By Stephen Andrews. For SATB choir. Sacred Anthem. Octavo. Published by Triune Music Inc

Composed by Gary Schocker. For harp. Contemporary. Score. Standard notation. 12 pages. Duration 14 minutes. Published by Theodore Presser Company

By John Williams. For Cello. String Series. Pop Instrumental Solo Series. Movie. Level: grade 2-3. Book and CD. 48 pages. Published by Alfred Publishing.

Composed by Robert Buckley. For Concert Band (Score and Parts). MusicWorks Grade 2. Grade 2. Published by Hal Leonard

LiteTrax CD (Accompaniment CD)

SKU: HL.35032404

Sacred Choral. CD. Published by Shawnee Press (HL.35032404).

UPC: 888680797423. 5.0x5.0x0.195 inches.

Stretch your music budget with these exceptional quality accompaniment tracks for 14 anthems from Hal Leonard and Shawnee Press on one convenient CD. Songs include: Ain't-a That Good News; Baby in Bethlehem; A Celtic Blessing; Daugthers of Promise, Women of Faith; From Jars of Clay; A Harvest of Thanksgiving; Jesus Is the Way; The Kingdom of Peace; Lord, I Worship You; Masterpiece; New Born Again; A Promise, A Hope; Teach Me; Wade in the Living Water.

By Hikaru Utada. Arranged by Michael Story. Concert Band. Concert Band. Pop Young Band. Pop. Grade 2. Conductor Score & Parts. 124 pages. Published by Alfred Music Publishing

Choral (SATB)

SKU: HL.2050307

Praise Gathering Choral. Easter. Softcover. 96 pages. Duration 2100 seconds. PraiseGathering #A08459. Published by PraiseGathering (HL.2050307).

UPC: 797242340093. 6.75x10.5x0.21 inches.

From the moment God spoke the worlds into being, time was moving inexorably toward this moment-this place. The prophecies, the star, the manger, the kings, the miracles and the teachings were all preamble to a blood stained cross and an empty tomb.God's master plan, accomplished through the work of His only Son, unfolded in ways that are incomprehensible. How do you imagine the unthinkable? We celebrate this ancient story that changes lives today. This is the story of our redemption offered at such great cost. This is the story of the resurrection of Jesus!We thank You and praise You Lord Jesus, for Thine is the KINGDOM, and the POWER, and the GLORY for ever!

(Anthem for mixed voices SATB & keyboard). By Stephen L. Lawrence. For SATB choir. Exaltation Series. Sacred Anthem. Moderately easy. Octavo. Published by Lorenz Publishing Company Octavo Sacred Anthem

By Kirby Shaw. (Showtrax CD). Contemporary Choral. CD only. Published by Hal Leonard.

Composed by Michael Giacchino. Arranged by Michael Brown. Young Concert Band. Movies. Softcover. Published by Hal Leonard

2-part equal voices, keyboard accompaniment, handbells, chimes

SKU: GI.G-007104

Composed by James E Clemens. Easter 5 C, OT 25 A, OT 16 A, OT 27 A, OT 17 A, OT 14 C, OT 11 C, OT 15 A, Children. Sacred. Octavo. GIA Publications #007104. Published by GIA Publications (GI.G-007104).

UPC: 641151071046. English. Text by David Wright. Scripture: Mt 13.

This engaging, rhythmically lively two-part choral anthem was born of the creative collaboration of composer Jim Clemens and author David Wright. David‚ words are based on Matthew 13, and Jim‚ colorful text painting gives the work a captivating dance-like character ideal for your children‚ or mixed choir. The memorable motif on the Kingdom‚ appears in the voices, keyboard, and bells, you'll probably catch yourself singing it during the normal course of your day.

Concert Band - Grade 0.5

SKU: AP.39497S

Composed by Victor Lopez. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Very Beginning Band. Multicultural. Score. 20 pages. Belwin Music #00-39497S. Published by Belwin Music (AP.39497S).

UPC: 038081459561. English.

The Maya Kingdom was a culture with rich tradition and amazing skills, particularly in their artistic endeavors. This work has been intentionally created without a key signature, making it performable by ensembles at the earliest levels. Opening with a transparent clarinet melody and developing to a spirited conclusion, this piece embraces the rich Mayan tradition in a very playable and artistic form. (2:15)
This title is available in MakeMusic Cloud.

