Composed by David Evan Thomas. 9/11 Service, Memorial, 21st Century, Justice/Peace/Social Concerns. Duration 6 minutes, 30 seconds. Published by E.C. Schirmer Publishing

Tous Les Accords au Piano en Photos. By Jonathan Hansen. For Keyboard (Piano). Chord Book. Photo Chords. All Styles. Level: Multiple Levels. Book. 200 pages. Published by Mel Bay Publications, Inc.

By Joe Riposo. For any C, Eb, Bb, bass instrument or voice. Level: intermediate, advanced. Book. Published by Jamey Aebersold Jazz.

Brass Band - Grade 3

SKU: BT.AMP-396-030

Arranged by Philip Sparke. Anglo Music Midway Series. Original Light Music. Set (Score & Parts). Composed 2013. Anglo Music Press #AMP 396-030. Published by Anglo Music Press (BT.AMP-396-030).

9x12 inches. English-German-French-Dut ch.

Hava Nagila (the title means ‘let us rejoice’) is perhaps the best known example of a style of Jewish music called ‘klezmer’. Klezmer music originated in the ‘shtetl’ (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ‘klezmorim’, had performed at celebrations, particularly weddings, since the early Middle Ages.‘Klezmer� �� is a Yiddish term combining the Hebrew words ‘kley’ (instrument) and ‘zemer’ (song) and the roots of the style are found in secular melodies, popular dances, Jewish ‘hazanut’ (cantorial music) and also the ‘nigunim’, the wordless melodies intoned by the ‘Hasidim’ (orthodox Jews).Since the 16th century, lyrics hadbeen added to klezmer music, due to the ‘badkhn’ (the master of ceremony at weddings), to the ‘Purimshpil’ (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. The melody of Hava Nagila was adapted from a folk dance from the Romanian district of Bucovina. The commonly used text is taken from Psalm 118 of the Hebrew bible.

Hava Nagila (de titel betekent ‘laat ons gelukkig zijn’) is misschien wel het bekendste voorbeeld van klezmer, een Joodse muziekstijl.De klezmermuziek komt van oorsprong uit de sjtetls (dorpen) en de getto’s van Oost-Europa, waar rondtrekkende Joodse troubadours, bekend als klezmorim, al sinds de middeleeuwen hadden opgetreden bij feestelijkheden, en dan met name bruiloften.Klezmer is een Jiddische term waarin de Hebreeuwse woorden kley (instrument) en zemer (lied) zijn samengevoegd. De wortels van de stijl liggen in wereldlijke melodieën, volksdansen, de joods-liturgische hazanut en ook de nigunim, de woordeloze melodieën zoals die worden voorgedragen doorchassidische (orthodoxe) joden.Sinds de 16e eeuw zijn er aan de klezmermuziek ook teksten toegevoegd, dankzij de badchen (de ceremoniemeester bij huwelijken), het poerimspel (het verhaal van Esther tijdens Poerim/het Lotenfeest) en tradities binnen het Jiddische theater, maar de term werd geleidelijk synoniem aan instrumentale muziek met een hoofdrol voor de viool en klarinet.De melodie van Hava Nagila is afkomstig van een volksdans uit de Roemeense regio Boekovina. De meest gebruikte tekst voor het lied kom uit psalm 118 van de Hebreeuwse Bijbel.

Hava Nagila (auf Deutsch ‚Lasst uns glücklich sein’) ist vielleicht das bekannteste Beispiel für den jüdischen Musikstil namens ‚Klezmer’. Klezmermusik hat ihren Ursprung in den Shtetls“ (Städtchen) und den Ghettos Osteuropas, woumherziehende jüdische Troubadours, die man ‚Klezmorim’ nannte, schon seit dem frühen Mittelalter auf Feiern, vor allem Hochzeiten, zu spielen pflegten. Klezmer ist ein jiddischer Begriff, der sich aus den hebräischen Wörtern ‚kley’(Instr ument) und ‚zemer’ (Lied) zusammensetzt. Die Wurzeln des Musikstils liegen in weltlichen Melodien, populären Tänzen, jüdischem ‚Chasanut’ (Kantorengesang) und auch ‚Niggunim’, Melodien ohne Text, vorgetragen von den‚Chassidimâ€� �� (orthodoxen Juden). Seit dem 16. Jahrhundert wurden die Klezmermelodien mit Texten versehen, was auf die ‚Badchan’ (Zeremonienmeister bei Hochzeiten), auf das ‚Purimshpil’ (Das Esther-Spiel zum Purimfest) und aufTraditionen des jiddischen Theaters zurückgeht. Der Begriff Klezmer wurde jedoch mit der Zeit gleichbedeutend mit Instrumentalmusik, im Besonderen mit den Instrumenten Violine und Klarinette. Die Melodie von Hava Nagila ist eine Adaption einesVolkstanzes aus der rumänischen Bukowina. Der üblicherweise verwendete Text stammt aus Psalm 118 der hebräischen Bibel.

