Arranged by Richard Bjella. For SSAA choir, clarinet and violin. Octavo. Published by Alliance Music Publications

Bass trombone solo with 6-part trombone choir - advanced

SKU: CY.CC2580

Composed by Ryan Diefendorfer. Arranged by Ryan Diefendorfer. Contemporary. Score and parts. Published by Cherry Classics (CY.CC2580).

Stephansdom is a new composition, descriptive of the iconic St. Stephan's Cathedral in central Vienna. Ryan Diefendorfer wrote this work for the Indiana University Trombone Ensemble for Bass Trombone solo and Trombone Choir (6-part) to be performed by Carl Lenthe at the 2012 Eastern Music Festival. Ryan's work was awarded the winner of the 2012 Eastern Trombone Workshop National Composition Competition.

St. Stephen's Cathedral, also known as Stephansdom, is one of Vienna's most remarkable city icons. Dating back to 1137, Stephandsom towers above the rest of Vienna's skyline and has been a constant presence in the lives of the Viennese for nearly one thousand years. Among the buildings that the Viennese find closest to their hearts, Stephansdom is certainly one of them

I. Groundbreaking
The first movement depicts the troubles that St. Stephen's Cathedral had in getting its groundbreaking as a church. The opening of the piece marks the celebration of the Viennese when St. Stephen's was first constructed in 1137, during the Romanesque era. However, the church faced many issues—from being destroyed by the Babenberg Empire to being decimated by a fire—before the church began its construction in the Gothic style in 1307. The first movement depicts these struggles before resolving to an open chord.


II. Steffl
Steffl, the nickname for Stephansdom's soaring north tower, is one of the characteristics of the cathedral that the Viennese find so endearing. This movement is very upbeat and is meant to portray the excitement shared by the Viennese for this beautiful addition to Stephansdom, which was completed in 1433. Stephansdom's north tower is the tallest structure in Vienna, and distinctly stands out within Vienna's skyline.


II I. 1945
As World War II was coming to a close in 1945, Stephansdom's roof caught fire from a neighboring building, destroying large portions of the church. One climax occurs at m.30, which depicts Stephansdom's great bell, the Pummerin, crashing down to the ground. This movement depicts the chaotic nature of the raging fire of 1945.


IV. Anton Pilgrim
Anton Pilgrim was the last, and perhaps most beloved, architect who worked on St. Stephen's Cathedral in the Gothic style. One of his most famous projects was the St. Stephen's organ loft, which is depicted by an opening organ-like canon. The final movement to the piece ends in a chorale-like fashion, demonstrating the Viennese's love for Anton Pilgrim, as well as Stephansdom, one of Vienna's most iconic sights.

This work of 12 minutes in length is appropriate for advanced performers.

Chamber Music Bass Clarinet, Cello, Clarinet, Finger Cymbals, Flute, Glockenspiel, Marimba, Percussion, Piano, Vibraphone, Violin, soprano voice

SKU: PR.111402590

For Soprano and Chamber Ensemble. Composed by James Matheson. This edition: Full Set. The world premiere was given at Carnegie Hall, New York City, on October 10, 2004. Contemporary. Set of Score and Parts. With Standard notation. Composed August 29 2004. 60+12+12+12+16+8+8 pages. Duration 18 minutes. Theodore Presser Company #111-40259. Published by Theodore Presser Company (PR.111402590).

UPC: 680160638208. 9x12 inches. Text: Alan Dugan. Alan Dugan. Poems Seven, ©Alan Dugan, published by Seven Stories Press, New York.

The poetry of Pulitzer Prize winner Alan Dugan struck a chord with Matheson, who notes a certain contradiction in the poems and in his own writings - an emotional directness combined with complexity. Matheson chose seven Dugan poems, which span decades, in answering a 2004 commission by Carnegie Hall through the Weill Music Institute, and also chose the Pierrot ensemble to convey his impressions. Matheson tends to build to a punch line,which often helps clarify Dugan's slight obscurities. You may not know what the poet means, but the music at least directs you to the right place emotionally. - Mark Swed, The Los Angeles Times.

