(24 small duets for two or more violins Performance Score). Composed by Heinz Holliger (1939-2002). For String Duet, Violin Duet. Schott. 52 pages. Schott Music #VLB158. Published by Schott Music

Chamber Music String Quartet

SKU: PR.11440902S

Composed by Behzad Ranjbaran. Full score. With Standard notation. Composed 1990. 44 pages. Duration 22 minutes. Theodore Presser Company #114-40902S. Published by Theodore Presser Company (PR.11440902S).

UPC: 680160013708.

The quartet begins with a 5-note motif, played in unison that permeates melodically and harmonically throughout the movement. The energetic and hard-driven character of the second musical idea propels the music forward with fast moving notes and greater urgency. It often alternates with the more lyrical rendition of the 5-note motif, yielding contrasting sections. After a brief coda, the 5-note motif concludes the movement much the same way it had begun but with greater intensity. The second movement explores the world of fantasy. To some extent the beginning and the ending of the movement function as the opening and closing doors that separate the reality from the dream and subconscious. It is one continuous movement in an arch form that gradually accelerates to an expansive emotional climax and returning steadily to the surface led by an ethereal solo cello. The transcendent ending is similar to the beginning, though half step higher. The third movement begins boldly with the 5-note motif transformed into a dance character in a compound meter. The asymmetrical meter of the Persian folk music influences much of the rhythmic character of the movement. The return of many materials from earlier movements interwoven into the fabric of this movement reinforces the cyclical and organic character of the quarter. Particularly, a mysterious passage, reminiscence of the second movement leading to a brief full-blown ballad is a favorite moment of Ranjbaran's in the quartet. A blazingly virtuosic viola leads the quartet to an uplifting conclusion.

4 Trombones - advanced

SKU: BT.AMP-313-070

Composed by Philip Sparke. Anglo Instrumental series. Set (Score & Parts). Composed 2011. 14 pages. Anglo Music Press #AMP 313-070. Published by Anglo Music Press (BT.AMP-313-070).

ISBN 9789043146678. 9x12 inches. English-German-French-Dut ch.

Reflections was composed for the Japanese Trombone Quartet Zipang. The composer was so impressed by the quality of the quartet’s ensemble playing, blend and balance that he wanted to write a piece that would exploit these factors to the full. So the work is almost ‘conversationalâ₠¬â„¢, with the four players assuming equal roles and separately moving the musical argument forward.

Reflections is na Tokyo Tryptich het tweede werk dat in opdracht van het Japanse trombonekwartet Zipang geschreven werd. Ge nspireerd door het uitgebalanceerde samenspel van de muzikanten, schreef Philip Sparke een werkwaarbij hij de nadruk legt op dit talent. Het werk is een dialoog tussen de volstrekt gelijkwaardige stemmen, een muzikaal debat waarin elk van de vier spelers zijn of haar mening mag geven.

Reflecti ons ist nach Tokyo Tryptich das zweite Werk, das vom japanischen Posaunenquartett Zipang in Auftrag gegeben wurde. Begeistert vom ausgewogenen Zusammenspiel dieser Musiker, schrieb Philip Sparke ein Stück, das diese Fähigkeit besonders hervorheben sollte. So ist Reflections fast ein Dialog zwischen gleichberechtigten Stimmen, die in der musikalischen Debatte alle ihre eigene Meinung“ beisteuern dürfen.

Reflections est, après Tokyo Tryptich, la deuxième oeuvre composée pour le Quatuor de Trombones Zipang, un ensemble professionnel constitué des plus éminents trombonistes du Japon. Impressionné par l‘interaction équilibrée entre ces musiciens, Philip Sparke écrivit cette pièce mettant en avant cette incroyable capacité. Reflections est un dialogue ouvert voix égales, où chacun exprime sa propre opinion.

Reflections, è dopo Tokyo Tryptich il secondo brano commissionato a Philip Sparke dal Quartetto di Tromboni Zipang. Impressionato dalle qualit del quartetto, Sparke ha composto un brano che lo valorizzasse ulteriormente.