Hava Nagila (qui signifie Réjouissons-nous) est sans aucun doute la chanson traditionnelle hébra que de style klezmer la plus connue de toutes.La musique klezmer est née dans les shtetl (villages) et les ghettos d’Europe de l’Est, où les baladins juifs ambulants, appelés klezmorim, célébraient toutes sortes de cérémonies, en particulier les mariages, et ce depuis le début du Moyen- ge.Le terme yiddish klezmer est la combinaison de deux mots : klei, que l’on peut traduire par instrument et zemer qui veut dire chanson. Cette tradition musicale tire ses origines dans les mélodies profanes, les danses populaires, la musique juive hazanout (musique vocale) ainsi que les nigunim,les mélodies sans paroles entonnées par les hassidim (juifs orthodoxes).Au cours du XVIe siècle, les paroles ont été ajoutées la musique klezmer, afin d’illustrer le rôle du badkhn (le maître de cérémonie lors des mariages), le pourim-shpil (monologue où est paraphrasé le livre d’Esther) ou encore les traditions liées au thé tre yiddish, mais le terme est progressivement devenu synonyme de musique instrumentale, en particulier dans une interprétation au violon et la clarinette.La mélodie Hava Nagila a été adaptée partir d’une danse folklorique de la région roumaine de Bucovine. Le texte, couramment utilisé, est extrait du Psaume 118 de la bible hébra que.

Arranged by David Marlatt. For 2nd Trumpet. Brass Ensemble - Quintet. Eighth Note Publications. Love; Wedding. Part(s). 16 pages. Published by Eighth Note Publications

Concert Band - Grade 0.5

SKU: AP.46607

Composed by Douglas E. Wagner. Concert Band; Performance Music Ensemble; Single Titles. Belwin Very Beginning Band. Spring. Score and Part(s). 130 pages. Duration 2:00. Belwin Music #00-46607. Published by Belwin Music (AP.46607).

UPC: 038081532318. English.

Inspired by demonstrated courage, this original work is intended as a confidence-building piece for a young ensemble's first Spring concert. It serves as a perfect gateway into articulation and varying dynamics: the three most commonly occurring articulation marks (staccato, accent, and tenuto) have been included, as have the middle three dynamic markings (mezzo piano, mezzo forte, and forte) building and declining in intensity. These musical concepts can be experienced individually and within the ensemble. A bold musical statement!

Guitar - Beginning

SKU: MB.30574

Gig Savers Complete Edition. Composed by Corey Christiansen. Style, Squareback saddle stitch, Contemporary, Improvising/Licks, Technique, Theory and Reference, Rhythm and Chords, Adult Contemporary. Gig Savers. Rock. Book. 80 pages. Mel Bay Publications, Inc #30574. Published by Mel Bay Publications, Inc (MB.30574).

ISBN 9780786697014. 6 x 9 inches.

Rock Guitar Essentials: Gig Savers Complete Edition combines Corey Christiansens five previous pocket-sized books. Part 1 of this comprehensive edition gives aspiring rock guitarists a working knowledge of the most basic scales commonly used to improvise rock solos and write rock melodies. A discussion on how each scale can be used over a set of chords is provided to help guitarists use these scales when performing. Charts provide the names of the notes on the fretboard and a section on sequencing scales makes it possible for guitarists to easily master rock scales. Part 2 teaches the rock guitarist how to play any barre chord, providing insight on how to play them with ease and agility. Moveable chord shapes and practice etudes are especially useful for beginners. Part 3 presents comprehensive warm-up and technical exercises. Studies begin at the most basic level and progress in difficulty. This chapter gives guitarists the information needed to continue constructing their own technical exercises. Part 4 presents accompaniment patterns for a wide variety of pop styles such as folk, rock/blues, country/bluegrass, jazz, and some Latin styles including bossa nova and samba. Basic fingerstyle accompaniment patterns are taught in a simple manner, presented with rhythmic notation and string numbers. This chapter pays special attention to the blues, covering alternate changes and substitutions in a method that provides easy transposition. Chapters 3, 4 and 5 are also included in Jazz Guitar Essentials: Gig Savers Complete Edition .

By Dr. Mark Alan Wade. For hammered dulcimer. Saddle stitched. Killer Technique. Methods. Intermediate-Advanced. Book. 28 pages. Published by Mel Bay Publications, Inc

Fanfare Band - Grade 4

SKU: BT.GOB-000808-120

Composed by Carl Wittrock. Score Only. 16 pages. Gobelin Music Publications #GOB 000808-120. Published by Gobelin Music Publications (BT.GOB-000808-120).