SATB choir, organ - Beginning

SKU: MN.50-8303

Composed by Robert A. Hobby. 21st Century, Communion. Octavo. MorningStar Music Publishers #50-8303. Published by MorningStar Music Publishers (MN.50-8303).

UPC: 688670583032.

Pensi ve meditative text with tune KINGDOM.

By No Doubt. Guitar Recorded Version. Ska, Pop. With guitar tablature. 152 pages. Published by Hal Leonard

Composed by Marty Parks. For medium voice (3-part mixed), piano (with optional rhythm). Sacred Vocal. Published by Lillenas Publishing Company

By John O'reilly. Music by John O'Reilly. For Concert Band. Concert Band. Accent on Achievement. Level: Grade 1. Conductor Score & Parts. Published by Alfred Publishing.

Composed by Alan Menken. Arranged by Robert Longfield. Pop Specials for Strings. Softcover. Published by Hal Leonard

Concert band - Grade 4

SKU: MH.0-931329-53-1

Composed by Gregory B.Rudgers. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:30. Published by Manhattan Beach Music (MH.0-931329-53-1).

ISBN 9780931329531.

Jour ney back to ancient Greece and view a place of long-gone legend. Follow the trail to the Kingdom of Ithaca, from the heroic palace, to a place of tranquility, to a reckless dance of abandon, to the return of Odysseus. The melodic material used in 200 B.C. is from a two thousand year old Greek hymn to Apollo. The legendary adventures of Odysseus as described by Homer in the Odyssey (ca. 700 B.C.) provide the programmatic material. The music is freely based upon the First Delphic Hymn (or Paen to Apollo), composed ca. 200 B.C. The source is a transcription appearing on pages 363 - 367 of Ancient and Oriental Music, Edited by Egon Wellesz (Oxford University Press: London, 1957). Each movement of the work depicts a key event in the epic Homeric poem, as described below. Movement I: Intrada - The first four notes of this movement, C - Bb - G - Bb, are the melodic and harmonic foundation for the entire work. These pitches, introduced in a simple and direct manner, are subsequently developed in more complex fashions throughout the suite. Following this stately introduction is a militaristic fanfare that introduces the dotted-eighth and sixteenth-note figure later reprised in the second and fourth movements. Indeed, all the musical ideas which will be central to the remaining movements first appear in the Intrada. This movement depicts the grandeur of Odysseus and his kingdom in Ithaca, and establishes the heroic mood of the entire work. Movement II: Ballad - After a brief restatement of the opening dotted-eighth-and-sixteen th fanfare, the second movement extracts the falling third (Bb to G) from the C - Bb - G - Bb motif and extends it and expands it into a haunting solo for alto saxophone. The C - Bb - G - Bb motif appears again (see measures 23 - 33 in trumpets) as counterpoint to this melody, now pulsing through the thick texture of the band. Many performers have come to view the Ballad as the emotional epicenter of the entire suite; my conception of the Ballad is to achieve a union of pathos and strength. Programmatically, this movement depicts Odysseus's son, Telemachos, as he both longs for Odysseus's return and stoically defends his father's kingdom. Movement III: Dance - It will take Odysseus twenty years to return to Ithaca. During his absence, noblemen besiege his palace, violating the sanctity of the household and seeking the hand of his wife, Penelope. This movement depicts the wanton revelries that result. The original four-note motif is chromatically altered and the meter is made irregular. The rapid tempo, driving percussion, and angular meter and melodies combine in an explosion of reckless abandon. Movement IV: March Building from a delicate woodwind ensemble accompanied by finger cymbals to a fully orchestrated statement replete with thundering percussion, this is a resounding march of victory. Odysseus has returned in triumph to restore dignity to his household and to reclaim the throne of the Kingdom of Ithaca. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 - 2, 2 Oboe 1 - 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet, 2 Bassoon 1 - 2, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (B.C.), 2 Euphonium T.C., 4 Tuba, 1 Timpani, 2 Mallet Percussion: Bells, Xylophone, 2 Percussion 1: Snare Drum, Tambourine, 2 Percussion 2: Crash Cymbals, Suspended Cymbal, Tom-Tom, Finger Cymbals, 1 Percussion 3: Bass Drum.

