Edited by Jane Magrath. For solo piano. Piano Collection. Alfred Masterwork Edition. Instructional. SMP Level 6 (Late Intermediate). Collection. Standard notation, fingerings and introductory text (does not include words to the songs). 48 pages. Published by Alfred Music Publishing

Grade 2

SKU: CL.011-2862-00

Composed by Shaffer. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR175). Score and set of parts. Composed 1997. Duration 1 minute, 58 seconds. C.L. Barnhouse #011-2862-00. Published by C.L. Barnhouse (CL.011-2862-00).

EXCITING! A concert march with a definite circus flavor for mid-level bands. Capturing all of the fun and excitement of the circus while remaining playable by mid-level bands. Really Moves!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Grade 1.5

SKU: CL.015-2703-01

March. Composed by J. Williams. Young Concert Band. Norman Lee Series. Extra full score. Composed 1995. C.L. Barnhouse #015-2703-01. Published by C.L. Barnhouse (CL.015-2703-01).

Regal in nature and quite easy to perform, this Jerry Williams classic has a distinctive English flavor. Perfect for second year students and playable with smaller groups, Nottingham March is a rewarding and educational piece that is sure to please. The band set also includes an optional keyboard part which may be used both as a rehearsal aid or as a performance enhancer with smaller groups. EXCEPTIONAL FOR THIS GRADE LEVEL!

Grade 2.5

SKU: CL.011-2968-01

Composed by Shaffer. Young Concert Band. Command Series. Audio recording available separately (items CL.WFR324 & CL.WFR187). Extra full score. Composed 1998. C.L. Barnhouse #011-2968-01. Published by C.L. Barnhouse (CL.011-2968-01).

A novel arrangement transforming the famous carol through a number of entertaining variations. March, beguine and swing treatments are all included to create an interesting and audience friendly composition.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

SATB choir divisi (a cappella) - Beginning

SKU: MN.CH-1299

Composed by Charles Kulis. Octavo. Laurendale Associates #CH-1299. Published by Laurendale Associates (MN.CH-1299).

Witness For The Fallen was written March of 2002, shortly after the tragedy of 9/11. Mr. Kulis was in the process of writing a piece for The Gregg Smith Singers for their annual composers reading in Saranac Lake, New York. In November of 2001 Mr. Kulis close friend, James Whelan, gave him a text in which Mr. Whelan wrote down his reactions to the incidents of 9/11. Mr. Whelan had witnessed so much of what happened that day from an office in a building near Grand Central Station. Initially, Mr. Kulis had no intention of using the text for the compositions he was writing. However, he found himself coming back to the text time after time while writing and ultimately made the decision to use the text. The music he wrote is tonal and straightforward. The opening section is underlined by an F major chord sung by sopranos and altos with a simple melodic line sung by the tenors. The harmony is full of fourths, major sevenths and ninths. It has a distinctly American sound. Witness For The Fallen was recorded and released by the Gregg Smith Singers in 2007.

Concert Band Alto Saxophone I, Alto Saxophone II, Baritone Saxophone, Bassoon, Clarinet I, Clarinet II, Clarinet III, Flute, Horn I, Horn II, Horn III, Horn IV, Oboe, Piccolo, Tenor I, Tenor II, Tenor Saxophone, Trumpet I, Trumpet II, Trumpet III, Trumpet IV - Grade 4

SKU: CF.CB133

Full Score and Parts. Composed by Henry Fillmore. Edited by Robert E. Foster. FS-SWS. Henry Fillmore Band Series (An Authentic Fillmore Edition). Score and Set of Parts. With Standard notation. Carl Fischer Music #CB133. Published by Carl Fischer Music (CF.CB133).

ISBN 9780825864995. UPC: 798408064990. 9 X 12 inches. Key: Eb major.

As a composer, Henry Fillmore (1881-1956), was one of the greatest practitioners of the American style march. Written for the 1952 Orange Bowl game between the North and South College Football All Stars, this march has all the elements of the mature Fillmore style: energy, brilliance and abundant, memorable tunes. Robert Foster's concert edition will liven up any program and would also make a great encore.

Squareback saddle stitch. Grossman Audio. Ragtime. Book and online audio. 143 pages. Mel Bay Publications, Inc #30935M. Published by Mel Bay Publications, Inc

Concert Band/Harmonie - Grade 5

SKU: BT.CMP-0091-96-010

Composed by James Hosay. Symphonic Band. Set (Score & Parts). Composed 1996. Curnow Music #CMP 0091-96-010. Published by Curnow Music (BT.CMP-0091-96-010).

