Composed by Joseph Alessi / Michael Sachs. Softcover. With Standard notation. 48 pages. Carl Fischer #WF00076. Published by Carl Fischer

Composed by Michael Haydn (1737-1806). Edited by Martin Banner. Octavo. 12 pages. Duration 2 minutes, 21 seconds. Carl Fischer #CM09463. Published by Carl Fischer (CF.CM9463).

By Michael John Trotta. For SSA choir, Optional Flute. Octavo. 16 pages. Published by Carl Fischer

Composed by Michael John Trotta. Octavo. 16 pages. Duration 4 minutes, 29 seconds. Carl Fischer #CM09438. Published by Carl Fischer (CF.CM9438).

Arban. Composed by Jean- Baptiste Arban. Edited by Michael Roylance. Perfect. Book. Carl Fischer #O5553. Published by Carl Fischer

By Michael John Trotta. For SSA(A) choir, keyboard. Octavo. 16 pages. Duration 4 minutes, 28 seconds. Published by Carl Fischer

By Michael John Trotta. For SATB choir, Keyboard, Optional English Horn or Oboe. Octavo. 16 pages. Published by Carl Fischer

(From the Opera the Grapes of Wrath ). By Ricky Ian Gordon. For SA Voices with Keyboard or Harp. 12 pages. Duration 4 minutes, 15 seconds. Published by Carl Fischer

Composed by Michael John Trotta. Folio. Score and part(s). 82 Cover pages. Duration 3 minutes, 18 seconds. Carl Fischer Music #YAS198. Published by Carl Fischer Music

By Carol Wincenc. flute and piano+compact disk. Size 9x12. Published by Carl Fischer.

(For Symphonic Band - Full Score). By David Maslanka. Concert Band. For Flute I, Flute II, Piccolo, Oboe I, Oboe II, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Contrabass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Horn I, Horn II, Hor. Carl Fischer Classic Band Editions. Full Score. Standard notation. 78 pages. Duration 8 minutes, 30 seconds. Published by Carl Fischer

(For SATB Voices A Cappella). Composed by Thomas Morley (1557-1602). Edited by Patrick M. Liebergen. Arranged by Patrick M. Liebergen. Mixed chorus. For Soprano, Alto, Tenor, Bass, Keyboard Rehearsal. Choral. Piano reduction/vocal score. Standard notation. 8 pages. Published by Carl Fischer

By Rafael Mendez. Arranged by Edward Gibney. Textbook. Published by Carl Fischer.

(For Bodhran or Large Frame Drum). By Jason Eckardt (1971-). For Bodhran or Large Frame Drum. 12 pages. Duration 3 minutes, 30 seconds. Published by Carl Fischer

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion 1, Oboe, Percussion 1, Percussion 2, Suspended Cymbal, Tambourine, Timpani, Tom-tom, Trombone, Trumpet 1 and more. - Grade 2.5

SKU: CF.YPS201F

Composed by Michael John Trotta. Arranged by James Meredith. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS201F. Published by Carl Fischer Music (CF.YPS201F).

ISBN 9781491152898. UPC: 680160910397.

Alrea dy one of the most popular choral settings in the Carl Fischer Music catalog, Michael John Trotta's setting of Veni, Veni Emmanuel has now been skillfully transcribed by James Meredith for band. Trotta's setting of this seminal carol juxtaposes the old and new together in a refreshingly different approach to the song. The piece can work with band alone or with the popular choral setting. It is sophisticated enough for high school groups to put together quickly and can also work well with middle school groups.
This piece was conceived as a dialogue between the supplicants and the creator, a combination of old and new, juxtaposing a personal longing for something still to come, with the steadfast assurance of something ever-present yet not always seen. While the original theme is associated with the Christmas season, the wider theme of longing for something greater is universal to the human condition and allows this piece to be programmed throughout the year.This work may be performed with SATB Voices (published by Carl Fischer Music, CM9418).

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion 1, Oboe, Percussion 1, Percussion 2, Suspended Cymbal, Tambourine, Timpani, Tom-tom, Trombone, Trumpet 1 and more. - Grade 2.5

SKU: CF.YPS201

Composed by Michael John Trotta. Arranged by James Meredith. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+4+4+10+4+4+8+8+12+ 6+6+1+1+4+20+8+8+4+1+4 pages. Duration 3 minutes, 3 seconds. Carl Fischer Music #YPS201. Published by Carl Fischer Music (CF.YPS201).

ISBN 9781491152218. UPC: 680160909711. Key: F minor.