Guitar

SKU: UT.CH-101

Composed by Davide Notartomaso. Saddle stitching. Classical. Ut Orpheus #CH 101. Published by Ut Orpheus (UT.CH-101).

ISBN 9790215315815. 9 x 12 inches.

Composit ion winner of the 2nd Edition (2008) of the Classical Guitar Musical Composition Competition â??Suoni Nuovi Autoriâ?? in Latina, Italy (Section 1)
The composition Roma born after a short travel in the eternal city. The multiple cultural, historical and landscaped stimuli that derive from its ruins must touch the mind of every visitor dipping it and transporting it behind in the history: these are the feelings that have inspired the composition of a conceptualistic-descripti ve music work, dedicated to the places that more meant during the authorâ??s travel.
First part, â??Anfiteatro Flavioâ??, is clearly dedicated to Colosseo. It is so imposing and majestic that recalls still today the outcry of the battles and the noise of the iron: all that is translate in music with frequent changes of time and a virtuosistic and pressing writing. The apex of the fight marks in the composition a growing culminated in a moment of suspension and the immediate resumption with change of theme for the victory moment and its majestic celebration.
The second part, â??Villa Borgheseâ??, marks the passage to a situation of ecstasy and serenity inspired from the beauty and tranquillity of the places of the famous roman park. The composition develops with sweetness but are also present dissonant notes that recall the park contextualizzation in the heart of the city, with its chaotic present and with the urgent violence of its past.

Composed by Philip Lane Ledger. Edited by Philip Lane Ledger. Mixed Voices. Secular, Choral Collection. Vocal score. 408 pages. Oxford University Press #9780193436640. Published by Oxford University Press

Concert Band/Harmonie/Fanfare Band - Grade 2

SKU: BT.DHP-0930474-015

Composed by Jan Van der Roost. Flexible 4 Series. Festive and Solemn Music. Set (Score and Parts). Composed 1993. De Haske Publications #DHP 0930474-015. Published by De Haske Publications (BT.DHP-0930474-015).

This hymn was commissioned by â??Antwerpen 93â?. And this city, on the banks of the river Schelde has been nominated â??Cultural Capital of Europeâ? for 1993. The work-group â??animatieâ? took the initiative and commissioned a hymn, which -as the finale to a grand open-air event on 27th March- was premièred by hundreds of musicians from all over Europe. Philippe Langlet (France) was the conductor at this majestic occasion.Musically speaking the piece can no doubt be labeled easy. Indeed it is meant to represent a hymn, playable by all in different instrumental combinations. Consequently a variable instrumentation was chosen and a type of music, which by native is easily accessible anduncomplicated.The conductor is free -in the instrumentation- to score this piece according to his own taste. It is perhaps advisable to use the sharp brass in the forte parts, in order to make the range in the sound of the orchestra as colouful as possible. The percussion parts are not absolutely essential, so that the hymn can also be performed without percussion.

Fanfare Band - Grade 2

SKU: BT.DHP-0930474-020

Composed by Jan Van der Roost. Flexible 4 Series. Festive and Solemn Music. Set (Score & Parts). Composed 1993. De Haske Publications #DHP 0930474-020. Published by De Haske Publications (BT.DHP-0930474-020).

This hymn was commissioned by “Antwerpen 93”. And this city, on the banks of the river Schelde has been nominated “Cultural Capital of Europe” for 1993. The work-group “animatie” took the initiative and commissioned a hymn, which -as the finale to a grand open-air event on 27th March- was premièred by hundreds of musicians from all over Europe. Philippe Langlet (France) was the conductor at this majestic occasion.Musically speaking the piece can no doubt be labeled easy. Indeed it is meant to represent a hymn, playable by all in different instrumental combinations. Consequently a variable instrumentation was chosen and a type of music, which by native is easily accessible anduncomplicated.The conductor is free -in the instrumentation- to score this piece according to his own taste. It is perhaps advisable to use the sharp brass in the forte parts, in order to make the range in the sound of the orchestra as colouful as possible. The percussion parts are not absolutely essential, so that the hymn can also be performed without percussion.

