Choral (TTB Choir)

SKU: HL.35031348

Composed by Gerry Rafferty and Joe Egan. Arranged by Greg Gilpin. Shawnee Press. Pop. Octavo. 8 pages. Published by Shawnee Press (HL.35031348).

ISBN 9781495079696. UPC: 888680653392. 6.75x10.25 inches.

Written by Gerry Rafferty and Joe Egan for their band Stealers Wheel, this was a surprise hit for them in 1973. Since then, it has been covered by numerous singers and most recently as the theme song for “Grace and Frankie” a Netflix original comedy. This arrangement keeps that light folk feel with a more contemporary accompaniment and will be a sure-fire hit with mixed voices as well as women's and men's groups.

Alto Saxophone

SKU: HL.48180543

For Alto Saxophone and Piano. Composed by Henri Tomasi. Leduc. Classical. Softcover. 3 pages. Alphonse Leduc #AL18122. Published by Alphonse Leduc (HL.48180543).

UPC: 888680796044. 9x12 inches.

French composer and conductor, Henri Tomasi (1901-1971) published his Corsican Song for alto saxophone and piano in 1932. As with his other wind compositions, Corsican Song was well-received by audiences. Tomasi was born in Marseille, but his father and mother were originally from La Casinca in Corsica. Despite being pressured into musical studies by his parents, Tomasi dreamed of becoming a sailor, and during the summer, he stayed with his grandmother in Corsica where he learnt traditional Corsican songs. However, in 1921, he began his studies at the Paris Conservatoire and went on to become a high profile composer and conductor. Tomasi did not forget his Corsican routes, often incorporating themes of the songs he had learnt during the summers with his grandmother in to his compositions, as is the case with Corsican Song. This Tomasi work is unusual in composition through its exploitation of tonality, rhythm and structure amongst other aspects. However, this Tomasi piece, suitable for advanced saxophonists, provides an exciting, alternative addition to the repertoire.

Edited by Helen Marlais. Collection and accompaniment CD for piano. The FJH pianist's curriculum. Series: In Recital with Classical Themes. 55 pages. Published by The FJH Music Company.

Flute Quartet

SKU: BT.EMBZ14973

Some with alto flute. By László Zempléni. By Bela Bartok. EMB Music of Bela Bartok. Set (Score & Parts). Composed 2016. 52 pages. Editio Musica Budapest #EMBZ14973. Published by Editio Musica Budapest (BT.EMBZ14973).

English-German-Hungari an.

The volume contains selected transcriptions from well-known sets that Bartók wrote for children and young people: For Children, Children's and Female Choruses, 44 Duos and Mikrokosmos. Some are based on folk melodies and some on original themes. The volume consists of 16 pieces. In nine, the bottom part is set for alto flute. The collections serve to draw music students into the realm of a great genius of 20th-century music, while concurrently introducing them to the basic techniques of playing chamber music.

Cello

SKU: HL.14042177

Cello. Composed by Various. Music Sales America. Classical. Softcover. Composed 2012. 64 pages. Chester Music #CH77495. Published by Chester Music (HL.14042177).

ISBN 9781780388700. 9.0x12.0x0.205 inches.

Collection of original works created as anonymous gifts for the renowned Finnish cellist Anssi Karttunen. Includes works by 31 composers, including: Pascal Dusapin, Magnus Lindberg, Kaija Saariaho, Esa-Pekka Salonen, Steven Stucky, Tan Dun, and others.

By Robert Sheldon. Concert Band. Concert Band; SmartMusic. Young Symphonic. Grade 3. Conductor Score and Parts. 254 pages. Published by Alfred Music Publishing

Compositions for Organ. By Flor Peeters. For Organ Solo. Solo part. Opus 58. 13 pages. Published by Theodore Presser Company.

Score Only Concert Band (Score) - Grade 5

SKU: HL.48024364

Composed by Benjamin Britten. Arranged by Richard L. Saucedo. Boosey & Hawkes Concert Band. Concert. Softcover. 28 pages. Boosey & Hawkes #M051663842. Published by Boosey & Hawkes (HL.48024364).

UPC: 888680747909. 10.5x13.5x0.227 inches.

Originally composed to introduce the various instruments of the orchestra, Britten's “Young Person's Guide” follows a set of variations based on a melody by Henry Purcell. In this setting for wind band, Richard Saucedo presents the opening theme followed by Britten's exuberant fugue which culminates in a glorious finale and recap of Purcell's melody. A stunning work for mature ensembles. Dur. 4:40.

Score Only Concert Band (Score) - Grade 2

SKU: HL.4006658

Composed by Edvard Grieg. Arranged by Johnnie Vinson. MusicWorks Grade 2. Contest, Festival. Softcover. 12 pages. Duration 850 seconds. Published by Hal Leonard (HL.4006658).

UPC: 840126927054. 9.0x12.0x0.043 inches.

Composed by Edvard Grieg in 1875, music from Peer Gynt was originally incidental music for Henrik Ibsen's five-act play. The beautiful Solveig's Song is from the second orchestral suite later extracted by Grieg. Johnnie's tender setting opens with a lyric theme scored for the trumpet section. A brief andante section features the woodwinds before returning to the opening melody this time richly scored for full band. A beautiful work for teaching lyric style playing.

By Dale Wood. For organ. Level: 3-staff. Sacred Organ. Published by Sacred Music Press. (70/1100S)

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Arranged by Mark Hayes. For Choir. (SATB). Choral Octavo. Sacred, Christmas. Level: Level 4 (grade L4). Choral Octavo. 16 pages. Published by Alfred Publishing.

(Hymns with Classical and Original Themes). By Linda Mckechnie. For piano. Sacred. Moderately advanced. Published by Lillenas Publishing Company

By Lin Marsh. Book; CD; Classroom/Pre-School; General Music and Classroom Publications; Other Classroom. Faber Edition. Published by Faber Music

By Franz Schubert. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 1200 pages. Published by Subito Music.

Composed by Sarah Quartel. For SSAA choir and piano. Upper Voices. Songbird. Secular. Level B (easy). Octavo. 16 pages. Duration 5 minutes. Published by Oxford University Press

Orchestra Symphonic Orchestra - Grade 4

SKU: FJ.OR5017

Composed by Brian Balmages. Full Orchestra. FJH Symphony Orchestra. Multicultural; World. Score and Part(s). The FJH Music Company Inc #98-OR5017. Published by The FJH Music Company Inc (FJ.OR5017).

UPC: 241444415368. English.

Explore Middle Eastern sounds with this work that combines traditional folk songs with original music. After a haunting opening, authentic Middle Eastern percussion instruments create the groove that accompanies the folk song Ala Dal'ona. As the orchestration builds, original themes are juxtaposed with existing material before an extended percussion ensemble takes center stage. The final folk song, Tafta Hindi, ultimately morphs into an ostinato over a magnificent presentation of the original theme found throughout the work. A dynamic work for symphony orchestra!

By Ludwig van Beethoven. For Piano. (Piano Solo). CD Sheet Music (Version 2.0). PDF file on CD. 1500 pages. Published by Subito Music.

50 Classics. Composed by various artists and composers. This edition: Easy Hits Piano. Book; P/V/C Mixed Folio; Piano/Vocal/Chords. Alfred's Easy. Love; Pop; Standard. 168 pages. Published by Alfred Music (AP.45244).