By Donald Martino (1931-2005). For Violin, Violin, Viola, Cello. This edition: Study Score. Contemporary Classical. Conservatory. Sheet music

Saxophone Quartet Soprano, Alto, Tenor, Baritone Saxophones - Grade 3

SKU: FL.FX070688

Composed by Alain Lopez. Classical, Chamber Music. Score and Set of Parts. FLEX Editions #FX070688. Published by FLEX Editions (FL.FX070688).

Mon film is a soulful composition that uses minor mode. It is built of 64 bars dedicated to my Cousin, born in 1964, and prematurely deceased. I shoot here the film based on her life's scenario...

String Quartet and Pre-recorded Sound. Composed by Michael Daugherty (1954-). Boosey and Hawkes Chamber Music. Classical. Softcover with CD, Score and Parts. 52 pages. Boosey and Hawkes #M051105922. Published by Boosey and Hawkes

SAB choir, cantor, voice solo, assembly, keyboard accompaniment, violin 1, violin 2, viola, cello, guitar - Beginning

SKU: GI.G-7062

Composed by Chris De Silva. Ordinary Time, Lent 4 A, Lent 4 C, OT 19 B, OT 20 B, OT 21 B. Celebration Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #7062. Published by GIA Publications (GI.G-7062).

UPC: 785147706205. English. Text Source: Based on Psalm 34:2–3, 4–5, 6–7. Text by Chris de Silva. Scripture: Psalm 34:2–3, 4–5, 6–7.

Scored in 3/4 but with directions to use a 9/8 feel, this soulful but rather simple setting of Psalm 34:2–7 is scored for SAB voices in the refrain and under the solo verses, and has the option of an added string quartet. For cantor or soloist 

A soulful but rather simple setting of Psalm 34:2–7.

Flute Quartet 4 Flutes - Grade 3

SKU: FL.FX070693

Composed by Alain Lopez. Classical, Chamber Music. Score and Set of Parts. FLEX Editions #FX070693. Published by FLEX Editions (FL.FX070693).

Mon film is a soulful composition that uses minor mode. It is built of 64 bars dedicated to my Cousin, born in 1964, and prematurely deceased. I shoot here the film based on her life's scenario...

Orchestra Orchestra

SKU: PR.11641373S

Composed by Peter Schickele. Full score. Duration 24 minutes. Theodore Presser Company #116-41373S. Published by Theodore Presser Company (PR.11641373S).

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

Orchestra Orchestra

SKU: PR.11641373L

Composed by Peter Schickele. Large Score. Duration 24 minutes. Theodore Presser Company #116-41373L. Published by Theodore Presser Company (PR.11641373L).

UPC: 680160680337.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

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!

Chamber Music Bass Trombone, tenor Trombone 1, tenor Trombone 2, tenor Trombone 3

SKU: PR.11441527S

For Four Trombones. Composed by Martin Kennedy. Premiere: Tim Myers, Vanesa Fralick, Jonathan Reycraft, Gerard Pagano, trombones; St. Louis, MO. Contemporary. Full score. With Standard notation. Composed 2010. 16 pages. Duration 7:30. Theodore Presser Company #114-41527S. Published by Theodore Presser Company (PR.11441527S).

UPC: 680160605088. 8.5 x 11 inches.

Trombone quartets will embrace Kennedy's soulful writing for the low brass. See an excellent performance on YouTube video by the Trombones of the Saint Louis Symphony Orchestra. For advanced performers. Duration: 7'30.

Arranged by Philip Kern. Choir Secular. SATB choir. Choral Octavo. Choral Designs. Christmas; Gospel; Spiritual; Winter. Choral Octavo. 16 pages. Published by Alfred Music Choral Octavo Christmas; Gospel; Spiritual; Winter

Arranged by Philip Kern. For Choir. (SAB). Choral Octavo. Choral Designs. Gospel; Spiritual, Christmas. Choral Octavo. 16 pages. Published by Alfred Publishing.