Black Granite is dedicated to the men and women who gave their lives in Vietnam, and whose names are forever engraved on the solemn black granite stone wall at the Vietnam Memorial in Washington DC. This heroic march is a tribute to the fallen. A lyrical and inspiring woodwind chorale follows a driving and energetic horn line. A tremendous concert or contest opener!

Black Granite widmete der Amerikaner James L. Hosay den Männern und Frauen, die im Vietnamkrieg ihr Leben ließen und deren Namen in eine große Steinwand, der Black Granite stone wall“, am Vietnam-Denkmal in Washington, CD, eingraviert sind. Dieser heroische Marsch zelebriert den Mut und die Integrität dieser Menschen - auch in jedem anderen Zusammenhang wichtige Werte. Eine energiereiche Hornmelodie wird in diesem Stück von einem lyrischen, bewegenden Choral in den Holzbläsern abgelöst. Wunderbar geeignet zur Eröffnung eines Konzerts oder eines Wettbewerbs!

(March). By George Lloyd (1913-1998). Arranged by Geoffrey Brand. For concert band (Piccolo, Flute 1-2, Oboe 1-2, Bb Clarinet 1-3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1-2, Alto Saxophone 1-2, Bb Tenor Saxophone, Eb Baritone Saxophone, Cornet 1-3, . Score and Parts.

Concert Band (Score) - Grade 4

SKU: HL.4004106

Composed by John Wasson. MusicWorks Grade 4. Festival. 32 pages. Published by Hal Leonard (HL.4004106).

UPC: 888680034399. 9x12 inches.

Commissione d by the Richardson (Texas) Community Band, Silver Celebration commemorates 25 years of service by their conductor, George Jones. The work combines elements of traditional march style and also the bravura of epic film scores, resulting in a piece that is both festive and celebratory in nature. The opening is a rousing 6/8 march featuring various sections of the band and exciting cross rhythms, and then contrasted with a beautifully flowing lyric statement. A brief percussion feature leads to the final section, recapping the opening themes with a flourish and dramatic appeal. Duration: 5:00.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.

Composed by Howard Shore. For Keyboard; Piano; Voice. This edition: Piano Solo & Piano/Vocal/Chords. Artist/Personality; Book; Piano - Personality Book; Piano Supplemental; Piano/Vocal/Chords. Movie. 112 pages. Published by Alfred Music

Organ - Advanced

SKU: MN.12-121

Composed by Joseph Willcox Jenkins. Non Hymn-Based, Recital Music. MorningStar Music Publishers #12-121. Published by MorningStar Music Publishers (MN.12-121).

UPC: 688670121210.

Confl uence was commissioned by the Organ Artist Series of Pittsburgh in celebration of its twentieth anniversary in 1999. Christa Rakich gave the premier at the closing concert of the season at Calvary Episcopal Church by in April of 1999. It has been performed frequently since that time. The title was given to honor the joining together or confluence of the three rivers of Pittsburgh: the Allegheny, the Monongalela, and the Ohio. Confluence is a curious hybrid related to both the sonata and rondo forms. It is of the ABABA design with the final A quite extended by polyphonic games and a very noisy and triumphant epilogue. The first idea is driving, rhythmic, nervous and agitated. The second is quiet, gentle and pastoral, that slowly moves in its mysterious ways, closing with a plaintive row of a dozen different pitches. The composer delights in the challenge of making tone rows as approachable and sing-able as possible. Both ideas make slightly varied restatements. At the end, fugal exploitation of the first idea is followed by that row, entering with stentorian grandeur in full pedal, heralding the triumphant close. This row, like the month of March is referred to frequently as coming in like a Iamb, going out like a lion.

Concert Band/Harmonie - Grade 6

SKU: HL.44002726

Composed by Ottorino Respighi. De Haske Concert Band. Concert Piece. Score Only. Composed 1997. 70 pages. De Haske Publications #971051. Published by De Haske Publications (HL.44002726).

9.5x13.5x1.76 inches.

