SATB choir and organ

SKU: ST.W187

Composed by Anthony Caesar. SATB and organ. Choral. Octavo. Stainer & Bell Ltd. #W187. Published by Stainer & Bell Ltd. (ST.W187).

ISBN 9790220203305.

Anth ony Caesar finds a moving text by the teenage Etonian, Oxford Movement influenced, Digby Mackworth Dolben (1848-1867), who died tragically young while swimming. Canon Caesar's anthem is a classic example of the Franciscan principle (observed by lamentably few composers) of true beauty springing from simplicity.

The text inspires a sort of post-Howells harmonic idiom, though with the choir's part kept remarkably simple. The most inspired moment comes when the opening progression, which sets the poignant tension of the first three verses, is subtly transformed into radiant certainty in the last verse: I asked for Thee- / And Thou didst come / To take me home / Within Thy Heart to be. Although the parts divide at times, this miniature classic is not too difficult for any well rehearsed four-part choir.

Mixed choir (SMezATB) - Level 3

SKU: BA.BA07417

Composed by Marten Jansson. Stapled. Choral score. 28 pages. Baerenreiter Verlag #BA07417_00. Published by Baerenreiter Verlag (BA.BA07417).

ISBN 9790006561469. 27 x 19 cm inches. Text Language: Swedish, English. Preface: Jansson, MÃ¥rten.

“I asked my friend, the poet Einar Askestad, if he could write a poem for me about love between father and son, brothers and God.
I felt that these forms of love are seldom sung about. The poem moved me greatly and I have tried to put music to these words which is simple yet full of beauty. In the four movements of this suite-like piece, various aspects of these relationships are conveyed.” (Marten Jansson)


†œMy music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings which life has to offer. This has led people to describe my music as ‘so sad that it sounds like birds who have lost their wings‘ but also as ‘the happiest classical music that we have ever heard’.
My compositions are almost all sacred. They express not only my own faith but also my appreciation and respect for the timeless texts that have been used for centuries and centuries.”

Mårten Jansson (b. 1965), elected member of the Föreningen svenska tonsättare (the Society of Swedish Composers), graduated from the Royal College of Music, Stockholm (KHM) with an MFA degree in Music Education, Dalcroze Eurhythmics and Voice. For more than ten years he was the music director and conductor of “Carmen”, one of the most prominent womens’ vocal ensembles in Sweden. He currently teaches choral conducting and music theory as well as giving vocal tuition at the Bolandgymnasiet and Musikskolan in his home town of Uppsala.

Piano

SKU: HL.14030676

Ten Short Pieces for Piano. Composed by Rued Langgaard. Music Sales America. Classical. Score. Composed 2020. Duration 1200 seconds. Edition Wilhelm Hansen #KP00666. Published by Edition Wilhelm Hansen (HL.14030676).

ISBN 9788759863879. Danish.

The 'Ten short piano pieces' with the title Sommerferie i Blekinge (Summer Holiday in Blekinge) (1916) have not been preserved in their complete form. The only existing source is a manuscript in Rued Langgaard's hand that lacks the first and last pages with sections of the music. This means that the entire first piano piece with the title Paa rejse (Travelling) is missing as well as most of Piece II, Mode (Meeting) (only the conclusion of this piece has been preserved). A large fragment exists of Piece X, Aften med Dans (Evening with Dancing), but the conclusion is missing. The manuscript is to be found at the Royal Danish Library in Copenhagen (RLS 83,2). On the first page,Langgaard has merely written 'Piano Pieces 1916': the real title and titles of the movements in the first two pieces derives from other sources. In 2008, the Rued Langgaard Society asked the Danish composer Niels Marthinsen (b. 1963) to add to the work, the aim being to create a 'performance version'. Marthinsen composed a complete new first piece - Paa rejse (Travelling) - and allowed it to merge with the preserved concluding fragment of Langgaard's second piece, Mode (Meeting). Niels Marthinsen further composed a conclusion to the incomplete Piece X, Aften med Dans (Evening with Dancing), and in it incorporated a reference to the first piece, so that his additions came to form a frame round what hasbeen preserved of Langgaard's work. This supplemented version was given its first performance by Berit Johansen Tange in 2008. The overall title and titles of the individual pieces refer to a summer stay in 1913, i.e. three years before the work was composed, when the then 20-year-old composed was on holiday in Kyrkhult in Blekinge (Sweden).

