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.

SKU: WD.080689572395

Composed by Bradley Knight. Arranged by Bradley Knight. Choral, cantatas. Eastertide. DVD preview pak. Word Music #080689572395. Published by Word Music (WD.080689572395).

UPC: 080689572395.

We have reason to rejoice today! the tomb is empty, our hearts are full! from the passionate spirit and extraordinary talent of bradley knight comes redeemed...the gospel changes everything, a one-of-a-kind worship experience for easter and beyond. brimming with the most recent electrifying worship songs from writers glenn packiam, ben fielding, reuben morgan, meredith andrews, benji cowart, louie giglio, darlene zschech and jason ingram, bradley brings his unique blend of powerhouse vocal arranging and orchestration to every selection. ideally suited for an easter morning celebration, the musical can be presented in its entirety or smaller worship packages throughout the year. a stunning accompaniment dvd and accessible stem mixes are available to enhance your worship programming. bradley has also included his personal worship-leading narration - including a from-the-heart invitation sequence - which you can modify to the unique worship environment of your church. this easter... join us in shouting out the good news that jesus is risen, and he is alive in us!

SKU: WD.080689571367

Composed by Various. Choral, cantatas. Modern Christian: Sacred. CD preview pak. Word Music #080689571367. Published by Word Music (WD.080689571367).

UPC: 080689571367.

Vibra nt, choir-led Sunday morning worship can be achieved with choirs of virtually any size and with rehearsal time that may be limited to a single rehearsal! The second volume in Word's immensely popular The Instant Worship Choir Collection again features 20 exciting arrangements by some of today's most soughtafter arrangers, including Gary Rhodes, Russell Mauldin, Cliff Duren, Phillip Keveren, Daniel Semsen, Dave Williamson and Robert Sterling. The titles span every season on the church calendar and include a dynamic mix of traditional and new worship songs. This is a must-have resource for any church music library that you will surely return to again and again.

SKU: WD.080689583360

Composed by Allan Douglas. Arranged by Allan Douglas and Sarah Huffmann. Choral, cantatas. Eastertide. CD preview pak. Word Music #080689583360. Published by Word Music (WD.080689583360).

UPC: 080689583360.

For music ministers looking for an Easter musical that is strong on content and excitement yet easy to rehearse and perform, Jesus Is Alive! is your answer. Created by Dale Mathews and including such beloved classics as Celebrate Jesus, He's Alive and Gerald Crabb's The Cross, this accessible musical features dynamic original arrangements by Russell Mauldin, Gary Rhodes, Robert Sterling and Lari Goss, expertly revoiced by Allan Douglas and Sarah Huffman for unison choir with occasional two-part singing and no solos. At less than 30 minutes in length, Jesus Is Alive! is an ideal addition to your Easter morning service, allowing ample time for additional celebratory observances and a sermon. Deborah Craig-Claar has provided a sensitive Scripture-based narration for a single narrator that beautifully weaves together the themes of Jesus' redemptive sacrifice and His victory over death. Let Jesus Is Alive! declare the eternal truth to your church this Easter: Jesus is alive - today and forevermore!

SKU: WD.080689584367

Composed by David Clydesdale. Arranged by David Clydesdale. Choral, cantatas. Christmas. CD preview pak. Word Music #080689584367. Published by Word Music (WD.080689584367).

UPC: 080689584367.

There has rarely been a resource as spectacular, as exhaustive, and ultimately as practical as Easter! The Best of David T. Clydesdale. Between the covers of one book you will find a treasure house of outstanding material to meet every ministry need during the Lenten season. The collection features fifteen of David T. Clydesdale's most dynamic and passionate arrangements of Easter favorites, including Blessed Redeemer, Grace Flows Down, and Arise. These individual songs have also been sequenced into an Easter musical titled Blessed Redeemer that features narration and optional dramatic character parts. In addition, this resource includes service plans for Easter Sunday, Palm Sunday, Maundy Thursday and Good Friday along with Scripture and responsive readings. There are also three dramatic sketches that can be used in tandem with various songs from the collection. Whether you are looking for an individual anthem for Easter morning or an entire week of worship material, Easter promises to become an indispensable part of your library that you will go to again and again for many years to come.

Choral (Preview CD Pak)

SKU: HL.35032531

A Service for Holy Week. Composed by Douglas Nolan. Shawnee Sacred. Cantata, Holy Week, Sacred. Softcover with CD. Published by Shawnee Press (HL.35032531).

ISBN 9781540040206. UPC: 888680896911. 7x10.5 inches.

Written to commemorate the Passion of Christ, this cantata is a moving tribute to His life and ministry. Composed for maximum flexibility and scored for SA(T)B voices, the optional cued notes make it possible for the cantata to grow with your choir. Smaller choirs will enjoy the rich textures and larger ensembles will be able to engage their full resources. For churches that desire an instrumental component, a very modest consort instrumentation creates a reverent accompaniment. The narration contains scriptures and prayers to convey the graceful theme of Christ's sacrificial love. Ending with the crucifixion, A Gathering of Grace will set the stage for Easter morning.

