By Harry Warren, Al Dubin. Arranged by Carl Strommen. For Choir. Choral Octavo. Spotlight on Kids Series. Movie. CD. Published by Alfred Publishing.

SSA and Piano. By Kim Oler. Arranged by Carl Strommen. (2 part). Boosey and Hawkes Sacred Choral. Size 7x10.5 inches. 8 pages. Published by Boosey and Hawkes.

By George Gershwin. Edited by Thom Proctor. Arranged by Carl Strommen. Educational instrumental collection (ts/cd). Level: 3-4. 28 pages. Published by Alfred Publishing.

By Carl Strommen. For Choir. (SATB). Choral Octavo. Secular, Christmas. Level: Moderate (grade 3). Choral Octavo. 8 pages. Published by Alfred Publishing.

By Carl Strommen. Concert Band. Concert Band. Young Symphonic. Grade 2. Conductor Score. 16 pages

Jazz Ensemble standard Jazz ensemble (Kendor Konvertible for 9-17 players) with opt. flute, clarinet, F horn, tuba and vibes - Grade 1

SKU: KN.63150

(based on the chord changes to 'On A Slow Boat To China' by Frank Loesser). Composed by Carl Strommen. Jazz Quest. Bright Swing. Kendor Music Inc #63150. Published by Kendor Music Inc (KN.63150).

UPC: 822795631500.

This bright swing chart for beginning groups is based on the chord changes to On A Slow Boat To China by Frank Loesser. The solo section is playable by any instrument, with solo sheets provided in all keys along with scales to assist students in improvisation.

Grade 2

SKU: CL.032-4839-00

Jazz Ensemble. Jazz Ensemble. Score and set of parts. Composed 2020. Duration 2 minutes, 48 seconds. C.L. Barnhouse #032-4839-00. Published by C.L. Barnhouse (CL.032-4839-00).

Veteran composer Carl Strommen’s Jumpin’ Jack Jive opens in a bright, brisk four and soon switches to a trademark two feel, reminiscent of the great big bands of yesteryear. The solo section features tenor and alto, and can be opened up for a variety of soloists of the director’s choosing. The charts builds and builds to a big finish! A great one for festival and concert use. Swing on with Jumpin’ Jack Jive!.

By Carl Strommen. For Concert Band. Concert Band. Belwin Concert Band. Level: 3 (Medium Easy) (grade 3). Conductor Score. 28 pages. Published by Alfred Publishing.

By Cy Coleman, Lyric By Carolyn Leigh. Arranged by Carl Strommen. For Choir. (Unison/2-part Treble). Choral Octavo. Broadway. Level: Moderate (grade 3). Choral Octavo. 12 pages. Published by Alfred Publishing.

By Victor Young, lyrics by Edward Heyman. Arranged by Carl Strommen. Orchestra. For strings w/ vln3, pno acc. Part(s); Score; String Orchestra. Pop Intermediate String Orchestra. Light Concert; Pop. Grade 3. 76 pages. Published by Alfred Music Publishing

(Featuring: Give My Regards to Broadway / Ain't Misbehavin' / My Funny Valentine / I've Grown Accustomed to Her Face / Thou Swell). Arranged by Carl Strommen. Orchestra. For Full Orchestra. Full Orchestra. Pop Concert Full Orchestra. Broadway. 4 (grade 4). Score. 28 pages

By John Kander, words by Fred Ebb. Arranged by Carl Strommen. (SATB). Choral Octavo. Pop. Choral Octavo. 12 pages. Published by Alfred Publishing.

By Walter Afanasieff and Mariah Carey. Arranged by Carl Strommen. For Choir. Choral Octavo. CD. Published by Alfred Publishing.

By Carl Strommen. For Choir. (3-Part Mixed, etc.). Choral Octavo. Choral Designs. Choral Octavo. 8 pages. Published by Alfred Publishing.

SATB and Piano. By May H. Brahe. Arranged by Carl Strommen. (SATB). Boosey and Hawkes Sacred Choral. Size 7x10.5 inches. 8 pages. Published by Boosey & Hawkes.

Edited by Thom Proctor. Arranged by Carl Strommen. Educational instrumental collection (Trombone). Level: 3. Published by Alfred Publishing.

Concert Band - Grade 4

SKU: AP.BD9560C

Composed by Carl Strommen. Concert Band. Belwin Symphonic Band. Score. 28 pages. Duration 4:33. Belwin Music #00-BD9560C. Published by Belwin Music (AP.BD9560C).

UPC: 029156167733. English.

Picture a lake before sunrise. With Dawn, the myriad varieties of life in and about the lake slowly awaken and, in the heat of the day, skip and skate across the water as if in a frantic ballet. Thus Waterdance begins and continues until it experiences Evening. Here is a beautifully crafted composition that brings us into the rhythms of life, the patterns of nature and an uplifting portrayal in sound. Stunning! (4:33).

