Dur. 8:00. Composed by James Barnes. Southern Music. Festival, Concert. Softcover. Southern Music Company #S968CB. Published by Southern Music Company

By Cindy Berry. For SATB choir and piano. Sacred Anthem. Choral octavo. Published by Lorenz Publishing Company

By Doug Spata. Music by Doug Spata. For String Orchestra. String Orchestra. String Orchestra. Level: 2 (grade 2). Conductor Score and Parts. 62 pages. Published by Alfred Publishing.

Jazz ensemble - Grade 2

SKU: CL.032-4534-01

Composed by Sherburne. Jazz Ensemble. Extra full score. Composed 2017. Duration 3 minutes, 13 seconds. C.L. Barnhouse #032-4534-01. Published by C.L. Barnhouse (CL.032-4534-01).

Get ready to dig in! Turf War gives the whole band a chance to defend its ground while engaging in a battle of musical force! This driving rock chart never stops. Well-placed drum fills, mostly tutti scoring, crescendos and a big time ending lend lots of excitement to this hardcore rock tune! The changes are straight ahead so anyone can have the opportunity to solo and focus on the blues scale. Highly recommended!

Concert Band - Grade 2

SKU: AP.49150S

Composed by Michael Kamuf. Concert Band; MakeMusic Cloud; Performance Music Ensemble. Belwin Young Band. Programmatic. Score. 24 pages. Duration 3:10. Belwin Music #00-49150S. Published by Belwin Music (AP.49150S).

ISBN 9781470646646. UPC: 038081564890. English.

This optimistic yet driving work was inspired by the President Theodore Roosevelt quote, believe you can and you're halfway there. The beginning lyrical section introduces contrasting themes that are developed further in a heroic and energetic fast section. Varying textures, bold harmonies, and fun percussion writing propel this piece---Halfway There by Michael Kamuf is a perfect choice for concerts and festivals! (3:10) This title available in MakeMusic Cloud.

Concert Band (Score)

SKU: HL.4002119

Full Score. Composed by Steven Bryant. Steve Bryant. 22 pages. Published by Hal Leonard (HL.4002119).

UPC: 073999263251. 11x17 inches.

This large-scale three-movement work, commissioned by Ray Cramer and the Indiana University Wind Ensemble, embodies the transformation of silence into sound. The opening movement is sparse, utilizing mallet percussion, harp, and piano to create a floating sense of timelessness. Featuring extensive solo flute, this floating texture gradually builds over several minutes, ultimately launching itself into a grandiose, warm, harmonically consonant blanket of sound. The second movement continues the focus on solo flute, and again opens slowly, gradually gaining momentum, but at a faster pace than in the first movement. The music spirals upward and outward, but instead of reaching a plateau, winds itself out and comes to a grinding halt in the upper range of the ensemble. Five brief, solemn chords conclude the movement, which immediately erupts into Movement III, music of unceasing, unsettling, motion, propelled by a driving ostinato which is repeatedly interrupted by bittersweet moments of lyricism, all the while pushing toward an unforgiving climax. The movements may also be performed separately. There is no explicit narrative to the piece, though many particular elements do have personal quasi-biographical significance. Ultimately, this is music of both personal and musical transformation.

NO TE: This work is available as a rental item directly from the composer. For details, e-mail rental@stevenbryant.com. The score is also available separately for purchase from Hal Leonard.

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Arranged by and orch. Tom Fettke. For Choir. (SATB). Choral Octavo. Sacred Choral Series. 0. Sacred. Choral Octavo. 12 pages. Published by Alfred Publishing.

Rock Group and Band. By Ted Huggens. For Concert Band. Original Pieces / Original Works Light Music Repertoire / Various Solo. Solo and Band Series. Level: Grade 3. Score. Duration 6 minutes, 30 seconds. Published by Molenaar Edition (Dutch import).

Featuring: Jingle Bells / Coventry Carol / Oh Chanukah. Arranged by Chris M. Bernotas. Concert Band; Part(s); Score. Sound Innovations for Concert Band. Chanukah; Christmas; Winter. 272 pages. Published by Alfred Music (AP.44156).

Jazz Ensemble standard jazz ensemble - Grade 3.5

SKU: KN.52352

Composed by Doug Beach. Kendor Archive Editions. Bright Swing. Score and parts. Kendor Music Inc #52352. Published by Kendor Music Inc (KN.52352).

UPC: 822795523522.

Commi ssioned by the jazz division of the Illinois Music Educators Association for their All-State Jazz Ensemble in the year 2000, this medium-advanced, bright swing chart holds challenges for all. From the opening horn line to the driving shout chorus, a solid sense of time is essential. An open solo section may be expanded as desired, and in his score notes, Doug recommends that the ability of the band should determine the performance tempo.

By Mark Hayes and John Parker III, music by Mark Hayes. For Choir. (SATB (with Opt. Soloists)). Choral Octavo. Christmas. Level: Level 4 (grade L4). Choral Octavo. 16 pages. Published by Alfred Publishing.

