope Publishing Company

Composed by Mary McDonald. For SATB choir choir. Musicals. Holy Week. Choral score. Published by Hope Publishing Company

Vocal, Solo Solo Voice (Choral, Handbells, Orchestra, Vocal Solo/Duet) - Level 2

SKU: HP.8822

Composed by Twila Paris. Arranged by Lloyd Larson. Contemporary, Lent, Good Friday, General Worship, Atonement, Devotion, Discipleship, Lamb of God, Sacrifice, Sacred. Vocal score. 8 pages. Hope Publishing Company #8822. Published by Hope Publishing Company (HP.8822).

UPC: 763628188221. By Twila Paris. John 1:29, Matthew 27:27, Matthew 27:41, Revelation 5:12.

Popular song by Twila Paris Lloyd Larson's earnest, sensitive setting for Twila Paris' popular song was Hope's top-seller in 2001. Appropriate for Lent, Holy Week, baptism, and special dedication or confirmation services, this blockbuster arrangement is now available in SATB, SAB and Two-Part Mixed voicings. Accompaniment can be provided by keyboard, rhythm, CD track or handbell choir. The new optional handbell accompaniment can also stand alone as a setting for 3-5 octaves of bells. The orchestration includes parts for two flutes and one oboe; three trumpets, two horns, two trombones and a tuba; percussion (bells, mark tree, shaker, timpani) and harp; strings and shared rhythm part (piano, acoustic guitar, electric bass, drum kit).

Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.44641192L

For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L).

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.

By Michael Lawrence. Modern Christian and Sacred. Orchestration- Stand Alone. Published by Word Music.

SATB choir, congregation, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, horn in f, trombone, tuba, timpani, cymbal - Beginning

SKU: GI.G-8695

Concertato on LAUDA ANIMA. Composed by John Goss. Edited by Pearl Shangkuan. Arranged by Larry Visser. Christ the King. Calvin Institute. Tune Name: Lauda Anima. Sacred. Octavo. 12 pages. GIA Publications #8695. Published by GIA Publications (GI.G-8695).

UPC: 785147869504. English. Text Source: Henry F. Lyte, 1793–1847, alt., based on Psalm 103.

Lary Visser’s take on lauda anima offers a wide spectrum of musical contrasts, from a spectacular introduction to a quiet interlude between verses 2 and 3. The sophisticated reharmonization of verses 3 and 4 alone are enough to keep this arrangement at your disposal!

Standard jazz ensemble (playable by 3 saxes, 3 brass plus rhythm section) with opt. tuba & vibes - Grade 2

SKU: KN.00790S

Arranged by Art Dedrick. Solo or Ensemble. Art Dedrick Legacy Editions. Kendor Music Inc #00790S. Published by Kendor Music Inc (KN.00790S).

UPC: 822795007909.

First released in 1954, this setting of the 19th-century folk song popularized by Glenn Miller in 1939 begins with an 8-bar marcato intro before settling into the familiar swing groove. The thematic build is gradual and dramatic -- saxes alone, then saxes with trombones, then saxes, trombones and trumpets together -- and the finishing shout is loud and strong. All rhythm section parts are fully notated, brass ranges are very accessible, and no improvisation is required. Duration 2:05.

Jazz Ensemble standard jazz ensemble (playable by 3 saxes, 3 brass plus rhythm section) with opt. tuba & vibes - Grade 2

SKU: KN.00790

Composed by arr. Dedrick. Arranged by Art Dedrick. Art Dedrick Legacy Editions. Swing. Kendor Music Inc #00790. Published by Kendor Music Inc (KN.00790).

UPC: 822795007909.

First released in 1954, this setting of the 19th-century folk song popularized by Glenn Miller in 1939 begins with an 8-bar marcato intro before settling into the familiar swing groove. The thematic build is gradual and dramatic -- saxes alone, then saxes with trombones, then saxes, trombones and trumpets together -- and the finishing shout is loud and strong. All rhythm section parts are fully notated, brass ranges are very accessible, and no improvisation is required. Duration 2:05.

Orchestra

SKU: LO.30-2655L

Composed by Cindy Berry. Arranged by Michael Lawrence. Choral. Sacred Anthem, Eastertide, General, Lent, Palm/Palm-Passion Sunday. Orchestral score and parts. Lorenz Publishing Company #30/2655L. Published by Lorenz Publishing Company (LO.30-2655L).

UPC: 000308126716.

This dramatic, personal response to Christ's sacrificial gift of life and love opens with graceful, unison choral writing and builds in texture and emotion throughout. Whether performed with keyboard alone or with the optional orchestration, an accompaniment filled with lush harmonies helps to convey the believer's awe and praise for the risen Savior. The orchestra includes a Conductor's Score and parts for 2 Flutes, Oboe, 2 Clarinets, Bassoon (sub Bass Clarinet), 3 Trumpets, 2 Horns (sub 2 Alto Saxes), 2 Trombones (sub 2 Tenor Saxes), Tuba, Percussion, Harp, Piano, 2 Violins, Viola, Cello, and Bass (string reduction included).

