By Benny Goodman. Edited by Jeffrey Sultanof. Arranged by Jimmy Mundy. For big band. Swing. Medium-difficult. Score and parts. Published by Jazz Lines Publications

By Dan Fox and Dick Weissman. For Flute. Improvisation. All Styles. Beginning-Intermediate. Book/CD Set. 116 pages. Published by Mel Bay Publications, Inc

Composed by Richard Yates. For guitar (acoustic). Squareback saddle stitch. Intermediate. Book and online audio. Published by Mel Bay Publications, Inc

Choir Secular (2-Part choir)

SKU: AP.48825

Composed by Darin Lewis. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Fall; Secular; Winter. Choral Octavo. 8 pages. Alfred Music #00-48825. Published by Alfred Music (AP.48825).

UPC: 038081561493. English. Words by Rachel Field.

The last autumn leaves freely descend during the short piano introduction, symbolic of the change from fall to winter. Two-part groups will luxuriate in the words of Rachel Field as presented in this sumptuous setting. As simple as a partner song, with two independent melodies that assemble into a delicate choral duet; as sophisticated as an art song, with haunting motives and passing dissonances. Crystalline chords, embedded into the mostly arpeggiated accompaniment, dazzle the ear and offer subtle support to treble voices of any age. Designed with the clarity and elegance that will make any ensemble sound impressive.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

Chamber Music Piano

SKU: PR.110418370

Composed by Charles Ives. Arranged by Danny Holt. Performance Score. 20 pages. Duration 8 minutes. Theodore Presser Company #110-41837. Published by Theodore Presser Company (PR.110418370).

ISBN 9781491135075. UPC: 680160686247.

Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.
Composed when Charles Ives was a teenager, Variations on “America” is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking” elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.

Arranged by Gene; Lowell Everson Grier. For Voices: 2 mixed voices, SB. Piano. Choral Sacred. Level: easy. 6 pages. Published by GIA Publications.

By Robert Gardner. Orchestra. Part(s); Score; String Orchestra. Highland String Alternatives. Light Concert; Pop/Rock. Grade 3. 124 pages. Published by Alfred Music Publishing

Composed by John Fahey. Edited by Andrew Lardner. Blues. Book. 84 pages. Published by Mel Bay Publications, Inc

Composed by Lei Liang. This edition: Saddle stitching. Sheet music. String. Score and parts. Composed 2014. 48 pages. Duration 11'. Schott Music #ED 30141. Published by Schott Music

Coro SMsA, Fl

SKU: CA.336490

Arranged by Jesus Ochoa. Separate edition with choral collection. Secular choral music. Full score. 5 pages. Carus Verlag #CV 03.364/90. Published by Carus Verlag (CA.336490).

ISBN 9790007243975. Language: Spanish.

This composition is a Chilean 'Cueca,' which is a dance found in many South American countries that is de rived from the Spanish 'Jota' and contains several elements from the 'Fandango.' There are many different styles of 'Cuecas', depending on the nature of the texts or the region from which they come. However the rhythm is mostly written in 6/8, alternating sometimes with 3/4, and in minor keys, and it is danced in single and independent couples. Because of its melancholic character, this 'Cueca' is thought to have derived from the Peruvian 'Yaraví' and it comes from the province of Sucre and was composed in the times of the Chaco war (that occured between Bolivia and Paraguay in 1932-1935). Most of the authors who composed texts and popular tunes in this period are anonymous. The instruments that accompany the 'Cueca' are generally guitar, bombo and charango.

2-part equal voices, 2-part mixed voices, cantor, voice solo, assembly, keyboard accompaniment - Beginning

SKU: GI.G-7107

Composed by Marty Haugen. Celebration Series. Sacred. Octavo. With guitar chord names. 8 pages. GIA Publications #7107. Published by GIA Publications (GI.G-7107).

UPC: 785147710707. English.

A mostly unison song with a reggae feel that follows the textual pattern of many a reggae song - i.e., the verses each cite a particular evil followed by a plea for an end to its power over people. A strong social justice message that needs to continually be on the lips of the church. For cantor or soloist

A strong social justice message that needs to continually be on the lips of the church.