Songs include: Prelude of Shadows; In the Stillness of This Moment; Ask of Me; Palm Branches; A Light in the Upper Room; Jesus, in Gethsemane; The Day the Cross Held Up the Sky; A Green Hill Far Away; Recessional.

Score and Parts (fl, cl, hn, perc, pno, hp, vn, vc) available as a Printed Edition and as a digital download.

by William Bay. For all guitars. All styles, class. Level: Intermediate. Book. Method. Size 8.75x11.75. 200 pages. Published by Mel Bay Pub., Inc.

(High Voice). By Various. Edited by Richard Walters. High Voice. Vocal Collection. Book only. 240 pages. G. Schirmer #ED4321. Published by G. Schirmer

(Low Voice). By Various. Edited by Richard Walters. Low Voice. Vocal Collection. Book only. 240 pages. G. Schirmer #ED4322. Published by G. Schirmer

Arranged by Mac Huff. (preview CD). Choral. CD only. 88 pages. Published by Hal Leonard.

A Cantata for Christmas Preview Pack (SATB Book/Listening CD). Composed by Joseph M. Martin. Harold Flammer. Softcover with CD. 120 pages. Published by Harold Flammer Music (HL.35031618).

(A Composition Workbook) Written by Kevin Olson, Wynn-Anne Rossi. Instructional book for piano. Series: FJH - Music by Me. 32 pages. Published by The FJH Music Company Inc.

A Treasury of Songs from Stage and Film, Specially Designed for Young Singers!. Edited by Lisa Despain. For Voice. General Music and Classroom Publications. Book and CD. 128 pages. Published by Alfred Publishing.

Vocal Selections from the Apple Original Film. Composed by Pasek and Paul. Vocal Selections. Christmas, Movies. Softcover. 136 pages. Published by Hal Leonard

Piano

SKU: AY.PN3058PM

Composed by Gloria Rodriguez. Keyboards - Piano. Sheet music. Duration 4'. Periferia Publishing #PN3058PM. Published by Periferia Publishing (AY.PN3058PM).

ISBN 9790543573789.

Acco rding to the distinguished musicologist Juan Bautista Varela, the Galician Treboada is a musical term out of the songbook, as its sense is merely musical. From a lexicographical point of view it means thunderstorm, storm, squall, etc. It is almost an onomatopoeic sense, due to the great noise that the bass drums, fundamental elements of the Treboada, make. The Treboada is played always on the eves of celebrations or feasts and it is played by three or five bass drums, one or two Galician bagpipes and a drum.
The dispersion area of the Treboada is much reduced, according to the poet and essayist Eliseo Alonso Rodriguez, it comprises the parishes of Forcadela and Estas, both of them belong to the town of Tomino. Xose Hernique Rodriguez Portela, from Tomino, says that they also play it on the feast of the Virgin of St. Mary of Tomino eve (Virgen del Alivio de Santa Maria de Tomino). I owe him the idea of this piece, because Xose Henrique described to me how the bass drums sound in the distance, early in the morning, like great roars along with blank bullets that are shot every time a particular house donates money for the feast and they gradually approach the house until it trembles. He sang the melody I wrote and he confessed he had heard it not long ago in the rehearsal of a popular folk group where there was only a percussionist and a Galician bagpipe player, as with the drums it is difficult to appreciate the bagpipe. I also mix the Treboada with an Alborada, because in Galicia almost all the churches have loudspeakers that play this melody at around nine o'clock in the morning, the same time that the Treboada of Tomino starts playing. Gloria Rodriguez Gil.

For Saxophone. Composed by Various. Arranged by Robert De Smet. Music Sales America. Classical Period, Folk and Broadway. Saxophone solo book (no accompaniment, softcover). 96 pages. Music Sales #AM33705. Published by Music Sales

For Violin. Composed by Various. Music Sales America. Classical Period, Broadway and Folk. Violin solo book (no accompaniment, softcover). 96 pages. Music Sales #AM33671. Published by Music Sales

Unison Voices

SKU: HL.14028769

Music Sales America. Sacred. Book [Softcover]. Composed 2005. 178 pages. Edition Wilhelm Hansen #WH30595. Published by Edition Wilhelm Hansen (HL.14028769).

ISBN 9788759811719.

Song s for morning and evening (Lyrics) - Sange til morgen og aften - a large collection of brand new contributions to the Danish song treasure. A lot of Danish poets and composers contribute with their view upon the Danish morning and evening song tradition in 2003. It is the first publication in recent time that with daily life as basis puts words and music on the new millenium. Sange til morgen og aften appears in two versions: Melodibogen with piano arrangements with chords and Tekstbogen with melodic line and lyrics.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

For Guitar. The little book with all the BIG songs. Lyric and Chord book. Published by Wise Publications.

By Cat Stevens. For Guitar. Folk, Pop, Rock. Sheet Music. 304 pages. Published by Wise Publications.

Complete Lyrics for 200 Songs. By Various Composers. Lyric Library. Size 6x9 inches. 246 pages. Published by Hal Leonard.

Composed by Gwyneth W. Walker (1947-). Secular. Published by E.C. Schirmer Publishing (EC.8247).