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3

SKU: CF.CAS127

Composed by Kathryn Griesinger. Folio. Cas. Set of Score and Parts. 12+10+10+16+10+16 pages. Duration 3 minutes, 44 seconds. Carl Fischer Music #CAS127. Published by Carl Fischer Music (CF.CAS127).

ISBN 9781491157633. UPC: 680160916214. 9 x 12 inches.

A relentless 6/8 accompaniment drives this piece forward with exciting momentum. Two-against-three rhythm patterns add urgency to the theme, requiring precision in counting and maintaining an even tempo. Intensity builds like the first piercing light on the morning horizon, flourishing toward a stately middle section that reflects the grandeur of glorious colors and spacious skies. Players with the melody should take care to sustain with a warm, ringing tone. The pizzicato accompaniment should also stay unrushed and steady. The following restatement of the fast opening theme soars to a triumphant finale.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Concert Band - Grade 2

SKU: AP.32494S

Composed by Roland Barrett. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Belwin Young Band. Form: Overture. Score. 24 pages. Belwin Music #00-32494S. Published by Belwin Music (AP.32494S).

UPC: 038081376639. English.

Chasing Orion refers to the practice of celestial navigation, or sailing by the stars. It was inspired by the rich early history of maritime sailing and the commercial shipping industry. After traveling to distant and exotic lands, the fast clipper ships raced toward home, their holds bursting with grain, wool, spices, gold, and other treasures. Catapulted forward by the roaring forties wind currents, the sleek and elegant sailing ships swept around the ever-dangerous Cape Horn as they navigated by the stars, chasing Orion. A dramatic new addition to the young band literature! This title is available in MakeMusic Cloud.

Euphonium & Piano

SKU: ST.H474

Composed by James Flight. Wind & brass music. For Euphonium (Treble and Bass Clef parts provided) and Piano. Score and part. Stainer & Bell Ltd. #H474. Published by Stainer & Bell Ltd. (ST.H474).

ISBN 9790220222900.

A Short Sonata is a work written at around Grade 8 standard for euphonium and piano. In each of the work's three movements, different qualities of the instrument are utilised and explored. In the first movement, an Allegro in 6/8 time, these qualities are the instrument's general agility, and its ability to play fast-moving melodies in a way that drives the music forward. Throughout, different ways of phrasing similar material are used to create interest and a varied sound. In the second, slow movement, the resonant and majestic way in which the euphonium can deliver lyrical melodic lines is explored. The movement is made up of four long phrases which peak dynamically at the third, giving room for interpretation and feeling. The third movement exploits the instrument's ability to play loudly and aggressively, using lots of accented notes, hairpin crescendos and quick double-tonguing.

A Short Sonata was the winner of the first Stainer & Bell Award for Brass Composition, held at the Royal Welsh College of Music & Drama in Cardiff in May 2010.

Chamber Music Clarinet, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.11441750S

For Clarinet And String Quartet. Composed by Shulamit Ran. Premiered by Anthony McGill, clarinet, and Brentano String Quartet; Kimmel Center, Philadelphia, PA. Contemporary. Full score. With Standard notation. Composed 2016. 32 pages. Duration 16 minutes. Theodore Presser Company #114-41750S. Published by Theodore Presser Company (PR.11441750S).

UPC: 680160634934. 9.5 x 13 inches.

