Piano/Vocal/Guitar

SKU: HL.1481436

By Billie Eilish. Piano/Vocal/Guitar Artist Songbook. Pop. Softcover. 80 pages. Duration 200 seconds. Published by Hal Leonard (HL.1481436).

UPC: 196288215707. 9.0x12.0 inches.

Billie Eilish has done it again! The highly-anticipated third album from the nine-time GRAMMY� winner features a sound that redefines and explores genre boundaries, trends and soundscapes, immersing listeners into a full spectrum of emotions. From the mature �Lunchï¿ ½ to �Birds of a Feather� and �Chihiro,ïà ‚¿Â½ there's plenty of hits to keep this record in the rotation for many years to come! Our matching folio features all 10 tracks arranged for piano and voice with guitar chord frames, including: Birds of a Feather � Bittersuite � Blue � Chihiro � The Diner � The Greatest � L'Amour de ma Vie � Lunch � Skinny � Wildflower.

Composed by Daniel Elder. Walton Choral. Advanced Choir, Concert, General Worship, Latin, Sacred. Duration 285 seconds. Walton Music #WW1554. Published by Walton Music

Composed by Mark Tanner. Piano & keyboard music. Clifton Edition #C218. Published by Clifton Edition

Symphonic Winds

SKU: SU.50003870

For Symphonic Winds. Composed by Anthony Brown. Concert Band/Wind Ensemble. Study Score. Seesaw Music Corp #50003870. Published by Seesaw Music Corp (SU.50003870).

Parts available on rental.Copyright 1977. Published by: Seesaw Music.

By Ann Bryant. Classroom/Pre-School; General Music and Classroom Publications; Other Classroom. Book and CD. Published by Alfred Music . Sheet music CD.

Concert Band - Grade 3.5

SKU: XC.RCB2408

Composed by Robert Sheldon. Rhapsody Grade 3-3.5. Contest/Festival. Set of parts. Excelcia Music Publishing #RCB2408. Published by Excelcia Music Publishing (XC.RCB2408).

9 x 12 inches.

Located in the Commonwealth of Virginia, Fairfax County has quite an interesting story to tell, from the times of the Revolutionary War to the Civil War, to its prominent position as one of the premiere suburbs of our nation’s capital, and most populous jurisdiction in Virginia. This piece serves to acknowledge the history of this region while representing its vibrancy and character. The opening patriotic soundscape offers a backdrop to the energetic piece that follows. A juxtaposition of those themes brings the piece to a close.

Concert Band - Grade 3.5

SKU: XC.RCB2408FS

Composed by Robert Sheldon. Rhapsody Grade 3-3.5. Contest/Festival. Score. Excelcia Music Publishing #RCB2408FS. Published by Excelcia Music Publishing (XC.RCB2408FS).

9 x 12 inches.

Located in the Commonwealth of Virginia, Fairfax County has quite an interesting story to tell, from the times of the Revolutionary War to the Civil War, to its prominent position as one of the premiere suburbs of our nation’s capital, and most populous jurisdiction in Virginia. This piece serves to acknowledge the history of this region while representing its vibrancy and character. The opening patriotic soundscape offers a backdrop to the energetic piece that follows. A juxtaposition of those themes brings the piece to a close.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani, Triangle, Trombone and more. - Grade 0.5

SKU: CF.PPS6F

Composed by Bill Calhoun. SWS. Premiere Performance Series. Full score. With Standard notation. 12 pages. Duration 1 minute, 47 seconds. Carl Fischer Music #PPS6F. Published by Carl Fischer Music (CF.PPS6F).

ISBN 9780825887383. UPC: 798408087388. 9x12 inches.

Simple, effective and elegant are adjectives that best describe this new piece from composer Bill Calhoun. Very young players can work on tone and long lines with this beautiful piece. Fresh harmonic movement, along with pleasant melodies make this a good choice to teach musical concepts to the youngest of students.

Composed by Daniel Elder. For Choral (SATB DV A Cappella). Walton Choral. Walton Music #WW1554. Published by Walton Music

Piano

SKU: BR.EB-9253

Composed by Helmut Lachenmann. Solo instruments; stapled. Edition Breitkopf.