Already one of the most popular choral settings in the Carl Fischer Music catalog, Michael John Trotta's setting of Veni, Veni Emmanuel has now been skillfully transcribed by James Meredith for band. Trotta's setting of this seminal carol juxtaposes the old and new together in a refreshingly different approach to the song. The piece can work with band alone or with the popular choral setting. It is sophisticated enough for high school groups to put together quickly and can also work well with middle school groups.
This piece was conceived as a dialogue between the supplicants and the creator, a combination of old and new, juxtaposing a personal longing for something still to come, with the steadfast assurance of something ever-present yet not always seen. While the original theme is associated with the Christmas season, the wider theme of longing for something greater is universal to the human condition and allows this piece to be programmed throughout the year.This work may be performed with SATB Voices (published by Carl Fischer Music, CM9418).

Choral 3-part choir mixed Voices, Piano

SKU: CF.CM9567

Composed by Michael John Trotta. Traditional with additional lyrics by Michael John Trotta. Mjts. With Standard notation. 12 pages. Duration 5:12. Carl Fischer Music #CM9567. Published by Carl Fischer Music (CF.CM9567).

ISBN 9781491153642. UPC: 680160911141. 6.75 x 10.5 inches. Key: A major. English. Traditional with additional lyrics by Michael John Trotta.

Conceived as a work for emerging choirs looking for a positive message that affords opportunities to develop musical skills within appropriate ranges, this work is easy to learn, fun to sing, and offers many options for the growing choral ensemble. Whether chosen for its close harmonies, optional a cappella middle section or rhythmic vigor, Whatever Is True is a favorite with choirs and audiences alike. Optional claps and stops afford opportunities to underscore the rhythmic intensity of the final section whether performed a cappella or with the piano accompaniment.
Conceiv ed as a work for emerging choirs looking for a positive message that affords opportunities to develop musical skills within appropriate ranges, this work is easy to learn, fun to sing, and offers many options for the growing choral ensemble. Whether chosen for its close harmonies, optional a cappella middle section or rhythmic vigor, Whatever Is True is a favorite with choirs and audiences alike. Optional claps and stops afford opportunities to underscore the rhythmic intensity of the final section whether performed a cappella or with the piano accompaniment.
Conceiv ed as a work for emerging choirs looking for a positive message that affords opportunities to develop musical skills within appropriate ranges, this work is easy to learn, fun to sing, and offers many options for the growing choral ensemble.Whether chosen for its close harmonies, optional a cappella middle section or rhythmic vigor, Whatever Is True is a favorite with choirs and audiences alike.Optional claps and stops afford opportunities to underscore the rhythmic intensity of the final section whether performed a cappella or with the piano accompaniment.

Choral Piano, Violin, SATB chorus

SKU: CF.CM9732

Composed by American Folk Song. Arranged by Michael John Trotta. Mjts. 20 pages. Duration 4 minutes, 20 seconds. Carl Fischer Music #CM9732. Published by Carl Fischer Music (CF.CM9732).

ISBN 9781491161128. UPC: 680160919710. Key: E major. English. American Folk Songs: incorporating Cindy and The Water is Wide.

Fueled by a passion to share new music that engages conductors, ensembles, and audiences alike, Michael John Trotta (b.1978) is fast becoming one of the most exciting and prominent new composers of choral music. Drawing on his experience as a conductor and clinician, he brings artistry and excellence within reach for thousands of musicians each year. From Carnegie Hall to classrooms all over the world, Trotta's unique blend of engaging and artistic music creates opportunities to experience new music and empowers individuals to realize their artistic potential. His engaging style fuses tradition and innovation to create moments of beauty that effectively carry out a dialogue between the [music] and the modern listener. (Choral Journal).
Fueled by a passion to share new music that engages conductors, ensembles, and audiences alike, Michael John Trotta (b.1978) is fast becoming one of the most exciting and prominent new composers of choral music. Drawing on his experience as a conductor and clinician, he brings artistry and excellence within reach for thousands of musicians each year.From Carnegie Hall to classrooms all over the world, Trotta’s unique blend of engaging and artistic music creates opportunities to experience new music and empowers individuals to realize their artistic potential. His engaging style fuses tradition and innovation to create moments of beauty that “effectively carry out a dialogue between the [music] and the modern listener.” https ://www.mjtrotta.com/chora l-journal-review/.