By Chuck Sher . For Bass. A complete method book, over 200 pages, filled with information and exercises on all aspects of bass playing, for both acoustic and electric bass. Method. Published by Sher Music Company.

Harmonica - Difficulty: medium

SKU: HL.660191

Composed by Various. Harmonica. Blues. Instrument solo songbook (leadsheet notation). With harmonica pitches, harmonica tablature, leadsheet notation, chord names and lyrics. 144 pages. Published by Hal Leonard (HL.660191).

ISBN 9780793516001. UPC: 073999601916. 9x12 inches.

Over 40 classics from blues greats Little Walter, Sonny Boy Williamson, Howlin' Wolf, James Dalton, Elmore James, John Brim, and Lester Davenport complete with an extensive introduction on how to play the pieces in this book. Pieces include: Boom, Boom (Out Go The Lights) * Cool Disposition * Let Your Conscience Be Your Guide * Ice Cream Man * I'm A Man * and many more.

By Bob Margolis (After Claude Gervaise). Concert band. Suitable for high school, community, and college bands. Level: Grade 4. Conductor score and set of parts. Duration 4:30. Published by Manhattan Beach Music.

SKU: GI.G-10833

Composed by Daniel Gregerman. Music Education. 150 pages. GIA Publications #10833. Published by GIA Publications (GI.G-10833).

ISBN 9781574635614.

From philosophy, auditions, and lesson planning to improvisation and literature selection, this diverse group of nationally recognized educators at all levels discuss these topics and more. Each director practically walks you through a rehearsal! Whether you are a seasoned vocal jazz director or someone looking to get started, the authors’ concepts on running an outstanding vocal jazz program has something for everyone. There are different vocal timbres that we expect to hear in different styles, and I believe that there are ways to produce a variety of sounds in a healthy way with sound technique. —Andrew Dahan     Niles North High School, Skokie, IL When starting a vocal jazz ensemble, I keep the literature on the easy side so concepts of style, tone, vibrato, balance, and blend can be focused on without pounding out notes. —Roger Emerson     Professional Composer and Arranger As with any language, one of the fastest ways to learn about different styles, genres, and other idiosyncrasies is to immerse ourselves in the language. —Daniel Gregerman     Glenbrook South High School, Glenview, IL I think of the audition process as a necessary means to help me ‘cast’ the ensemble. —Greg Jasperse     Western Michigan University My overall philosophy is that teaching jazz is extremely important. The creation of this music is unique to America, and it is imperative that we keep our youth informed. —Connaitre Miller     Howard University We don’t really ever ‘finish’ a piece or arrangement, do we? We work on the repertoire and the music arrives to an artistic place. —Kate Reid     University of Miami, Frost School of Music Jazz is a genre that has to be primarily learned from listening. Exposing students to a wide variety of jazz and contemporary styles is one of the most important things we need to do. —John Stafford II     Kansas City Kansas Community College My jazz singers are the best music readers in the department, and I never do any sight singing with the jazz choirs. That is all done in the traditional choirs. —Janice Vlachos     Fairview High School, Boulder, CO It takes a good amount of work to achieve a unified sound, however, within working on the minute details and repetition, it is those moments of victory during the rehearsals that make it all worth it. —Gaw Vang Williams     Sacramento State College Vocal jazz encourages personal expression through which improvisation has become a hallmark trait of the genre. —Natalie Wilson     Grass Valley Elementary School, Camas, WA.

Saddle-stitched. Folk. Book and online audio. 172 pages. Mel Bay Publications, Inc #31061M. Published by Mel Bay Publications, Inc

(For Large Orchestra). Composed by Thomas Ades (1971-). Orchestra. Full Orchestra; Larger Works; Masterworks; Score. Faber Edition. 20th Century; Masterwork. Published by Faber Music

Composed by Mark Sedio. For organ. General. Moderately Difficult. Published by Concordia Publishing House

Guitar and orchestra

SKU: BO.B.3610

Composed by Jaume Torrent. Published by Editorial de Musica Boileau (BO.B.3610).