Composed by Andrew D. Gordon and Frank Villafranca. Saddle stitch. Blues/Saxophone Instruction. Book and Downloadable audio. Duration 60 minutes. Published by ADG Productions

SKU: GI.G-9915

Composed by Frank Eychaner. Music Education. GIA Publications #9915. Published by GIA Publications (GI.G-9915).

ISBN 9781622774371.

In the world of music conducting there exist fundamental practices shared by all conductors regardless of the type of ensemble they conduct. Foundations of Conducting Technique is a comprehensive beginning conducting text—compl ete with pictures, online videos, and supplemental conducting etudes—to facilitate the development of a clear and expressive conducting technique. In this volume, author Frank Eychaner addresses three major areas for beginning conductors: gestural technique, score study, and leadership. For gestural technique, the text details a number of technical skills, including the appropriate use of the body, the roles of the right and left hand, basic conducting patterns and their derivatives, an application of Laban movement analysis, the importance of the conducting planes, and conducting with varied articulations (staccato, legato, and marcato), among others. Using direct language, Eychaner details clear cause and effect relationships between gesture and sound. In addressing score study, Eychaner states that all conducting gestures must be guided b y an accurate and artistic aural image of a musical work. Rather than advocating for one particular approach, this volume presents a number of possible score study methods for the student to explore. The author also includes a convenient and complete score study checklist. Finally, the text addresses how to be an effective and ethical leader from the podium. Eychaner presents the transformational leadership model—a holistic and dynamic approach to leadershipâ€â€� �as a positive pathway for improving the conductor’ s effectiveness on and off the podium. Supplementing the text are music etudes to help students develop the technical skills of the conductor. The exercises are intentionally simple, consisting mostly of rhythmic materials and folk-like melodies, so that conductors can focus on mastery of gestural skills. Foundations of Conducting Technique is a major contribution to conducting pedagogy and an extraordinary resource that distills the essence of effective conducting gesture. An ideal text for undergraduate conducting courses, it is also a practical reference for anyone employed in the field, including music educators, church musicians, leaders of community ensembles, and professional conductors of all ensembles. Frank Eychaner, an international leader in conducting pedagogy, has been an educator and conductor for twenty-five years, working in public schools as well as with professional, collegiate, community, and church ensembles. He is currently Director of Choral and Vocal Studies at The University of Texas of the Permian Basin, where he teaches conducting, choral methods, and choral pedagogy, and conducts the Chamber Choir, Concert Choir, and Men’s and Women’s Choirs. Figure 29.5. Duruflé Requiem. Figure 29.6. Handel's Messiah. Of the Father's Love Begotten Give Thanks Appendix A: Conducting Evaluation Form Extended Bibliography.

4 Flutes

SKU: BT.EMBZ14476

Zum Teil mit Altflöte (Sol). By László Zempléni. By Imre Kovacs. Educational Tool. Set (Score & Parts). Composed 2006. 64 pages. Editio Musica Budapest #EMBZ14476. Published by Editio Musica Budapest (BT.EMBZ14476).

Hungarian-English-Germ an-French.

Editio Musica Budapest is launching a new series entitled Musica da camera. As its very general title indicates, the publishers' intention is that the volumes in this series, which is designed specifically for music school students, will include works composed for chamber ensembles of every kind, from the trio to the sextet. The first two volumes contain mostly transcriptions for three and four flutes respectively, selected from every period of music history from the late Renaissance to the present day. This publication is printed on high-quality, age-resistant paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.

Unter dem Titel ‚Musica da camera' bringt Editio Musica Budapest eine neue Serie auf den Weg. Bereits dieser sehr allgemeine Titel zeigt an, dass in die Bände dieser neuen Serie den Wünschen des Verlags entsprechend Werke für Kammerensembles der unterschiedlichsten Besetzung - vom Trio bis zum Sextett - aufgenommen werden. Die ersten beiden Bände enthalten grösstenteils Bearbeitungen für drei oder vier Flöten aus allen musikgeschichtlichen Epochen von der Spätrenaissance bis zur Gegenwart.

A Guitarist's Guide to the Art of Chord Melody Playing. Guitar Educational. Book & CD Package. Published by Hal Leonard.