Choral Hand Clap, Hand Drum, Violin, alto 1, alto 2, soprano 1, soprano 2

SKU: CF.CM9563

Great and Fiery Force. Composed by Michael John Trotta. Hidegard Von Bingen transcribed by Michael John Trotta. Mjts. With Standard notation. 24 pages. Duration 4 minutes, 41 seconds. Carl Fischer Music #CM9563. Published by Carl Fischer Music (CF.CM9563).

ISBN 9781491153635. UPC: 680160911134. 6.75 x 10.5 inches. Key: G minor. Latin, English. Hidegard Von Bingen transcribed by Michael John Trotta.

Trotta's composition is an energetic reimagining of timeless text and tune from the 12th century poet, composer, and philosopher Hildegard of Bingen. The marriage of the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works) creates an entirely new work that expresses themes of empowerment. There is a reflective sense of the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself.
This commissioned work for womens choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for womenas choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for women's choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself. This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment. An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish. I am the great and fiery force, That breathes life into all things: I am what awakens and supports life And enkindles all living things I am the great and fiery force, That breathes life into all things: Everything in the cosmos Is encircled with my wisdom. I am the beauty in the fields, The force, that moves like a graceful wind I shine in the waters, and burn in the sun, Glimmering in the stars. Caritas abundat in omnia (Grace abounds for everyone) [Liber Divinorum Operum (The Book of Divine Works), I.I.2].
This commissioned work for women’s choir is an energetic reimagining of a timeless text and tune from the twelfth-century poet, composer and philosopher Hildegard of Bingen. The text was selected as a reflection of the students' desire to express the empowerment that comes from singing in a choir, especially the power of belonging to a group united for a purpose greater than oneself.This piece marries the chant Caritas Abundat with a text taken from Liber Divinorum Operum (The Book of Divine Works), creating an entirely new work that expresses themes of empowerment.An adapted quotation of the tune is introduced in the violin, then taken up by the choir, treated to a five-part canon in the more reflective middle section, and finally changes meter for an energetic finish.I am the great and fiery force,That breathes life into all things:I am what awakens and supports lifeAnd enkindles all living thingsI am the great and fiery force,That breathes life into all things:Everything in the cosmosIs encircled with my wisdom.I am the beauty in the fields,The force, that moves like a graceful windI shine in the waters, and burn in the sun,Glimmering in the stars.Caritas abundat in omnia (Grace abounds for everyone)[Liber Divinorum Operum (The Book of Divine Works), I.I.2].

Choral Voice, alto voice, soprano 1, soprano 2

SKU: CF.CM9526

Composed by American Folk Song. Arranged by Michael John Trotta. SWS. Mjts. Performance Score. With Standard notation. 20 pages. Carl Fischer Music #CM9526. Published by Carl Fischer Music (CF.CM9526).

ISBN 9781491150580. UPC: 680160908080. 6.875 x 10.5 inches.

Michael John Trotta's arrangement of this beloved American folk song is set atop a rhythmic vocal ostinato, which provides the backdrop for the soaring vocal line. In the MJT Signature Series, it is sure to delight audiences during concert and festival performances. Also available for SATB Voices (CM9552) and T(T)B Voices (CM9534).

Choral SSA choir, piano

SKU: CF.CM9586

Composed by Michael Zook. Fold. Performance Score. 12 pages. Duration 3 minutes, 43 seconds. Carl Fischer Music #CM9586. Published by Carl Fischer Music (CF.CM9586).

ISBN 9781491154083. UPC: 680160912582. 6.875 x 10.5 inches. Key: Db major. English. Robert Burns (1759-1796) and Michael Zook.

Choral SATB Choir

SKU: CF.CM9552

Composed by American Folk Song. Arranged by Michael John Trotta. SWS. Mjts. Performance Score. With Standard notation. 20 pages. Carl Fischer Music #CM9552. Published by Carl Fischer Music (CF.CM9552).

ISBN 9781491150849. UPC: 680160908349. 6.875 x 10.5 inches.

Michael Trotta's arrangement of the beloved American folk song, Shenandoah, is built on a rhythmic vocal ostinato which provides the backdrop for the soaring vocal line, casting this familiar tune in an exciting new light. This arrangement is a perfect addition to concert repertoire during concert and festival performances throughout the year. Shenandoah is also available for SSAA Voices (CM9526) and T(T)B Voices (CM9534) and is a part of the MJT Signature Series.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Rain Stick, Snare Drum, Suspended Cymbal, Tambourine, Timpani, Tom-tom, Triangle and more. - Grade 2

SKU: CF.YPS205

Composed by Michael J. Miller. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+2+4+5+4+4+4+8+12+6+ 6+1+1+10+16+4+4+4+2 pages. Duration 3 minutes, 9 seconds. Carl Fischer Music #YPS205. Published by Carl Fischer Music (CF.YPS205).