The concerto establishes a dialogue which alternates constantly between the guitar and the symphony orchestra, with the two sound worlds being maintained in perfect balance while also exploring the unique possibilities presented by each: the guitar develops a surprising array of resources which enhance its expressive capacity to the utmost, while the orchestra envelops it in an extensive range of textures which at times give rise to subtle tones, and at others, all the tonal vigour of the tutti.

The language I employ is intended as a means of achieving an efficient symbiosis between modernity and tradition, continuing in the line of my previous works as a composer. It contains no references to popular music and at all times veers away from the expectations created by the language of folklore exploited in concertos of this kind by the majority of recognised composers. In Concerto de Rialp, modernity is reflected through a search for unique expressive forms, experimentation with new means of thematic development and a unique presentation of formal solutions, all the while, however, respecting expressiveness and lyricism as the foundations of communicating with the audience.

The concerto also explores the guitar's new technical resources. Thanks to specific work on left hand extensions, mechanical formulas have been developed which allow certain scales to be played at unprecedented speeds. In the cadenza of the first movement, the guitar develops the main theme in the form of an instrumental motif that has never been used before in guitar scores, producing a polyphonic effect of new dimensions.

I have worked to exploit the distinctive sound differences existing between the guitar and the orchestra -both from the dynamic and the tonal points of view- in order to really develop the dramatic effect that their being brought together affords. In the second movement -calmo assai- this dramatic quality is expressed in a way that is particularly powerful by means of a tension never before achieved in a concerto for guitar and orchestra.

Grade 2

SKU: CL.011-4830-00

Composed by Sciaino. Young Concert Band. Command Series. Score and set of parts. Composed 2020. Duration 3 minutes, 10 seconds. C.L. Barnhouse #011-4830-00. Published by C.L. Barnhouse (CL.011-4830-00).

Drawing inspiration from the Lunar New Year Firecracker Ceremony in New York City’s Chinatown, Firecracker is an exhilarating celebration at a sizzling tempo that’s sure to please. Images of crackling explosives, dazzling colors, and joyful dance fuel this annual event that honors Chinese culture. A contagious drumbeat played on traditional drums by musicians traveling from business to business wishes good fortune and prosperity in the coming year. This is emulated in this selection with flexible numbers of percussionists who can call all join in on the fun. Meanwhile, wind players will love the opportunity to nimbly play soaring melodic lines over the invigorating rhythmic figures found throughout. You’ll love Firecracker and its vigorous, jubilant spirit! Unique!

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 2

SKU: CL.011-4830-01

Composed by Sciaino. Young Concert Band. Extra full score. C.L. Barnhouse #011-4830-01. Published by C.L. Barnhouse (CL.011-4830-01).

Drawing inspiration from the Lunar New Year Firecracker Ceremony in New York City’s Chinatown, Firecracker is an exhilarating celebration at a sizzling tempo that’s sure to please. Images of crackling explosives, dazzling colors, and joyful dance fuel this annual event that honors Chinese culture. A contagious drumbeat played on traditional drums by musicians traveling from business to business wishes good fortune and prosperity in the coming year. This is emulated in this selection with flexible numbers of percussionists who can call all join in on the fun. Meanwhile, wind players will love the opportunity to nimbly play soaring melodic lines over the invigorating rhythmic figures found throughout. You’ll love Firecracker and its vigorous, jubilant spirit! Unique!

Chorus (with soloists) and piano (solos: SABar - choir: SATB - 2.2.2.2 - 2.2.3.0 - Pk - Str - Org)

SKU: BR.EB-32004

Passion Oratorio (Oratorio for Good Friday]) - Urtext. Composed by Friedrich Schneider. Edited by Nick Pfefferkorn. Choir; Softcover. Edition Breitkopf.

Passion Music After Bach

Oratorio/passion; Romantic. Piano/Vocal Score. 96 pages. Duration 60'. Breitkopf and Haertel #EB 32004. Published by Breitkopf and Haertel (BR.EB-32004).