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Score. Composed 2016/17/20. 12 pages. Duration 8'. Breitkopf and Haertel #EB 9253. Published by Breitkopf and Haertel (BR.EB-9253).

ISBN 9790004185537. 9 x 12 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

Cello

SKU: BT.MUSM570366453

Composed by Evis Sammoutis. Classical. Score Only. 10 pages. University of York Music Press #MUSM570366453. Published by University of York Music Press (BT.MUSM570366453).

English.

'Brice Catherin, a cellist and a composer exploring the notion of the one-man-band concept, commissioned this work; this composition was subsequently the result of our collaboration. My aim has been to create a work where the cellist produces sounds using his full body: his hands (employing a variety of extended techniques on the Cello and external objects), his feet, his mouth (singing and playing the harmonica and flexible tube) and even his face on one occasion to muffle the strings. There are two central themes in the work: virtuosity and theatre, both strong, frequent features of my compositional oeuvre. After several meetings and experimentation with Brice, I chose asetup that enhances the musical scope without visually cluttering the stage. I am also using a rather unusual scordatura that not only changes the timbre of the instrument itself, but also helps create unique soundscapes that blend together with the sounds from the spring drums, the human voice (whistling, groans and other effects), a singing bowl, a harmonica and a flexible tube among others. The work is entitled Emmelia and there are two reasons for this: Emmelia derives from the prefix en (in) and the noun melos (harmony), thus meaning in harmony. The composition is structured and developed in clearly defined sections (noisy, harmonious, distorted, etc.), based on information revealed by a spectral analysis of an F1 spectrum on the cello (tuned a fifth below low C), played and recorded using a variety of attacks and triggering objects and methods. Emmelia is also the name of my baby daughter, who has been my constant inspiration since she was born.' - Evis Sammoutis.

For Concert Wind Band and Pre-Recorded Soundscapes. Composed by Alex Shapiro (1962-). Activist Music. Concert. Softcover. 24 pages. Published by Hal Leonard (HL.4004960).

Composed by Ola Gjeilo. For Choral, Tenor Saxophone (SATB Divisi). Walton Choral. 24 pages. Walton Music #WW1520. Published by Walton Music

Orchestra

SKU: BR.PB-5432

Composed by Helmut Lachenmann. Orchestra; stapled. Partitur-Bibliothek (Score Library).

World premiere of the orchestral version: Stuttgart, January 1, 2018World premiere of the piano version: Mito, June 17, 2017

Have a look into EB 9283.

New music (post-2000). Full score. Composed 2016/17/20. 48 pages. Duration 8'. Breitkopf and Haertel #PB 5432. Published by Breitkopf and Haertel (BR.PB-5432).

ISBN 9790004212790. 10 x 12.5 inches.

Marche fatale is an incautiously daring escapade that may annoy the fans of my compositions more than my earlier works, many of which have prevailed only after scandals at their world premieres. My Marche fatale has, though, little stylistically to do with my previous compositional path; it presents itself without restraint, if not as a regression, then still as a recourse to those empty phrases to which modern civilization still clings in its daily utility music, whereas music in the 20th and 21st centuries has long since advanced to new, unfamiliar soundscapes and expressive possibilities. The key term is banality. As creators we despise it, we try to avoid it - though we are not safe from the cheap banal even within new aesthetic achievements.Many composers have incidentally accepted the banal. Mozart wrote Ein musikalischer Spass [A Musical Jape], a deliberately amateurishly miscarried sextet. Beethoven's Bagatellen op. 119 were rejected by the publisher on the grounds that few will believe that this minor work is by the famous Beethoven. Mauricio Kagel wrote, tongue in cheek, so to speak, Marsche, um den Sieg zu verfehlen [Marches for being Unvictorious], Ligeti wrote Hungarian Rock; in his Circus Polka Stravinsky quoted and distorted the famous, all too popular Schubert military march, composed at the time for piano duet. I myself do not know, though, whether I ought to rank my Marche fatale alongside these examples: I accept the humor in daily life, the more so as this daily life for some of us is not otherwise to be borne. In music, I mistrust it, considering myself all the closer to the profounder idea of cheerfulness having little to do with humor. However: Isn't a march with its compelling claim to a collectively martial or festive mood absurd, a priori? Is it even music at all? Can one march and at the same time listen? Eventually, I resolved to take the absurd seriously - perhaps bitterly seriously - as a debunking emblem of our civilization that is standing on the brink. The way - seemingly unstoppable - into the black hole of all debilitating demons: that can become serene. My old request of myself and my music-creating surroundings is to write a non-music, whence the familiar concept of music is repeatedly re-defined anew and differently, so that derailed here - perhaps? - in a treacherous way, the concert hall becomes the place of mind-opening adventures instead of a refuge in illusory security. How could that happen? The rest is - thinking.(Helmut Lachenmann, 2017)CD (Version for Piano):Nicolas Hodges CD Wergo WER 7393 2 Bibliography:Ich bin nicht ,,pietistisch verformt. Ein Gesprach [von Jan Brachmann] mit dem Komponisten Helmut Lachenmann, in: FAZ vom 7. Juni 2018, p. 15.