ISBN 9781491152256. UPC: 680160909759. Key: F major.

Cornish Coastal Walk is a beautiful new composition depicting the majestic cliffs and coastline of the Cornwall region in England. Composer Michael Miller provides young bands with an opportunity to stretch their musical muscles with this lush and tuneful piece in 3/4 time. Directors will find in this piece a strong vehicle to teach phrasing, beauty of tone, and musicianship to young bands.
In the far southwest of England reaching out towards the Celtic Sea is the county Cornwall. A peninsula, Cornwall is surrounded by some of the world’s most picturesque scenery including beaches, cliffs, and rolling hills. Separated from the rest of England by the river Tamar, the Cornish take great pride in their culture including the pasty (a stuffed pastry and preferred lunch of miners), Cornish cream tea (not to be confused with rival Devon cream tea where the cream goes under the jam), and well known national heritage sights such as Rough Tor (Cornwall’s highest point), and Tintagel Castle (rumored birth place of King Arthur).In the spring and summer of 2017, I had the pleasure to visit Cornwall, while my wife was a visiting scholar at the University of Exeter in the neighboring county of Devon. One July afternoon, while she was making field observations (she’s a Cultural Anthropologist), I decided to take a stroll along the cliffs as was recommended by a friend. I set out from Boscastle, a small inlet village where one can enjoy the most delicious black currant ice cream, and I trekked up and down the cliffs for three or four miles before finally arriving in Tintagel. I had planned to continue on to Trebarwith Strand, home of the fantastic Port William tavern, but greatly underestimated the difficulty of the terrain.Along my walk I witnessed some of the most breathtaking views I have ever seen. The coast of this particular region of Cornwall is both majestic and peaceful. It is frighteningly powerful, but also loving and kind. It is the type of place where people have for years looked out over the sea longing for their loved ones to return. I hope this music brings you the same inner peace I found on my hike that day.This piece is dedicated to Neil and his sidekick Derek, without whom I might have been just another tourist.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Rain Stick, Snare Drum, Suspended Cymbal, Tambourine, Timpani, Tom-tom, Triangle and more. - Grade 2

SKU: CF.YPS205F

Composed by Michael J. Miller. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS205F. Published by Carl Fischer Music (CF.YPS205F).

ISBN 9781491152935. UPC: 680160910434.

Corni sh Coastal Walk is a beautiful new composition depicting the majestic cliffs and coastline of the Cornwall region in England. Composer Michael Miller provides young bands with an opportunity to stretch their musical muscles with this lush and tuneful piece in 3/4 time. Directors will find in this piece a strong vehicle to teach phrasing, beauty of tone, and musicianship to young bands.
In the far southwest of England reaching out towards the Celtic Sea is the county Cornwall. A peninsula, Cornwall is surrounded by some of the world’s most picturesque scenery including beaches, cliffs, and rolling hills. Separated from the rest of England by the river Tamar, the Cornish take great pride in their culture including the pasty (a stuffed pastry and preferred lunch of miners), Cornish cream tea (not to be confused with rival Devon cream tea where the cream goes under the jam), and well known national heritage sights such as Rough Tor (Cornwall’s highest point), and Tintagel Castle (rumored birth place of King Arthur).In the spring and summer of 2017, I had the pleasure to visit Cornwall, while my wife was a visiting scholar at the University of Exeter in the neighboring county of Devon. One July afternoon, while she was making field observations (she’s a Cultural Anthropologist), I decided to take a stroll along the cliffs as was recommended by a friend. I set out from Boscastle, a small inlet village where one can enjoy the most delicious black currant ice cream, and I trekked up and down the cliffs for three or four miles before finally arriving in Tintagel. I had planned to continue on to Trebarwith Strand, home of the fantastic Port William tavern, but greatly underestimated the difficulty of the terrain.Along my walk I witnessed some of the most breathtaking views I have ever seen. The coast of this particular region of Cornwall is both majestic and peaceful. It is frighteningly powerful, but also loving and kind. It is the type of place where people have for years looked out over the sea longing for their loved ones to return. I hope this music brings you the same inner peace I found on my hike that day.This piece is dedicated to Neil and his sidekick Derek, without whom I might have been just another tourist.