Stream for Clarinet and String Quartet (2015) was commissioned by the Philadelphia Chamber Music Society in celebration of its 30th Anniversary Season, through support of The William Penn Foundation. The first performance was in April 2016 at the Kimmel Center in Philadelphia. Notes from the composer: The 'line' in Stream is often threaded together into a chain made up of separate 'points' played by the strings, and sometimes by the string and the clarinet. An analogy might be that each instrument, at times, produces a single 'ray of light' from within the larger light source. Moreover, there are many passages where the intended effect is that of the strings providing a 'halo' surrounding the solo clarinet. Similarly, the clarinet often dovetails with, as well as emerges or submerges in and out of, a strand in the string music..
What's in a name?   In my titles, I generally aim to capture something that I believe to be essential about the particular work.  At some level this is to offer an entry-point for the listener, a glimpse of the composition in its totality.  STREAM as a title came to be when much of the music was already fully composed, and it encapsulates much of what I wish to say in words about this work: it suggests flow - whether gentle or forceful; it implies a journey, one that could take us onto unexpected terrains yet is always moving forward; embedded into this word is also the idea of stream of consciousness, and with it, free association and unexpected twists of fancy. Approximately 16 minutes in duration, STREAM is to be played without a break, yet there are strong elements of a three-movement structure here. An expository quasi-first-movement lays out important materials of varying character; the middle part, suggesting contrast and repose, is initially slow and reflective, but then embarks on new explorations of the notion of stasis, while the final movement is dominated by fast-moving music of high energy that consolidates the previous materials.  Important throughout is the way in which seemingly transitional stretches of music emerge and propel the music onward in ways that are at once unexpected and fantastical. A composer's statement about this work would not be complete without acknowledging the degree to which the work was inspired by the awareness that it was being created for a quintet of extraordinary performers of the most beautiful and flowing musicianship - clarinet virtuoso Anthony McGill and the intrepid Brentano Quartet. Shulamit Ran .

Concert Band - Grade 3

SKU: AP.44988

Composed by Jeremy Bell. Concert Band; Performance Music Ensemble; Single Titles. Young Symphonic. Halloween. Score and Part(s). 264 pages. Duration 2:30. Alfred Music #00-44988. Published by Alfred Music (AP.44988).

UPC: 038081517810. English.

Escape from Dead Raider's Hollow is a fast-paced adventure. Opening quietly, the introduction gradually builds in volume and energy up to a tempo change where the piece takes off and doesn't relent until the end. Combining rhythms of 3 over a pulse of 2 creates a hemiola effect that drives the piece forward, creating a feeling of anxiety and being chased. This is a bombastic, action-packed piece with loud percussive hits, huge brass, and soaring woodwinds that ends with a bang. (2:30).

(The Collaborative Artist). Composed by Randall Faber. For Piano Trio. Faber Piano Adventures�®. Late Intermediate. Softcover. Faber Piano Adventures #FF7009. Published by Faber Piano Adventures

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3

SKU: CF.CAS127F

Composed by Kathryn Griesinger. Sws. Cas. Full score. 12 pages. Carl Fischer Music #CAS127F. Published by Carl Fischer Music (CF.CAS127F).

ISBN 9781491157466. UPC: 680160916047. 9 x 12 inches.

A relentless 6/8 accompaniment drives this piece forward with exciting momentum. Two-against-three rhythm patterns add urgency to the theme, requiring precision in counting and maintaining an even tempo. Intensity builds like the first piercing light on the morning horizon, flourishing toward a stately middle section that reflects the grandeur of glorious colors and spacious skies. Players with the melody should take care to sustain with a warm, ringing tone. The pizzicato accompaniment should also stay unrushed and steady. The following restatement of the fast opening theme soars to a triumphant finale.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Handbells 3-6 octave handbell choir with optional 2-3 octave handchimes - Level 3

SKU: HP.2728

Arranged by Sandra Eithun. Christmas, Sacred. Handbell score. 12 pages. Hope Publishing Company #2728. Published by Hope Publishing Company (HP.2728).

UPC: 763628127282.

Chris tmas hymn With suspended bells quietly calling, O Come, O Come, Emmanuel, the scene is set for the urgency and excitement that is to follow - proclaim the good news that He Is Born! The faster tempo, minor backdrop and tabled mallet accompaniment drive the piece forward with the urgent message of the Christ Child's birth. The contrasting middle section offers a warmer, more thoughtful statement that includes lingering LV passages and optional handchimes. The piece closes by reprising the spirited section and is capped off with a celebratory fanfare in major tonalities.