World premiere of the piano version: Mito/Japan, June 17, 2017, World premiere of the orchestral version: Stuttgart, January 1, 2018, World premiere of the ensemble version: Frankfurt, December 9, 2020.

Composed by Randall D. Standridge. Concert Band. Concert Band; Part(s); Score. Alfred Debut Series. Grade 1.5. 138 pages. Published by Alfred Music

Choir

SKU: WD.080689397233

Composed by Marty Hamby. Arranged by Marty Hamby. Choral. Sacred Anthem, General, Patriotic. Octavo. Word Music #080689397233. Published by Word Music (WD.080689397233).

UPC: 080689397233.

Drawi ng parallels between the spiritual battles we fight and actual battles of physical warfare, the shades-of-patriotic score and picturesque soundscape of this dramatic arrangement conjures up images of wounded soldiers coming home from battle. With cries of it is finished, the war is over, the conflict is won, we Christian soldiers are preparing to go home. Poignant and moving, the somber tones of this great song rise with ambitious hope toward our final act of coming home.

SATB and Harp or Piano/opt. Flute Choral; Flute; Harp (SATB/FLUTE/HARP)

SKU: HL.360182

Psallite Choral Series. Composed by Russell Floyd. Sacred Choral. Easter, General Worship, Lent. Octavo. 12 pages. Duration 240 seconds. Published by Hal Leonard (HL.360182).

UPC: 840126948769. 6.75x10.5x0.029 inches. I Peter 5:4, Isaiah 40:11, John 10:11-18.

Written with shimmering beauty, this song is a gentle pastorale delivering the message of Christ, the Good Shepherd. A winsome solo floats effortlessly above an impressionistic harp or piano accompaniment, bringing a deep serenity to the inspired lyric of sacred assurance. The flute obbligato adds distinctive color to the sonic soundscape of this artful tone poem.

Folk, Saddle-stitched. Christmas. Book and online audio. Mel Bay Publications, Inc #30918M. Published by Mel Bay Publications, Inc

Psallite Choral Series. Composed by Daniel Burton. Sacred Choral. Christmas, Christmas Sacred, Concert. Octavo. 12 pages. Published by Hal Leonard

Composed by Anders Edenroth. Real Group. Music Education. Octavo. 20 pages. Walton Music #WRG1027. Published by Walton Music (GI.WRG1027).

(Sea of Tranquility). By Mark Berry. Arranged by Mark Berry. Concert percussion solos. For percussion solo (C-lead steel drum, crotales (1 octave), digital delay, and pedal operated digital pitch shifter). This edition: Steel drum solo. Concert Percussion Solos. Mare Tranquillitatis (Sea of Tranquility) is a progressively written soundscape from the mind of steelpan virtuoso Mark Berry (Western Kentucky University). The title refers to a large basin on the northern hemisphere of the moon (one of the nineteen majo. Difficult. 16 pages. Duration 10:30. Published by Tapspace Publications