Ottorino Respighi (1879-1936) est considere comme l'un des plus grands compositeurs italiens du debut du XXe siecle. Respighi a compose plusieurs operas, des ballets, quelques cantates, des œuvres de musique de chambre et des melodies pour orgue et piano. Son style unique a ete profondement influence par les impressionnistes francais, par Rimski-Korsakov et Richard Strauss. Toutefois, il est surtout connu pour son triptyque symphonique Fontane di Roma (Les Fontaines de Rome), Pini di Roma (Les Pins de Rome) et Feste Romane (Fetes romaines). Dans le poeme symphonique Les Pins de Rome, il se montre un maitre de l'orchestration par son utilisation de timbrestres varies et captivants. La composition comprend quatre mouvements et s'ouvre par les Pins de la Villa Borghese, ou des enfants jouent pres des arbres. Apres cette introduction, Respighi passe brusquement aux Pins pres d'une catacombe : les pins projettent leur ombre sur l'entree d'une catacombe d'ou s'eleve un hymne gregorien melancolique. Les Pins du Janicule, est un nocturne ou les pins se profilent au clair d'une lune sereine. Dans les Pins de la Via Appia (Voie Apienne), le jour se leve : La campagne tragique est veillee par des pins solitaires. La musique ressuscite la vision glorieuse d'une armee consulaire en marche vers le Capitole.

Accordion Orchestra - Grade 5

SKU: BT.DHP-0981307-060

Composed by Jan Van der Roost. Arranged by Myriam Mees. Accordion. March. Set (Score & Parts). Composed 1998. De Haske Publications #DHP 0981307-060. Published by De Haske Publications (BT.DHP-0981307-060).

Rikudim (Hebrew for “Dances”) is a four-part dance suite based on Jewish music. By using eastern intervals and irregular time changes, the composer succeeds in creating a slightly melancholy but specifically Jewish flavoured piece.

Rikudim (Hebreeuws voor ‘dansen’) is een vierdelige suite van op joodse muziek gebaseerde dansen. Door het gebruik van oosters aandoende toonafstanden en onregelmatige maatsoorten is de componist erin geslaagd om enerzijdseen vleugje melancholie en anderzijds een specifiek joods tintje in deze muziek te verweven. De duidelijk omlijnde thema’s en de soms verrassende, maar soms ook weer natuurlijk overkomende harmonisaties geven deze ‘gestileerde volksdansen’een directe zeggingskracht.

Di e vierteilige Suite Rikudim (hebräisch für ’Tanzen‘) besteht aus von der jüdischen Musik inspirierten Tänzen. Durch den Gebrauch von orientalisch anmutenden Tonintervallen und unregelmäßigen Taktarten ist es dem Komponisten gelungen, in dieser Musik einerseits einen Hauch Melancholie, andererseits spezifisch jüdische Elemente miteinander zu verschmelzen. Die deutlich bestimmten Themen und die bisweilen sehr überraschenden und natürlichen Harmonien bewirken, dass diese stilisierten Volkstänze ihre Botschaft sehr direkt vermitteln.

Rik udim (de l’hébreu rikud, “danse”) est une suite de quatre danses originales inspirées de la musique traditionnelle juive. L’utilisation d’une structure tonale orientale, l’introduction de mesures irrégulières et la richesse sonore de l’orchestration apportent cette œuvre une teinte mélancolique mais surtout une grande authenticité. Les thèmes très inspirés sont clairement différenciés. L’harmonisation quelquefois surprenante sans jamais être dénaturée confère ces quatre danses originales juives une grande richesse d’expression.

Accordion Orchestra - Grade 3.5

SKU: BT.DHP-0960712-060

Composed by Peter Riedemann. Arranged by Gerd Huber. Accordion. Festive and Solemn Music. Set (Score & Parts). Composed 1996. De Haske Publications #DHP 0960712-060. Published by De Haske Publications (BT.DHP-0960712-060).

Sonority is een stralende concertmars in 6/8 maat met een zeer melodieus trio. Zoals de titel belooft, is de klank van het werk sonoor en warm. Een glanzend hoogtepunt in een volgend concert!

Sonori ty - zu deutsch ‘Klangfülle†™ - hält, was sein Titel verspricht: Peter Riedemanns Komposition ist ein prachtvoller Konzertmarsch im 6/8-Takt mit einem besonders melodischen Trio. Ein absoluter Glanzpunkt in Ihrem nächsten Konzertprogramm!