By Various. (score). Ensemble Collection. 64 pages. Published by Rubank Publications.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Contrabass, Flute 2, Harp, Horn 1, Horn 2, Oboe 2, Percussion 1, Percussion 2, Piano, Piccolo, Timpani, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello, tenor Trombone

SKU: PR.11640342S

For Orchestra. Composed by Clint Needham. Study Score. 54 pages. Duration 9 minutes. Theodore Presser Company #116-40342S. Published by Theodore Presser Company (PR.11640342S).

UPC: 680160687749.

The Body Electric draws its inspiration from great American poet, Walt Whitman's work I Sing the Body Electric. Two years earlier, while writing a setting of Whitman's Crossing Brooklyn Ferry for baritone and chamber orchestra, I became enamored with many of the poems from his collection, The Leaves of Grass. I had not revisited Whitman's poetry since high school and that distance provided a fresh look at Whitman's poetry. In the spring of 2009, I came back to this collection and decided to write another work inspired by Whitman's poetry, this time for chamber orchestra alone. Writing a work that attempted to capture the mood of this epic poem seemed impossible. Because of the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blow of the poem seemed equally impossible. For me, the solution was to take three fragments of the poem and focus on conveying their particular moods. In the score, I have included the following lines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Body at auction. the Body Electric was written for the 2009 Wellesley College Composers Conference and was premiered on the final concert of the conference with Jim Baker conducting. Clint Needham.
the Body Electric draws its inspiration from great American poet, Walt Whitman’s work I Sing theBody Electric. Two years earlier, while writing a setting of Whitman’s Crossing Brooklyn Ferry forbaritone and chamber orchestra, I became enamored with many of the poems from his collection,The Leaves of Grass. I had not revisited Whitman’s poetry since high school and that distanceprovided a fresh look at Whitman’s poetry. In the spring of 2009, I came back to this collectionand decided to write another work inspired by Whitman’s poetry, this time for chamber orchestraalone.Writing a work that attempted to capture the mood of this epic poem seemed impossible. Becauseof the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blowof the poem seemed equally impossible. For me, the solution was to take three fragments of thepoem and focus on conveying their particular moods. In the score, I have included the followinglines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Bodyat auction.the Body Electric was written for the 2009 Wellesley College Composers Conference and waspremiered on the final concert of the conference with Jim Baker conducting.Clint Needham.

Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Clarinet 1, Contrabass, Flute 2, Harp, Horn 1, Horn 2, Oboe 2, Percussion 1, Percussion 2, Piano, Piccolo, Timpani, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello, tenor Trombone

SKU: PR.11640342L

For Orchestra. Composed by Clint Needham. Large Score. 54 pages. Duration 9 minutes. Theodore Presser Company #116-40342L. Published by Theodore Presser Company (PR.11640342L).

UPC: 680160687756.

The Body Electric draws its inspiration from great American poet, Walt Whitman's work I Sing the Body Electric. Two years earlier, while writing a setting of Whitman's Crossing Brooklyn Ferry for baritone and chamber orchestra, I became enamored with many of the poems from his collection, The Leaves of Grass. I had not revisited Whitman's poetry since high school and that distance provided a fresh look at Whitman's poetry. In the spring of 2009, I came back to this collection and decided to write another work inspired by Whitman's poetry, this time for chamber orchestra alone. Writing a work that attempted to capture the mood of this epic poem seemed impossible. Because of the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blow of the poem seemed equally impossible. For me, the solution was to take three fragments of the poem and focus on conveying their particular moods. In the score, I have included the following lines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Body at auction. the Body Electric was written for the 2009 Wellesley College Composers Conference and was premiered on the final concert of the conference with Jim Baker conducting. Clint Needham.
the Body Electric draws its inspiration from great American poet, Walt Whitman’s work I Sing theBody Electric. Two years earlier, while writing a setting of Whitman’s Crossing Brooklyn Ferry forbaritone and chamber orchestra, I became enamored with many of the poems from his collection,The Leaves of Grass. I had not revisited Whitman’s poetry since high school and that distanceprovided a fresh look at Whitman’s poetry. In the spring of 2009, I came back to this collectionand decided to write another work inspired by Whitman’s poetry, this time for chamber orchestraalone.Writing a work that attempted to capture the mood of this epic poem seemed impossible. Becauseof the inherent abstract nature of text-less music, writing a work that was a musical blow-by-blowof the poem seemed equally impossible. For me, the solution was to take three fragments of thepoem and focus on conveying their particular moods. In the score, I have included the followinglines at the beginning of each section: the Body electric, A divine nimbus exhales, and the Bodyat auction.the Body Electric was written for the 2009 Wellesley College Composers Conference and waspremiered on the final concert of the conference with Jim Baker conducting.Clint Needham.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion 1, Oboe, Percussion 1, Percussion 2, Suspended Cymbal, Tambourine, Timpani, Tom-tom, Trombone, Trumpet 1 and more. - Grade 2.5

SKU: CF.YPS201

Composed by Michael John Trotta. Arranged by James Meredith. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+4+4+10+4+4+8+8+12+ 6+6+1+1+4+20+8+8+4+1+4 pages. Duration 3 minutes, 3 seconds. Carl Fischer Music #YPS201. Published by Carl Fischer Music (CF.YPS201).

ISBN 9781491152218. UPC: 680160909711. Key: F minor.

Already 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).