String Quartet

SKU: PR.16400222S

Composed by Dan Welcher. Full score (study). With Standard notation. Duration 11 minutes. Theodore Presser Company #164-00222S. Published by Theodore Presser Company (PR.16400222S).

UPC: 680160037841.

This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection.   The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour.   In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature.   The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales.   The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey.   Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.

Choir Secular (SATB choir)

SKU: AP.47619

Composed by Stephan Carlson. Performance Music Ensemble; Single Titles. Lawson-Gould. Secular. Choral Octavo. 12 pages. Alfred Music #00-47619. Published by Alfred Music (AP.47619).

UPC: 038081543123. English.

A rich and ever-changing harmonic palette draws the listener in and highlights the allegorical original text, which could stand alone as a poetic work. An expressive solo voice opens the piece followed by a multitude of lyrical choral phrases adorned with lush cluster chords and gratifying resolutions. An experience that singers will cherish.

Private Lessons Series. Composed by Bruce Buckingham. Musicians Institute Press. Instruction, Method. Softcover Audio Online. With guitar tablature. 48 pages. Published by Musicians Institute Press

Cool Riffs That Sound Great over Each Portion of the Blues Progression. Guitar Educational. Book and CD package. Size 9x12 inches. Published by Cherry Lane Music.

(Patterns, Progressions and Techniques for All Styles) Written by Steve Trovato. For guitar. Includes instructional book and accompaniment CD. With standard guitar notation, guitar tablature, chord names, guitar chord diagrams, introductory text and instructional text. Instructional. 48 pages. 9x12 inches. Published by Musicians Institute.

For Flute and Piano. Composed by Gary Schocker. Solo part with piano reduction. With Standard notation. 10 pages. Duration 4 minutes. Theodore Presser Company #114-41363. Published by Theodore Presser Company (PR.114413630).

By Gary Schocker. Arranged by Michele Gingras. For Clarinet, Piano. Standard notation. Published by Theodore Presser Company

Choir Secular (SAB choir/3-Part choir Mixed)

SKU: AP.51161

Composed by Andy Beck. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. Alfred Music #00-51161. Published by Alfred Music (AP.51161).

UPC: 038081581989. English.

At the end of every day, there will be stars. Stars are the inspiration for this stunning concert work that offers the reassurance only nature can bring. A lilting piano theme weaves its way through cascading vocal lines that seamlessly expand from pristine unisons into sumptuous sonorities. Your altos will especially love their glimmering, glistening interjections. Be sure to observe notated dynamics, which lean into several well-approached suspensions and taper to twinkling resolutions.

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.

By Gary Schocker. By Gary Schocker. For flute. Play Along. Instrumental Solo Part and 3 CDs. Published by Music Minus One

By Bruce Buckingham and Eric Paschal. Musicians Institute Press (Instruction taken from the curriculum of MI). With notes and tablature. Size 9x12 inches. 144 pages. Published by Musicians Institute.

Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

By James Leith MacBeth Bain. Arranged by Douglas E. Wagner. By James Leith MacBeth Bain / arr. Douglas E. Wagner. For Concert Band. Concert Band. Belwin Beginning Band. Level: Very Easy (grade I). Conductor Score & Parts. 164 pages. Duration 2:29. Published by Alfred Publishing

(For 2 Flutes and Piano). By Gary Schocker. For 2 Flutes, Piano. Standard notation

Chamber Music String Quartet

SKU: PR.11440505S

Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S).

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Choral (SATB)

SKU: HL.347024

Composed by Nick Strimple. Pavane Choral. Concert, Traditional. Octavo. 8 pages. Pavane Publishing #NS0025. Published by Pavane Publishing (HL.347024).

UPC: 840126926521. 6.75x10.5x0.019 inches.

Nick Strimple has composed a set of three easy anthems, and lacking in difficulty is absolutely true. But elegant and distinguished also describes these settings of familiar texts. The words by 19th century English poet John Bowring is the least known text, but it is timeless and speaks of God's enduring love. The organ accompaniment contains scrumptious suspensions and resolutions for an anthem that works equally well as a choral piece, a solo, or for unison choir.

Band concert band - Grade 5

SKU: KJ.WB523F

Composed by Mark Camphouse. Music book. Neil A. Kjos Music Company #WB523F. Published by Neil A. Kjos Music Company (KJ.WB523F).