Choral (SAB Choir)

SKU: HL.258700

Composed by Kirby Shaw. Contemporary Choral. Jazz, Novelty, Show Choir, Zydeco. Octavo. Duration 190 seconds. Published by Hal Leonard (HL.258700).

UPC: 888680725426. 6.75x10.5x0.024 inches.

With a really hot band scored for horns and rhythm section, a super hot and driving Zydeco style and crazy, fun lyrics this will be both the singers and audience favorite. A perfect change of pace for your show or concert.

From the HBO Series. Composed by Ramin Djawadi. Arranged by Michael Kamuf. Concert Band; Performance Music Ensemble; Single Titles. Pop Young Band. Pop; TV. Score. 24 pages. Duration 1:45. Alfred Music #00-47408S. Published by Alfred Music

SATB choir - Moderate

SKU: LP.765762178809

Composed by Jason Dyba & Clint Lamberth. Arranged by Daniel Semsen. Anthems. Contemporary and Sacred. Orchestration on CD-ROM. Published by Lillenas Publishing Company (LP.765762178809).

UPC: 765762178809.

Thoug htful lyrics and easy-to-learn melody together with driving percussion and classic rock guitar licks create a surprising blend of the unexpected that will sweep you to the heights of praise and adoration. Praise teams and choirs alike will be clamoring for more vocal creations from the writing/arranging team of Jason Dyba and Daniel Semsen.

Concert Band - Grade 3.5

SKU: AP.45003

Composed by Brian Beck. Concert Band; Performance Music Ensemble; Single Titles. Alfred Concert Band. Meters. Score and Part(s). 312 pages. Duration 2:40. Alfred Music #00-45003. Published by Alfred Music (AP.45003).

UPC: 038081519005. English.

From the Latin word for flight, Volatus captures the art of soaring above the clouds. The higher one climbs, the more there is to see. Lift-off begins with stately brass motives and sparkling percussion, then it is up, up, and away with woodwind flourishes. With angular harmonies, driving rhythms in mixed meters, and static percussive effects, this piece has something for everyone to enjoy. (2:40).

By Melody Bober. For Piano. Piano Solo. Signature Series. Level: Early Elementary. Sheet. 4 pages. Published by Alfred Publishing.

Composed by Victor C Johnson. Shawnee Press. Concert. Octavo. 12 pages. Published by Shawnee Press

Grade 3

SKU: CL.SCM-1127-01

Composed by McGuinness. Jazz Ensemble. Extra full score. C.L. Barnhouse #SCM-1127-01. Published by C.L. Barnhouse (CL.SCM-1127-01).

Pete has composed another gem! Soulful Swagger is written in a medium funky-groove style with plenty of energy and driving ensemble sections to keep it cookin’! A contemporary big band chart with lots of appeal.

By Mary Mcdonald. For SAB choir and piano. Advent, Christmas, Epiphany, Sacred. Sacred Anthem

By Ruth Morris Gray. For SSA choir and piano. Concert. Octavo. Published by Heritage Music Press

Solo piano - Grade 4-5

SKU: B7.B153

Composed by Marc Douyon. Edited by Howard J. Buss. PRELUDE AND TOCCATA FOR PIANOis based on the Haitian folk tune Linglinsou. The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part. 21st Century. Score. Duration 7'. Brixton Publications #B153. Published by Brixton Publications (B7.B153).

8.5x11 inches.

PRELUDE AND TOCCATA FOR PIANO by Marc Douyon is based on the Haitian folk tune Linglinsou. The main theme quotes this folk melody, which is then developed with various compositional techniques. Original secondary themes and motives by the composer are an integral part of the colorful musical tapestry as well. The composition opens with a lyrical melody that suggests an atmosphere of complaint, anguish, and despair. But soon, the lyrical main theme, which makes use of hemiola figures, takes the shape of a gracious tribal dance in compound meter. Shortly thereafter, however, the character of the piece changes into an agitated toccata characterized by driving staccato notes, accents, and a close hand position at the piano. The final moments of the piece are heroic-like in nature, but also convey a sense of calm after the storm.

Grade 3

SKU: CL.JCM-4727-01

Composed by Chattaway. Concert Band. Extra full score. C.L. Barnhouse #JCM-4727-01. Published by C.L. Barnhouse (CL.JCM-4727-01).

Here’s a dynamic and electrifying new concert opener from the pen of Emmy-award winning composer Jay Chattaway! Jubilee 150 commands immediate attention, and will engage your audience completely. Pulsating rhythms, driving percussion, and soaring horn and trumpet lines combine to showcase your mature ensemble in this astonishing tour-de-force. Powerful music to open your concert!

3-6 octave handbells - Level 3

SKU: BP.HB777

Composed by Jason W. Krug. General. Score. Beckenhorst Press #HB777. Published by Beckenhorst Press (BP.HB777).

UPC: 748769307779. 8.5 x 11 inches.

Fanfare and Intrada is a bold and original 3-5 octave handbell composition by Jason W. Krug. The piece opens with a grand fanfare, with the bells ringing out in triumphant bursts of sound that build in intensity. A more reflective middle section offers a respite before the return of the driving rhythm of the opening. This exciting original is not to be missed!