SKU: AP.1-ADV6401

For String Quartet. Composed by Mike Curtis. Quartet; Solo Small Ensembles; String Quartet. Advance Music. Form: Dance. Jewish Heritage; Wedding. Score and Part(s). Advance Music #01-ADV6401. Published by Advance Music (AP.1-ADV6401).

UPC: 805095064018. English.

A Klezmer Wedding is a set of four dances, newly-composed but based on traditional models. The Doina is an expressive chant for three successive soloists; it twists and turns with the wailing lament of a shepherd's pipe. Next follows the Hora, a slow Rumanian dance in three with a mood that reflects the wedding's solemn vows. A Chusidl, with a moderate speed and bouncy rhythms, gets the party to the dance floor. The concluding Freylach (happy, but still in a minor key!) takes the bride, groom, and guests to the edge of frenzy.

Titles: Doina * Hora * Chusidl * Freylach.

4 Saxophones SATBar

SKU: AP.1-ADV7603

For SATBar Saxophone Quartet. Composed by Mike Curtis. Quartet; Solo Small Ensembles; Woodwind - Saxophone Quartet. Advance Music. Form: Dance. Jewish Heritage; Wedding. Score and Part(s). Advance Music #01-ADV7603. Published by Advance Music (AP.1-ADV7603).

UPC: 805095076035. English.

A Klezmer Wedding is a set of four dances, newly-composed but based on traditional models. The Doina is an expressive chant for three successive soloists; it twists and turns with the wailing lament of a shepherd's pipe. Next follows the Hora, a slow Rumanian dance in three with a mood that reflects the wedding's solemn vows. A Chusidl, with a moderate speed and bouncy rhythms, gets the party to the dance floor. The concluding Freylach (happy, but still in a minor key!) takes the bride, groom, and guests to the edge of frenzy.

Titles: Chusidl * Doina * Hora * Freylach.

By Kathleen Wojcik-May. (Book/cd Pak). Expressive Art (Choral). Book and CD package. Size 8.5x11 inches. 144 pages. Published by Hal Leonard.

Grade 2

SKU: CL.012-1824-00

Overture. Composed by J. Spears. Concert Band. Bach Series arranged by Alfred Reed. Audio recording available separately (items CL.WFR324 & CL.WFR195). Score and set of parts. Composed 1985. Duration 5 minutes, 10 seconds. Opus III Wind Orchestra Publications #012-1824-00. Published by Opus III Wind Orchestra Publications (CL.012-1824-00).

Opening with colorful bursts from various sections, the music surges forward to an energetic theme supported by driving harmonies and rhythms. A beautifully orchestrated middle section with a lush, expressive melody featuring solo trumpet or trumpet section is followed by a return to the original energetic tempo and an exciting ending.

About Bach Series arranged by Alfred Reed

Maste rful settings for concert band by the venerable Alfred Reed, these works have been scored to achieve richness and beauty without detracting from the textural construction created by Bach himself. Marvelous educational and program material!

Grade 2.5

SKU: CL.012-1824-01

Overture. Composed by J. Spears. Concert Band. Bach Series arranged by Alfred Reed. Audio recording available separately (items CL.WFR324 & CL.WFR195). Extra full score. Composed 1985. Duration 5 minutes, 10 seconds. Opus III Wind Orchestra Publications #012-1824-01. Published by Opus III Wind Orchestra Publications (CL.012-1824-01).

Opening with colorful bursts from various sections, the music surges forward to an energetic theme supported by driving harmonies and rhythms. A beautifully orchestrated middle section with a lush, expressive melody featuring solo trumpet or trumpet section is followed by a return to the original energetic tempo and an exciting ending.

About Bach Series arranged by Alfred Reed

Maste rful settings for concert band by the venerable Alfred Reed, these works have been scored to achieve richness and beauty without detracting from the textural construction created by Bach himself. Marvelous educational and program material!

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.

Composed by John David Earnest. 21st Century, Faith, Hope/Assurance. Instrument parts. E.C. Schirmer Publishing #8607. Published by E.C. Schirmer Publishing

Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani and more. - Grade 2

SKU: CF.YPS208F

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YPS208F. Published by Carl Fischer Music (CF.YPS208F).

ISBN 9781491152966. UPC: 680160910465.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2

SKU: CF.YPS208

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6 +3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208).

ISBN 9781491152287. UPC: 680160909780. Key: D minor.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

Grade 3

SKU: CL.012-2011-01

An Overture for Band. Composed by Tatgenhorst. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR196). Extra full score. Composed 1987. Duration 5 minutes, 35 seconds. Opus III Wind Orchestra Publications #012-2011-01. Published by Opus III Wind Orchestra Publications (CL.012-2011-01).

This beautifully written miniature suite opens with strong, full band motifs followed by variations in melody and rhythm, and a lyrical expressive interlude. The scoring is rich and sonorous as this contest oriented work moves to an exciting full band finale. A significant musical contribution by a respected writer.

About Heritage of the March

Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

Grade 3

SKU: CL.012-2011-00

An Overture for Band. Composed by Tatgenhorst. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR196). Score and set of parts. Composed 1987. Duration 5 minutes, 35 seconds. Opus III Wind Orchestra Publications #012-2011-00. Published by Opus III Wind Orchestra Publications (CL.012-2011-00).

This beautifully written miniature suite opens with strong, full band motifs followed by variations in melody and rhythm, and a lyrical expressive interlude. The scoring is rich and sonorous as this contest oriented work moves to an exciting full band finale. A significant musical contribution by a respected writer.

About Heritage of the March

Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

Grade 3

SKU: CL.012-3736-01

Composed by Romeyn. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR357). Extra full score. Composed 2008. Duration 2 minutes, 45 seconds. Opus III Wind Orchestra Publications #012-3736-01. Published by Opus III Wind Orchestra Publications (CL.012-3736-01).

Here’s the perfect opening or closing selection for your holiday concert. Using the famous English carol as the focus of the work, Rob Romeyn has crafted a very clever arrangement by including musical fragments from familiar carols to capture the true spirit of holiday caroling, all while being very playable. A beautiful and expressive middle section of All Through the Night provides a very nice contrast to the joyful beginning and ending of the piece. You’ll want to program this one every year!!

About Heritage of the March

Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

A Musical Celebration of America's Multicultural Heritage - Perf./Acc. CD. By Cheryl Lavender. Arranged by Alan Billingsley. (ShowTrax CD). Expressive Art (Choral). Children's Musical. CD only - No Sheet Music included. 72 pages. Published by Hal Leonard.

A Musical Celebration of America's Early Heritage. By John Jacobson, Roger Emerson. (teacher edition). Expressive Art (Choral). Children's Musical. Size 9x12 inches. 64 pages. Published by Hal Leonard.

(A Musical Celebration of America's Multicultural Heritage). By Cheryl Lavender. Arranged by Alan Billingsley. (teacher edition). Expressive Art (Choral). Children's Musical. Size 8.5x11 inches. 72 pages. Published by Hal Leonard.

A Musical Celebration of America's Early Heritage. By John Jacobson, Roger Emerson. (Singer 5 Pak). Expressive Art (Choral). Children's Musical. Size 6.8x10.5 inches. Published by Hal Leonard.

A Musical Celebration of America's Early Heritage. By John Jacobson, Roger Emerson. (preview CD). Expressive Art (Choral). Children's Musical. CD only. Size 5x5 inches. Published by Hal Leonard.

A Musical Celebration of America's Early Heritage. By John Jacobson, Roger Emerson. (Showtrax CD). Expressive Art (Choral). Children's Musical. CD only. Size 5x5 inches. Published by Hal Leonard.