Composed by Various. Edited by Richard Walters. Boosey and Hawkes Voice. Opera. Softcover. 226 pages. Published by Boosey and Hawkes

Performed by Bryan Adams, composed by Bryan Adams, Michael Kamen, Robert John "Mutt" Lange. For voice and piano. From the motion picture "Robin Hood: Prince of Thieves". Format: piano/vocal/chords single. With vocal melody, piano accompaniment, lyrics and chord names. Movies and adult contemporary. Db Major. Series: Original Sheet Music. 6 pages. 9x12 inches

Performed by Bryan Adams, composed by Bryan Adams, Michael Kamen, Robert John "Mutt" Lange. Single for voice, piano and guitar chords. From the motion picture "Robin Hood: Prince of Thieves". Db Major. 5 pages. Published by Alfred Publishing.

By Cindy Ovokaitys. Arranged by Brant Adams. For SATB choir (SATB). Shawnee Press. Sacred, All SaintsÕ, memorial. 12 pages. Shawnee Press #A8840. Published by Shawnee Press

Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clarinet, Clarinet 1, Clarinet 2, Claves, Contrabass, Contrabassoon, Cowbell, Crotales, English Horn, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Maracas, Marimba, Oboe 1 and more.

SKU: PR.11641737S

Composed by Steven Stucky. Study Score. 68 pages. Duration 9 minutes. Merion Music #116-41737S. Published by Merion Music (PR.11641737S).

ISBN 9781491136133. UPC: 680160688432.

Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3 and more. - Grade 3.5

SKU: CF.CPS228F

Composed by George Sweet. Concert Band (CPS). Full score. With Standard notation. 28 pages. Carl Fischer Music #CPS228F. Published by Carl Fischer Music (CF.CPS228F).

ISBN 9781491153222. UPC: 680160910724.

Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was a large influencing factor for George Sweet in the composition of this piece. Richly scored for the modern concert band, Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.
Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was an influencing factor on the composition of the piece. Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.This begins with strict motor accompaniment. Take care to maintain equal balance among the different “moving parts” so that they blend to create a solid whole both here and throughout the piece. The primary thematic material is stated by the trumpets and horns at m. 12. This material is the basis for much of the harmonic and thematic material that follows. A slightly varied statement of the main theme is presented again at m. 26 with a different type of motor accompaniment. This leads to a B-section at m. 44, which is a bold fanfare-like presentation of the main material. Another series of variations on the main theme begins at m. 50 and incorporates many different textural and harmonic ideas in the accompaniment. Once again, be careful to not let any one “moving part” overwhelm another and keep the texture evenly balanced.  A second, broader presentation of the B-section occurs at m. 90 and leads to a subdued C-section at m. 100 with new melodic material presented in the trumpet. A whimsical march-like section pushes to the return of the introductory motor material at m. 131. A final heroic presentation of the main thematic material results in a somewhat ambiguous coda, which brings the piece to a dramatic conclusion.

(in Three Volumes) - Vol. III. By Vincent Persichetti. Text: Amy Lowell; Hart Crane; John Trumbull; Leonie Adams; Walter Prude. Solo piano. For Piano Solo. Solo part. Opus 14. 24 pages. Published by Theodore Presser Company.

Soprano. Composed by Various. Edited by Philip Brunelle. Boosey and Hawkes Voice. Play Along. Softcover Audio Online. 144 pages. Boosey and Hawkes #M051933631. Published by Boosey and Hawkes

Organ - intermediate-advanced

SKU: HL.14010403

By Robin Langley. Edited by Robin Langley. Music Sales America. Classical. Book [Softcover]. 68 pages. Music Sales #NOV010196. Published by Music Sales (HL.14010403).

ISBN 9780711987623. 8.5x11.75x0.216 inches.

An anthology from four centuries in ten volumes. Edited by Robin Langley.