Cette marche fluide et joyeuse, écrite en 6/8, s’interprète avec légèreté et souplesse. Structurée selon la forme traditionnelle de la marche, Sonority développe un thème mélodieux qui chemine travers le tissu thématique du trio. Après un passage contrastant joué avec panache, le thème du trio est repris une dernière fois.Sonority est une marche simple qui se prête parfaitement une interprétation en salle de concert ou en plein air.

Grade 2

SKU: CL.011-2324-01

Overture. Composed by Sheldon. Young Concert Band. Extra full score. Composed 1991. C.L. Barnhouse #011-2324-01. Published by C.L. Barnhouse (CL.011-2324-01).

The opening of this work is boldly announced with a fanfare and stately march. The drive of the exposition gradually yields to a reflective Andante characterized by long flowing melodic lines. A marvelous young band piece that provides outstanding opportunities for phrasing and expression.

Recorder Quartet - intermediate

SKU: BT.1599-08-070-MS

Composed by Hal David and Henry Mancini. Arranged by Mia Schmidt. De Haske Recorder Series. Set (Score & Parts). Composed 2008. 8 pages. Music Sales #1599-08-070 MS. Published by Music Sales (BT.1599-08-070-MS).

ISBN 9789043131117. 9x12 inches. English-German-French-Dut ch.

Here, for Recorder Quartet, is a new version of Mancini’s classic montage of symphonic and jazz writing, Baby Elephant Walk. Written for the soundtrack of the film Hatari (1961) this is a sure-fire hit.

De filmmuziekcomponist Henry Mancini schreef het werk Baby Elephant Walk voor de film Hatari! uit het jaar 1961. Ook is het nummer gebruikt in de Disney-tekenfilm Jungle Book. In dit werk is het gelukt om een optocht van eengroep olifanten muzikaal uit te beelden. Mia Schmidt zette dit werk op unieke wijze om zonder het origineel onrecht aan te doen. Een zeer geslaagd arrangement voor blokfluitkwartet!

Den Baby Elephant Walk schrieb der Filmmusikkomponist Henry Mancini zum Film Hatari! aus dem Jahr 1961. Durch die geschickte Kombination von Blech- und Holzbläsern gelang es ihm, den Gang eines kleinen Elefanten musikalisch sehr plastisch darzustellen. Mia Schmidt setzte dieses Konzept in ihrer Bearbeitung des jazzigen Evergreens für Blockflötenquartett um.

Voici une nouvelle version de la marche dynamique d’Henry Mancini que l’on trouve dans la bande originale du film Hatari (1961). L’arrangement de Mia Schmidt pour Quatuor de Fl tes Bec parvient capturer le son particulier de Mancini qui combine l’écriture symphonique et celle du jazz.

Una nuova versione della marcia di Henry Mancini che troviamo nella colonna sonora originale del film Hatari (1961). L'arrangiamento di Mia Schmidt per quartetto di flauto dolce riesce a catturare il suono particolare di Mancini che combina la scrittura sinfonica a quella del jazz.

By Johann Strauss, Sr. (1804-1849). Arranged by Jos van de Braak. For Concert Band. Grade 3. Full score and set of parts. Duration 3:30

Performed by Carter Beauford. By Carter Beauford. Edited by Tim Landers. Arranged by Carter Beauford. DVD video. Level: intermediate/advanced. Published by Alfred Publishing.

Concert Band - Grade 4

SKU: AP.CB9906C

Suite for Concert Band. Composed by John Williams. Arranged by Robert Lowden. Concert Band; Performance Music Ensemble; Single Titles. Pop Symphonic Band. Form: Medley; Suite. Movie. Score. 32 pages. Belwin Music #00-CB9906C. Published by Belwin Music (AP.CB9906C).

UPC: 029156958478. English.

When great movie music is the topic, one name comes to the minds of most of us: John Williams. This towering score, as arranged for your concert band by Bob Lowden, contains all of the famous John Williams musical trademarks -- drama, power, and massive sound blocks. The medley contains: Theme from Superman * The Planet Krypton * The March of the Villians and Finale. Here is John Williams at his finest! (6:50) Medium.

Piano

SKU: BT.SLB-00267600

Composed by Alexandre Tansman. Score Only. Composed 1993. 42 pages. Editions Salabert #SLB 00267600. Published by Editions Salabert (BT.SLB-00267600).

Contents: Etude-Scherzo · Gavotte · Mazurka a la Chopin · Menuet · Petite Marche · Sonatine · Trois Etudes Transcendt · Vingt Pieces Faciles.