Album of Studies I by Various. For piano solo. Piano. Czech title: Album etud I. Teaching Manuals. Teaching material. Publication language: Czech. Published by Editio Baerenreiter Praha

Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Double Bass, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5

SKU: CF.CPS225

Composed by Larry Clark. Concert Band (CPS). Set of Score and Parts. With Standard notation. 12+12+6+12+24+24+6+4+6+6+ 6+6+8+8+8+4+4+6+6+6+8+2+1 +6+2+4+10+32+4 pages. Duration 6 minutes, 9 seconds. Carl Fischer Music #CPS225. Published by Carl Fischer Music (CF.CPS225).

ISBN 9781491152515. UPC: 680160910014.

Tarta n Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Double Bass, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5

SKU: CF.CPS225F

Composed by Larry Clark. Concert Band (CPS). Full score. With Standard notation. 32 pages. Carl Fischer Music #CPS225F. Published by Carl Fischer Music (CF.CPS225F).

ISBN 9781491153192. UPC: 680160910694.

Tarta n Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

Choral SA choir, piano

SKU: CF.CM9795

Composed by Mark Burrows. Duration 3:45. Carl Fischer Music #CM9795. Published by Carl Fischer Music (CF.CM9795).

ISBN 9781491164662. UPC: 680160923571. Key: A major. English. Coty Raven Morris. Original.

The text for When I Grow Up first came to me while I was teaching in Houston, Texas. I noticed that my students were becoming more and more concerned about what steps they had to take as students to secure a future for themselves decades ahead. Young people are finding themselves having to make lifelong decisions at a time where they are still in a season of exploration and wonderment. I then asked myself, What happened to discovery through play and imagination?With the help of one of my former and forever choir students, Monica Juarez, we took my original text and created illustrations of a young Coty in New Orleans, Louisiana imagining, in real time, all of the things that she could be! It was important to me that the images were of real things that I had seen growing up every day.That we are limitless and that it's only in the pressures of growing up that we can lose our creativity, I hope this text allows both singers and conductor to let their imagination take the lead and shape the journey ahead!Sing with JOY!—Coty Occasionally, when I get to visit with young people, I’ll ask, Has anyone ever asked you want to be when you grow up? All the hands go up. Children say yes, and then proceed to tell me what they want to be when they grow up. So, then I ask a follow-up question, Why on earth do you have to wait until you’re a grown-up to be somebody?!When I first read through Coty’s text, I was so moved by how clear and beautiful that message of empowerment shines through:I want to live, and that begins now. I want to be happy. And I refuse to wait until I grow up.I also was struck by her imaginative use of the four classical elements—air, water, fire, and earth—to bring us on a journey of discovery and wonder.I’ve tried my best to, not so much set Coty’s words to a tune, as to go along with her on the journey and see what music would emerge. And I’m so happy you’ve joined us on the journey, too.Welcome!—Mark.

Choral SAB Choir, Piano

SKU: CF.CM9794

Composed by Mark Burrows. Duration 3:45. Carl Fischer Music #CM9794. Published by Carl Fischer Music (CF.CM9794).

ISBN 9781491164655. UPC: 680160923564. Key: A major. English. Coty Raven Morris. Original.