Composed by John Adams (1947-). Arranged by John Adams. For Organ. Hymn preludes. Classic. Intermediate. Book. Published by Kevin Mayhew Publishers

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3 and more. - Grade 3.5

SKU: CF.CPS228

Composed by George Sweet. Concert Band (CPS). Set of Score and Parts. With Standard notation. 8+8+4+8+16+16+4+4+4+4+4+4 +8+8+8+4+4+6+6+6+8+1+2+2+ 2+2+4+8+2+28+4 pages. Duration 4 minutes, 35 seconds. Carl Fischer Music #CPS228. Published by Carl Fischer Music (CF.CPS228).

ISBN 9781491152546. UPC: 680160910045.

Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was a large influencing factor for George Sweet in the composition of this piece. Richly scored for the modern concert band, Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.
Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was an influencing factor on the composition of the piece. Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.This begins with strict motor accompaniment. Take care to maintain equal balance among the different “moving parts” so that they blend to create a solid whole both here and throughout the piece. The primary thematic material is stated by the trumpets and horns at m. 12. This material is the basis for much of the harmonic and thematic material that follows. A slightly varied statement of the main theme is presented again at m. 26 with a different type of motor accompaniment. This leads to a B-section at m. 44, which is a bold fanfare-like presentation of the main material. Another series of variations on the main theme begins at m. 50 and incorporates many different textural and harmonic ideas in the accompaniment. Once again, be careful to not let any one “moving part” overwhelm another and keep the texture evenly balanced.  A second, broader presentation of the B-section occurs at m. 90 and leads to a subdued C-section at m. 100 with new melodic material presented in the trumpet. A whimsical march-like section pushes to the return of the introductory motor material at m. 131. A final heroic presentation of the main thematic material results in a somewhat ambiguous coda, which brings the piece to a dramatic conclusion.

ol. II. By Vincent Persichetti. Text: Edmond Kowalewski; Edna St. Vincent Millay; John Fletcher; Leonie Adams; T.S. Eliot. Solo piano. For piano. Classical. Solo part. Opus 5. 14 pages. Published by Theodore Presser Company.

New Lyrics to Old Favorites. Composed by John Jacobson. Expressive Art (Choral). Published by Hal Leonard (HL.118284).

(As recorded by One Direction). By Edward Drewett, Wayne Hector, Julian Bunetta, and John Ryan [One Direction]. Arranged by Doug Adams. Marching Band. Marching Band; Part(s); Score. Easy Pops for Marching Band. Pop/Rock. Grade 2. Published by Alfred Music

Composed by Stephen Adams, lyrics by Frederick Edward Weatherly, arranged by John W. Schaum. Single for voice and piano. G Major. 4 pages. Published by Alfred Publishing.

(33 Works by 25 Composers from the 20th and 21st Centuries). By Various. For Piano. Piano Collection. 240 pages. Published by G. Schirmer

(As Recorded by Beyoncé). Composed by Beyoncé Knowles, Noel Fisher, Sidney Swift, and Bobby Johnson [Beyoncé]. Arranged by Doug Adams. Marching Band. Marching Band; Part(s); Score. Easy Pops for Marching Band. Pop. Grade 2. 44 pages. Published by Alfred Music

(As Recorded by Beyoncé). Composed by Beyoncé Knowles, Noel Fisher, Sidney Swift, and Bobby Johnson [Beyoncé]. Arranged by Doug Adams. Marching Band. Marching Band; Score. Easy Pops for Marching Band. Pop. Grade 2. 8 pages. Published by Alfred Music

By Albright. For saxophone and piano. Duration circa 3.5 minutes. Published by C.F. Peters.

Violin and Piano. By John Adams. Arranged by John Mcginn. (Violin). Boosey and Hawkes Chamber Music. Size 10x13 inches. Published by Boosey & Hawkes.

By Franklin D. Adams. Concert Band. Band Music. Pioneer Band Series. Grade 2. Score and set of parts