As he did before in the often played and commonly appreciated ‘Lord Tullamore’, in which he poetically depicted the landscape and the cultural elements of a small Irish village, in his composition ‘The Road to the West’ Carl Wittrock has sketched pioneer existence in America in a cinematic manner.
In ‘The Road to the West’ the composer has tried to capture images of pioneer life during the period dating from 1850 to 1890, the days of the so-called Wild West.
In those days, the Wild West used to be the territory west of civilization, the domain of cowboys, trappers, and other fortune hunters.
In short, ample ingredients for a captivating story.

In the firstscene a lonely adventurer struggles against nature and the elements.
After an exciting adventure he passes through ‘the Plains’, where majestic views alternated by colossal mountain ranges display an almost unimaginable beauty.
After weeks of isolation civilization is reached again.
‘The Saloon’ is the perfect meeting place here news is exchanged and hilarious scenes regularly take place.

In navolging van het veel gespeelde en alom gewaardeerde ‘Lord Tullamore’, waarin Carl Wittrock op poëtische wijze landschap en culturele elementen van een Iers dorpje verklankt, wordt in ‘The Road to the West’ op filmische wijzehet pioniersbestaan in Amerika geschetst.
De componist betreedt in ‘The Road to the West’ het pionierspad in de periode tussen 1850 en 1890, de tijd van het Wilde Westen.
Het Wilde Westen was het gebied ten westen van de beschaving,het domein van cowboys, pelsjagers en andere gelukzoekers.
Genoeg ingrediënten voor een boeiend verhaal.

In de eerste scene gaat een avonturier, eenzaam en alleen, de strijd aan met de natuur en de elementen.
Na een spannend avontuur trekt hij door ‘the Plains’, waar de weidse vergezichten, afgewisseld door kolossale bergformaties een bijna niet onder woorden te brengen schoonheid tentoonspreiden.
Na weken van eenzaamheid komttenslotte de bewoonde wereld weer in beeld.
‘The Saloon’ is de ontmoetingsplek bij uitstek. Hier worden ervaringen uitgewisseld en spelen zich vaak hilarische taferelen af.

Concert Band - Grade 1.5

SKU: AP.33829S

Composed by Wolfgang Amadeus Mozart. Arranged by Todd Stalter. Concert Band; Masterworks; Performance Music Ensemble; Single Titles. Challenger Band Series. Form: Transcription. Classical; Masterwork Arrangement. Score. 8 pages. Alfred Music #00-33829S. Published by Alfred Music (AP.33829S).

UPC: 038081394923. English.

Mozart's Serenade No. 13 for strings in G Major, K. 525 is commonly referred to as Eine Kleine Nachtmusik, which stands for a little serenade, but is more familiar to music lovers as a little night music. This arrangement uses themes from the first movement, and is cast in a comfortable key and range for young band musicians. Careful attention to the sudden, extreme dynamic changes will make the performance of this piece really come to life.

Brass Band - Grade 4

SKU: BT.GOB-000836-130

Composed by Carl Wittrock. Score Only. 20 pages. Gobelin Music Publications #GOB 000836-130. Published by Gobelin Music Publications (BT.GOB-000836-130).

As he did before in the often played and commonly appreciated ‘Lord Tullamore’, in which he poetically depicted the landscape and the cultural elements of a small Irish village, in his composition ‘The Road to the West’ Carl Wittrock has sketched pioneer existence in America in a cinematic manner.
In ‘The Road to the West’ the composer has tried to capture images of pioneer life during the period dating from 1850 to 1890, the days of the so-called Wild West.
In those days, the Wild West used to be the territory west of civilization, the domain of cowboys, trappers, and other fortune hunters.
In short, ample ingredients for a captivating story.

In the firstscene a lonely adventurer struggles against nature and the elements.
After an exciting adventure he passes through ‘the Plains’, where majestic views alternated by colossal mountain ranges display an almost unimaginable beauty.
After weeks of isolation civilization is reached again.
‘The Saloon’ is the perfect meeting place here news is exchanged and hilarious scenes regularly take place.

In navolging van het veel gespeelde en alom gewaardeerde ‘Lord Tullamore’, waarin Carl Wittrock op poëtische wijze landschap en culturele elementen van een Iers dorpje verklankt, wordt in ‘The Road to the West’ op filmische wijzehet pioniersbestaan in Amerika geschetst.
De componist betreedt in ‘The Road to the West’ het pionierspad in de periode tussen 1850 en 1890, de tijd van het Wilde Westen.
Het Wilde Westen was het gebied ten westen van de beschaving,het domein van cowboys, pelsjagers en andere gelukzoekers.
Genoeg ingrediënten voor een boeiend verhaal.