By Edwin E. Gordon. Music Education. Instructional. Text language: English. 216 pages

Speed Picking, Sweeps, Arpeggios and Harmony for the Modern Guitarist. Guitar Educational. Arpeggios, Instruction. Softcover Audio Online. With guitar tablature. 160 pages. Published by Hal Leonard

Just the Facts. A unique workbook series, useful as preparation for the Texas State theory test. 11. Instructional book

Choir Secular (2-Part choir)

SKU: AP.51162

Composed by Andy Beck. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. Alfred Music #00-51162. Published by Alfred Music (AP.51162).

UPC: 038081581996. English.

At the end of every day, there will be stars. Stars are the inspiration for this stunning concert work that offers the reassurance only nature can bring. A lilting piano theme weaves its way through cascading vocal lines that seamlessly expand from pristine unisons into sumptuous sonorities. Your altos will especially love their glimmering, glistening interjections. Be sure to observe notated dynamics, which lean into several well-approached suspensions and taper to twinkling resolutions.

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.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Flute, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Orchestra Bells, Percussion, Triangle, Trombone 1, Trombone 2, Trombone 3, Trumpet 1, Trumpet 2, Trumpet 3 and more.

SKU: PR.415411380

For Solo Flute and Wind Ensemble. Composed by Gary Schocker. Arranged by Donald Lewellen. This edition: Scored and arranged for Wind Ensemble by Donald Lewellen. Contemporary. Full score. With Standard notation. Composed 2004. 72 pages. Duration 8:30. Theodore Presser Company #415-41138. Published by Theodore Presser Company (PR.415411380).

UPC: 680160595945. 8.5 x 11 inches. Key: C major.

By Victor C. Johnson. For SATB/SAB choir and piano (with optional flute). Sacred Anthem: Christmas. Octavo. Published by Lorenz Publishing Company

Violin 1 (solos: SSTB - choir: SATBSATB - 1.2.0.2 - 2.2.3.0 - timp - org - str)

SKU: BR.OB-5562-15

Urtext - Completion. Composed by Wolfgang Amadeus Mozart. Edited by Clemens Kemme. Arranged by Clemens Kemme. Choir; stapled. Orchester-Bibliothek (Orchestral Library).

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso.

Have. Mass; Classical. Part. 20 pages. Duration 52'. Breitkopf and Haertel #OB 5562-15. Published by Breitkopf and Haertel (BR.OB-5562-15).

ISBN 9790004342282. 10 x 12.5 inches.

The Missa in c was so dear to Mozart that he cited it as evidence of the reality of my vow to marry his beloved Constanze and to complete the only half-finished mass. Nevertheless, one of Mozart's greatest masterpieces remained a torso. The Dutch music theorist, arranger, and musicologist Clemens Kemme closes the gap in this work by creating a new supplement, creatively and profoundly grounded and giving due respect to the composition, hence fulfilling that part of Mozart's vow after more than 200 years. This version is published by Breitkopf, complete with performance material, piano reduction, and study score. The edition is based on a meticulous re-examination of the sources for the completed sections and offersAddenda validated by authentic materialNew orchestration of the two Credo movements modeled on Handel and Bach as well as on Mozart's own music, e.g., the aria Se il padre perdei (Idomeneo)Reconstruction of the Sanctus for double chorus from secondary sources and models by Caldara and J. Chr. BachSections added in the score clear at first glance from their gray resolutionPreparation of the edition in close collaboration with Frans BruggenFirst performance of the version in 2006 by Bruggen with many subsequent performances, such as by the chorus of the Bavarian Radio under Peter Dijkstra (together with CD production) Kemme applies the same level of care and diligence shown in his 'Et incarnates est' and 'Osanna' reconstructions throughout the score, though these two movements truly set this edition apart from its predecessors. Careful awareness of eighteenth-century music theory and practices facilitate skillful and insightful interventions at every stage. The outcome is a highly refined and elegant take on the C-minor mass as Mozart left it. (Peter Keenan, Eighteenth-Century Music)Audio samples:10. Et incarnatus est: Claron McFadden (Soprano), Orchestra of the 18th Century, cond. Frans Bruggen (NOS Radio, 2006) 11. Sanctus: Chor des Bayerischen Rundfunks, Munchener Kammerorchester, cond. Peter Dijkstra (Sony, 2013)

This edition represents the culmination of some eleven or so years of extensive research. It brings an exhaustive understanding of eighteenth-century practices and Mozart's stylistic habits to bear on the unfathomable task of replicating Mozart's style without impinging upon the tone of the work. The rigour with which Clemens Kemme has produced this edition of Mozart's abandoned mass is nothing but exceptional. (Peter Keenan, Eighteenth-Century Music).