For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

Band concert band - Grade 1

SKU: CF.BPS127

Composed by Peter Sciaino. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+6+2+3+1 +1+2+2+12 pages. Duration 2 minutes, 39 seconds. Carl Fischer Music #BPS127. Published by Carl Fischer Music (CF.BPS127).

ISBN 9781491156209. UPC: 680160914746. 9 x 12 inches.

Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists.   At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.
Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists.   At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.
Program NotesElephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,” over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.” Allowing additional rehearsal time for this is recommended.

(A Journey through the Lord's Prayer). Composed by Pepper Choplin. For Choral (SATB). Brookfield Choral Series. 96 pages. Published by Brookfield Press

Lyrisches Marchen in drei Akten. By Antonin Dvorak. Edited by Solc, Karel. Text: Kvapil, Jaroslav. Op. 114. Published by Baerenreiter-Ausgaben (German import). (BA9510 90)

Grade 3

SKU: CL.026-4661-00

Canada, United Kingdom, France. Arranged by Stanton. Concert Band. Build-A-Band. Score and set of parts. Composed 2018. Duration 3 minutes, 16 seconds. C.L. Barnhouse #026-4661-00. Published by C.L. Barnhouse (CL.026-4661-00).

Take your musicians on a cultural exchange trip to Canada, France and the United Kingdom! You can play any of these three national anthems individually, or pair them with the Star Spangled Banner (available separately in Build-A-Band format) as an opening travel-log at your next concert. Lots of ways to teach across the curriculum with these easy, great sounding arrangements meant for smaller bands with limited instrumentation. Hosting foreign exchange students from these countries? Honor them at your concert with their national anthem! Please stand, remove hats and join in the presentation of the national anthems!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

(22 Full Band Arrangements Correlated to Accent on Achievement (Oboe)). Composed by John O'Reilly and Mark Williams. Concert Band. For Oboe. Band Supplement; Book. Accent on Performance. 24 pages. Published by Alfred Music

(22 Full Band Arrangements Correlated to Accent on Achievement (Baritone Treble Clef)). By John O'Reilly and Mark Williams. Concert Band. For Baritone Treble Clef. Band Supplement; Book. Accent on Performance. 24 pages. Published by Alfred Music (AP.41377

Concert Band; Orchestra 2.2.2.2: 4.2.3.0: Timp.Perc(2): Harp: Str (4-4-3-3-3 in set)

SKU: AP.36-A888801

Arranged by Ludwig Minkus and ed./arr. by William McDermott/ Libretto by Sergei Khudekov. Full Orchestra, Conductor Score. Kalmus Ballet Library. Score. LudwigMasters Publications #36-A888801. Published by LudwigMasters Publications (AP.36-A888801).

ISBN 9798888529911. UPC: 659359989490. English.

The ballet La Bayadère (The Temple Dancer or The Temple Maiden) was created in 1877 for famed French choreographer Marius Petipa to music by Ludwig Minkus (1826-1917). In four act and seven tableaux, the ballet tells the story of the bayadère Nikiya and the warrior Solor, lovers who are beset by jealous rivals, arranged marriages beyond their control, murder, an opium-fueled hallucination of the afterlife, and a vengeful god that destroys the temple and everybody in it as revenge for Nikiya's murder. It was first performed on February 4, 1877, by the Imperial Ballet in St. Petersburg, Russia. It was hailed as a success and masterpiece immediately after the premiere, particularly The Kingdom of the Shades scene in Act II, an excerpt which remains a major standalone work for the ballet repertoire. Modern performances of La Bayadère are almost always derived from a 1941 version sated for the Kirov/Mariinsky Ballet by Vladimir Ponomarev and Vakhtang Chabukiani, which incorporates additional music by Minkus, Drigo, and Pugni. Act II takes place after Nikiya is killed by a concealed venomous snake. A depressed Solor smokes opium, resulting in a vision of Nikiya's spirit dwelling in the Kingdom of the Shades, a nirvana in the Himalayas. The two lovers reconcile among the shades of other bayadères in a Pas de deux, then Solor is awakened just in time for his arranged marriage to another woman. This orchestration of Act II has been completed by William McDermott. Instrumentation: 2.2.2.2: 4.2.3.0: Timp.Perc(2): Harp: Str (4-4-3-3-3 in set).

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.