In de eerste scene gaat een avonturier, eenzaam en alleen, de strijd aan met de natuur en de elementen.
Na een spannend avontuur trekt hij door ‘the Plains’, waar de weidse vergezichten, afgewisseld door kolossale bergformaties een bijna niet onder woorden te brengen schoonheid tentoonspreiden.
Na weken van eenzaamheid komttenslotte de bewoonde wereld weer in beeld.
‘The Saloon’ is de ontmoetingsplek bij uitstek. Hier worden ervaringen uitgewisseld en spelen zich vaak hilarische taferelen af.

Composed by Monika Mandelartz. For harp. Saddle-stitched. Intermediate-Advanced. Book. 24 pages. Published by Mel Bay Publications, Inc

Composed by Felix Bartholdy Mendelssohn (1809-1847). Arranged by Sylvia Woods. For Harp. Harp. Softcover. 4 pages. Published by Hal Leonard

Band concert band - Grade 1

SKU: CF.BPS109F

Composed by George Sweet. SWS. Carl Fischer Beginning Performance Series. Full score. With Standard notation. 12 pages. Duration 2 minutes, 34 seconds. Carl Fischer Music #BPS109F. Published by Carl Fischer Music (CF.BPS109F).

ISBN 9781491147887. UPC: 680160905386. 9 x 12 inches.

Rays of Light is an upbeat, positive piece for developing ensembles inspired by the return of light after a dark storm. Composer George Sweet has an indelible style that incorporates a fresh harmonic perspective not commonly found in pieces at this level with simple, tuneful melodic gestures. Every section of the band is given a chance to shine in this delightful new piece for beginning band.

Guidelines For Jazz Articulation And Style. Composed by Jerry Tolson. Jazz improvisation method. Book with digital audio. Published by Kendor Music Inc

By Various. Arranged by David Marlatt. For Trumpet and Keyboard. Brass - B-Flat Cornet (Trumpet) Method or Collection. Renaissance. Book

Anniversary Waltz * Ivonovici * Signature Series Original composed by Ivonovici. Arranged by Jonathon Robbins. For piano solo. Solo. Signature Series. Classical. Sheet Music. Text Language: English. 4 pages. Published by Santorella Publications

Composed by Andrew D. Gordon. Saddle stitch. Blues, instructional. Book and Downloadable audio. Duration 80 minutes. Published by ADG Productions

Organ (Organ)

SKU: HL.14003116

Composed by Johann Sebastian Bach. Music Sales America. Baroque. Book [Softcover]. 8 pages. Edition Wilhelm Hansen #WH27339. Published by Edition Wilhelm Hansen (HL.14003116).

ISBN 9788774553397. 12.0x8.25x0.42 inches. Georg Fjelrad - Author.

Chorale from Cantata 147 commonly known as 'Jesu, Joy of Man's Desiring'. Arranged for Organ by Georg Fjelrad.

By Usher Abell. For Fiddle and Violin. Technique. Jazz. Level: Intermediate. Book/CD Set. Size 8.5x10.75. 152 pages. Published by Mel Bay Publications, Inc.

By Lina Ng. Book; Reference Textbooks; Textbook - General; Theory. Faber Edition. Elementary. Published by Faber Music

By Jonathan Hansen. For Keyboard (Piano). Chord book. Photo Chords. All Styles. Book. 200 pages. Published by Mel Bay Publications, Inc.
Level: Multiple Levels.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more.

SKU: PR.16500100F

Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F).

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

Violin and Piano - intermediate

SKU: XC.LS1810

Composed by Jules Massenet. Arranged by Josh Dampier. Legacy Solo Series. Solo with Piano. Classical, Acoustic. Score and part. Excelcia Music Publishing #LS1810. Published by Excelcia Music Publishing (XC.LS1810).

UPC: 812598030150. 12 x 9 inches.

The Legacy Solo Series contains masterworks meticulously edited and set beautifully by one of the most popular composers of music for students today, Larry Clark. These solos are routinely found on many state festival lists throughout the United States and are perfect for use at an adjudicated solo festival or recital. Commonly featured on college audition lists, these works are a cornerstone of the solo repertoire. Piano players will enjoy piano reductions that are clean and feature the solo line in concert pitch for easy rehearsal. Each Legacy Solo, compatible with Smartmusic, comes with beautifully set parts and piano accompaniment. Piano recordings for rehearsal or performance of each piece are available for download from the Excelcia Music Publishing website.

By David Baker. Textbook - Jazz. Jazz. Book. 52 pages. Published by Alfred Publishing.