The text for When I Grow Up first came to me while I was teaching in Houston, Texas. I noticed that my students were becoming more and more concerned about what steps they had to take as students to secure a future for themselves decades ahead. Young people are finding themselves having to make lifelong decisions at a time where they are still in a season of exploration and wonderment. I then asked myself, What happened to discovery through play and imagination?With the help of one of my former and forever choir students, Monica Juarez, we took my original text and created illustrations of a young Coty in New Orleans, Louisiana imagining, in real time, all of the things that she could be! It was important to me that the images were of real things that I had seen growing up every day.That we are limitless and that it's only in the pressures of growing up that we can lose our creativity, I hope this text allows both singers and conductor to let their imagination take the lead and shape the journey ahead!Sing with JOY!—CotyOccasiona lly, when I get to visit with young people, I’ll ask, Has anyone ever asked you want to be when you grow up? All the hands go up. Children say yes, and then proceed to tell me what they want to be when they grow up. So, then I ask a follow-up question, Why on earth do you have to wait until you’re a grown-up to be somebody?!When I first read through Coty’s text, I was so moved by how clear and beautiful that message of empowerment shines through:I want to live, and that begins now. I want to be happy. And I refuse to wait until I grow up. I also was struck by her imaginative use of the four classical elements—air, water, fire, and earth—to bring us on a journey of discovery and wonder.I’ve tried my best to, not so much set Coty’s words to a tune, as to go along with her on the journey and see what music would emerge. And I’m so happy you’ve joined us on the journey, too.Welcome!—Mark.

Poetry in Motion arranged by Lori Hope Baumel. For unison voices, piano accompaniment. Treble Spotlight. Secular. Grade 3. Octavo. Published by Neil A. Kjos Music Company

Choral Piano, alto, bass voice, solo Voices, soprano voice, tenor voice

SKU: CF.CM9785

Composed by Patrick Vu. Duration 5 minutes, 2 seconds. Carl Fischer Music #CM9785. Published by Carl Fischer Music (CF.CM9785).

ISBN 9781491164563. UPC: 680160923472. Key: E major. English. Psalm 121:1-8.

The opportunity to compose this piece came to me during my second year as a composition student at Texas Christian University. A family from Big Spring, a small town in West Texas, reached out to one of my high school choir directors, Ms. Kathryn Zetterstrom, and asked if she knew any composers for a project. Thankfully, she sent them my information.The project was created specifically to celebrate the 80th birthday of Jobeth Corwin, the family's matriarch. For the text, the family asked me to set her favorite psalm and a psalm loved by many: Psalm 121. Jobeth Corwin was a lifelong chorister who sang the alto part in any choir she was a member of, so to start the piece, I began with a solo intended for an alto voice. While this is my preference, the solo can be sung by any treble voice.I sincerely hope you enjoy this piece and it brings joy to all who hear and sing it!

For voice and C instrument. Format: fakebook. With vocal melody, lyrics, chord names and guitar chord chart. Gospel and worship. Series: Hal Leonard Fake Books. 295 pages. 9x12 inches. Published by Hal Leonard.

For voice. Format: vocal score (spiral bound). With vocal score and chord names. Gospel and Country. 9x12 inches. Published by Brentwood-Benson Music Publishing.
Clic k for Split Trax Cassette

Easy, Yet Beautiful, All-Organ Arrangements by Bob Rollins. Arranged by Bob Rollins. Creative Concepts Publishing. Size 9x12 inches. 128 pages. Published by Creative Concepts.

Composed by Paolo Ugoletti Andrea Vezzoli. Edited by Piero Bonaguri and Raffaello Ravasio. Saddle stitching. Piero Bonaguri Collection. Classical. Ut Orpheus #CH 254. Published by Ut Orpheus

(Solos for the medium-high voice). Composed by Ken Bible. For medium high voice solo & piano. Sacred Vocal. Moderate. Published by Lillenas Publishing Company

Composed by Jesse Beulke. Sws. Octavo. 16 pages. Duration 4 minutes, 20 seconds. Carl Fischer Music #CM9653. Published by Carl Fischer Music

Arranged for Grade 3-4 Concert Band - Score Only. Composed by Eric Whitacre (1970-). Arranged by Michael Markowski. Eric Whitacre Concert Band. Children, Concert. Softcover. Published by Hal Leonard

For Concert Band - Score Only. Composed by Eric Whitacre (1970-). Arranged by senbichler-Bryant and Verena Mö. Eric Whitacre Concert Band. Children, Concert Band. Softcover. 14 pages. Published by Hal Leonard