String Quartet

SKU: PR.16400222S

Composed by Dan Welcher. Full score (study). With Standard notation. Duration 11 minutes. Theodore Presser Company #164-00222S. Published by Theodore Presser Company (PR.16400222S).

UPC: 680160037841.

This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection.   The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour.   In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature.   The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales.   The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey.   Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.

Concert Band/Harmonie (Score) - Grade 5

SKU: HL.44012271

Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Score Only. Composed 2013. Anglo Music Press #AMP358140. Published by Anglo Music Press (HL.44012271).

UPC: 888680057664. English-German-French-Dut ch.

Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and was part of a tour programme they gave in May 2012, a tour which included many areas that had been devastated by the 2011 earthquake and tsunami.The theme of the piece is the powerful ability of mankind to overcome such disasters and look forward to a positive future; it opens in an appropriately optimistic mood, featuring bright orchestral colours and extensive syncopation. A chorale-like fanfare is soon introduced on horns and euphonium, answered by chirpy woodwinds. The mood subsides until an alto saxophone introduces a brief quotation from the composer's The Sun Will RiseAgain, which was written to raise funds for victims of the 2011 disaster. The mood soon changes and the horns introduce a noble theme under woodwind flourishes. This leads to the main Vivo section of the piece which is characterised again by strong syncopations as part of a florid theme in the low woodwinds. This melody undergoes varied development by all sections of the band until the horn fanfare returns triumphally on the brass. This is extended and leads to a faster coda which brings together previous material in counterpoint to close the work in optimistic mood.

Looking Up, Moving On is gecomponeerd in opdracht van het Tokyo Kosei Wind Orchestra. Het werk maakte deel uit van een programma uit mei 2012, dat werd uitgevoerd tijdens een tournee waarbij veel regio's werden bezocht die waren verwoest door de aardbeving en tsunami van 2011.Het thema van het werk is het buitengewone vermogen van de mens om dergelijke rampen te boven te komen en vooruit te kijken naar een positieve toekomst. De opening is dan ook optimistisch van karakter, met heldere orkestrale kleuren en een rijkelijke syncopering. Al snel wordt er een koraalachtige fanfare geintroduceerd door de hoorns en het euphonium, waarop een levendig antwoord volgt in dehoutblazerssectie. De sfeer wordt dan steeds kalmer totdat een altsaxofoon een kort citaat laat horen uit een eerder werk van de componist, The Sun Will Rise Again, dat werd geschreven om geld in te zamelen voor de slachtoffers van de ramp uit 2011. De stemming slaat vlug weer om: de hoorns introduceren een nobel thema, dat weerklinkt onder versieringen in het hout. Dit leidt naar het Vivo, het hoofdgedeelte, dat eveneens wordt gekenmerkt door sterke syncoperingen, als onderdeel van een sierlijk thema in het lage hout. De melodie ondergaat een gevarieerde ontwikkeling binnen alle secties van het orkest, totdat de hoornfanfare op triomfantelijke wijze terugkeert in het koper. De fanfare wordt vervolgens verder uitgewerkt en voert ons mee naar een snellere coda, die voorafgaand materiaal in contrapunt samenbrengt en de compositie in optimistische stemming afsluit.

Looking Up, Moving Down wurde vom Tokyo Kosei Wind Orchestra in Auftrag gegeben und war Teil des Konzertprogramms einer Tour im Mai 2012, welche viele Gebiete einschloss, die vom Erdbeben und Tsunami im Jahr 2011 zerstort worden waren. Thema dieses Stuckes ist die gewaltige Fahigkeit der Menschheit, uber solche Katastrophen hinwegzukommen und voll Optimismus in die Zukunft zu blicken; es beginnt dementsprechend in einer positiven Stimmung mit strahlenden Orchesterfarben und einer ausgepragten Synkopierung. Schon bald wird eine choralartige Fanfare auf den Hornern und im Euphonium vorgestellt, die von munteren Holzblasern beantwortet wird. Die Stimmung flaut ab, bis einAltsaxophon ein kurzes Zitat aus The Sun Will Rise Again anspielt, das der Komponist zur Spendenbeschaffung fur die Opfer des Unglucks 2011 geschrieben hatte. Kurz darauf folgt ein Stimmungswechsel und die Horner prasentieren ein stattliches Thema, begleitet von Fanfaren in den Holzblasern. Dies fuhrt zum mit Vivo uberschriebenen Hauptteil des Stuckes, der wiederum von starken Synkopierungen gepragt ist, die Teil eines bluhenden Themas in den tiefen Holzblasern sind. Diese Melodie durchlauft eine vielgestaltige Entwicklung durch alle Instrumentengruppen des Blasorchesters, bis das Blech mit der Hornfanfare triumphal zuruckkehrt. Dies wird erweitert und fuhrt zu einer schnelleren Coda, in dem verschiedenes zuvor gehortes Material kontrapunktisch zusammenkommt, um das Werk in einer optimistischen Stimmung zu beenden.