ISBN 9790004186305. 7.5 x 10.5 inches.

This Passion oratorio Gethsemane und Golgatha was composed in the astonishingly short period from 22 to 28 July 1838 on a text by the evangelist Wilhelm Schuber, a close friend of Friedrich Schneider's. The premiere took place on Good Friday, 29 March 1839, in the Dessau Castle and City Church under the composer's direction. Contemporary reviews rank the curious work ... with respect to the form, in line with the Passions of the great J. S. Bach, constructed with such pious meaning and high art [...] and then get rather similarly carried away in effusive statements. The composer himself took utmost control of how his work was to be used and also most effectively involved the listening congregation in the performances by using for the chorales melodies that were sufficiently familiar from the worship service. At the same time, Schneider points out that the work was to be performed only in an ecclesiastical context. Purely as a Passion oratorio, Gethsemane und Golgatha fits in between the Johann Sebastian Bach Passions and Carl Loewe's Das Suhnopfer des neuen Bundes.

Passion Music After Bach.

Chorus (with soloists) and orchestra (solos: SABar - choir: SATB - 2.2.2.2 - 2.2.3.0 - Pk - Str - Org)

SKU: BR.PB-32004

Passion Oratorio (Oratorio for Good Friday]) - Urtext. Composed by Friedrich Schneider. Edited by Nick Pfefferkorn. Choir; Softcover. Partitur-Bibliothek (Score Library).

Passion Music After Bach

Oratorio/passion; Romantic. Full score. 184 pages. Duration 60'. Breitkopf and Haertel #PB 32004. Published by Breitkopf and Haertel (BR.PB-32004).

ISBN 9790004215838. 10 x 12.5 inches.

This Passion oratorio Gethsemane und Golgatha was composed in the astonishingly short period from 22 to 28 July 1838 on a text by the evangelist Wilhelm Schuber, a close friend of Friedrich Schneider's. The premiere took place on Good Friday, 29 March 1839, in the Dessau Castle and City Church under the composer's direction. Contemporary reviews rank the curious work ... with respect to the form, in line with the Passions of the great J. S. Bach, constructed with such pious meaning and high art [...] and then get rather similarly carried away in effusive statements. The composer himself took utmost control of how his work was to be used and also most effectively involved the listening congregation in the performances by using for the chorales melodies that were sufficiently familiar from the worship service. At the same time, Schneider points out that the work was to be performed only in an ecclesiastical context. Purely as a Passion oratorio, Gethsemane und Golgatha fits in between the Johann Sebastian Bach Passions and Carl Loewe's Das Suhnopfer des neuen Bundes.

Passion Music After Bach.

Grade 5

SKU: CL.012-3688-01

Composed by Lloyd. Concert Band. Gems of the Concert Band Series. Audio recording available separately (item CL.WFR358). Extra full score. Composed 2008. Duration 8 minutes, 14 seconds. Opus III Wind Orchestra Publications #012-3688-01. Published by Opus III Wind Orchestra Publications (CL.012-3688-01).

Visions of Australia' is a musical panorama paying tribute to the epochs in Australia's history from its Aboriginal predecessors through to its 'yet to be determined' future. The journey begins with a tribute to Australia's aboriginal past, the arrival of the British Navy and the establishment of the first colony on the shores of Sydney Harbour. The journey then meanders through to the development of electricity and communication, through the wars and to the present. Following a brief reflection on the past, the music concludes with a stirring and patriotic march-like section representing a confident and bold future. The work is a great challenge for all sections of the band and will be easily accessible to any audience. Download the didgerido sound file for use in your performance: http://www.barnhouse.com/ samples/mp3/012-3688-99.m p3.

About Gems of the Concert Band

A series of transcriptions and other works in varying styles, representative of the programming of the Great American Classic Concert Band era of a century ago, as exemplified by John Phillip Sousa, Edwin Franko Goldman, Karl L. King, and Leonard B. Smith

By Lloyd. For concert band. Concert Band. Level: Grade 5. Published by C.L. Barnhouse.