Looking Up, Moving On est une commande du Tokyo Kosei Wind Orchestra. Cette piece faisait partie du programme de la tournee effectuee par l'orchestre en mai 2012, qui s'est produit dans de nombreuses regions devastees par le tremblement de terre et le tsunami de 2011.La composition a pour theme l'immense capacite humaine a surmonter de telles catastrophes et envisager l'avenir de facon positive. Elle debute justement dans un climat optimiste comportant de vives couleurs orchestrales et des passages syncopes. Les cors et les euphonium introduisent bientot une fanfare en forme de choral a laquelle repondent des bois petillants. L'ambiance s'apaise jusqu'a ce qu'unsaxophone alto introduise un court extrait de The Sun Will Rise Again, du meme compositeur, une piece ecrite pour collecter des fonds en faveur des victimes du desastre de 2011. Le climat change hativement lorsque les cors introduisent un theme noble par-dessus des fioritures executees par les bois. Vient ensuite la principale section vivo de la piece, qui se caracterise, encore une fois, par des syncopes tres marquees dans le cadre d'un theme fleuri assure dans le registre grave des bois. Cette melodie fait l'objet de divers developpements par tous les pupitres de l'orchestre jusqu'au retour triomphant de la fanfare soutenue par les cuivres. Celle-ci se prolonge pour mener a une coda plus rapide qui rassemble les elements precedents en contrepoint pour clore la piece dans un climat optimiste.

By Gary P. Gilroy. Concert Band. Grade 4. Score and parts (recording in score). Published by TRN Music Publisher

Composed by Bill Calhoun. Score and part(s). 24 136 pages. Duration 4 minutes, 22 seconds. Carl Fischer #YPS0165. Published by Carl Fischer (CF.YPS165).

Choral TB chorus with Piano and optional Solos

SKU: CF.CM9755

Composed by Ashley Dame Meredith Tompkins. Mjts. Duration 2 minutes, 33 seconds. Carl Fischer Music #CM9755. Published by Carl Fischer Music (CF.CM9755).

ISBN 9781491162439. UPC: 680160921188. Key: D minor. English. Matthew Arnold (1822-1888).

The luminous text of the poem Dover Beach by English poet Matthew Arnold is the inspiration for the rolling and weaving melodies of this undulating piece. In his writing, Arnold ponders how the vastness of the sea and the thrashing waves that crash on the sand and rocks seem to mirror the melancholy in his heart. He comes back to the steadfast nature of the cliffs of England that allow the light of the moon to gleam across and then scatter into darkness. The echoing phrases are intended to create concrete repetitions that mirror the original unison melody with minor deviations. In turn, the driving passages will challenge the performer while providing arpeggiated accompaniment to propel them forward.INSTRUCTIONAL PURPOSES and RANGES: This work is composed for the needs of tenor-bass voices, with both a reasonable range and comfortable tessitura. The call-and-response sections allow for singers to easily hear their part while developing harmonic foundations and listening skills. Sustained phrases are strategically written to strengthen breath support and the passaggio during the challenges of navigating through various phases of vocal development.  The descant portion is a great option for solos or small ensembles.