By Harry Warren, Al Dubin. Arranged by Carl Strommen. For Choir. (3-Part Mixed). Choral Octavo. Movie. Choral Octavo. 12 pages. Published by Alfred Publishing.

Arranged by Carl Strommen. Concert Band; Performance Music Ensemble; Single Titles. Pop Symphonic Band. Christmas; Light Concert; TV; Winter. Part(s); Score. 344 pages. Duration 4:58. Belwin Music #00-CB9835. Published by Belwin Music

Band Bass Clarinet, Bass Drum, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle and more. - Grade 2.5

SKU: CF.YPS244F

Composed by R. Alan Carter. Full score. 19 pages. Carl Fischer Music #YPS244F. Published by Carl Fischer Music (CF.YPS244F).

ISBN 9781491159866. UPC: 680160918454.

Brass town Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft.  It is located in the northeastern part of the state and is part of the southern Appalachians.  The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.

Orchestra Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Oboe, Percussion, Timpani, Trumpet 1, Trumpet 2, Trumpet 3, Viola, Violin 1, Violin 2, Violoncello

SKU: CF.SC89L

Seven Little Pieces. Composed by William Grant Still. Large Score. 36 pages. Duration 12 minutes. Carl Fischer Music #SC89L. Published by Carl Fischer Music (CF.SC89L).

William Grant Still’s catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 “Afro-American† by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still’s orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals.This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the “Dean of Afro-American Composers.”The “Black belt” refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Still’s piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways: William Grant Still’s catalog of works comprises over 200 pieces, including five symphonies, nine operas, four ballets and numerous works for chamber ensembles. He initially found employment as an oboist in pit orchestras in New York City, later as an arranger of popular music for various ensembles, including those by William C. Handy, James P. Johnson and Paul Whiteman. His career as a composer was launched with a performance in 1931 of his Symphony No. 1 “Afro-American† by the Rochester Philharmonic, conducted by Howard Hanson, who would remain a life-long champion of Still’s orchestral works. By the 1950s the symphony had been performed in New York, Chicago, Los Angeles and various European capitals.This notoriety earned Still a Guggenheim Fellowship in 1934, after which he moved to Los Angeles. He is credited as the first African-American to conduct a major orchestra (the Los Angeles Philharmonic Orchestra), the first to have an opera performed by a major company (Troubled Island by the New York City Opera in 1949), and one of the first composers to write for radio, films and television. So numerous were his awards and accolades, including three Guggenheim Fellowships and a variety of honorary doctorates, that he was designated as the “Dean of Afro-American Composers.”The “Black belt” refers to a region in the southern United States that was distinguished by the color of its fertile soil. It was an area whose rich economy was based on cotton and tobacco plantations that were controlled by rich white people and worked by poor black laborers. Still’s piece From the Black Belt from 1926 is presumably a musical representation of these laborers. He described its seven parts in the following ways: Li’l Scamp If one were to base his judgment on the volume of sound, he would think this little fellow, who delights in playing childish pranks, a big scamp. But the aptness of the title is determined by the brevity of the piece rather than by the volume of sound. Honeysuckle A musical suggestion of the saccharine odor of the honeysuckle. Dance This title is self-explanatory. Brown GirlA tone picture of a lovely girl. Mah Bones Is Creakin’An old man, afflicted with rheumatism, complains loudly. BlueThe lament of a weary soul. Clap Yo’ Han’sThe participants in a game for children form a circle and clap their hands at intervals.

Choral Piano, baritone voice Bass, tenor

SKU: CF.CM9741

Composed by Traditional African American Spiritual. Arranged by Austin Hunt. Performance Score. 12 pages. Duration 2 minutes, 50 seconds. Carl Fischer Music #CM9741. Published by Carl Fischer Music (CF.CM9741).

ISBN 9781491161210. UPC: 680160919802. Key: Bb major. English. African American Spiritual.

In 1961, a diverse group of student activists organized a movement called Freedom Riders to challenge racial segregation in Southern states. Their strategy was to ride busses into cities with segregation laws and deliberately break them. For instance, white students would use colored only restrooms, while black students would sit at white only food counters. The hope was that, when confronted by police, the federal government would be forced to step in and defend the students' constitutional rights. On many occasions, these demonstrations were met with violent behavior from locals, including beatings and a firebombing. Ultimately, these Freedom Riders helped lead to the abolishment of segregation by bringing national attention to the injustices of segregation. While touring, the Freedom Riders would collectively perform songs with messages about freedom and justice. One participant, African -American preacher Rev. Robert Wesby, reimagined the lyrics of the hymn Woke Up this Mornin' by replacing the name Jesus with freedom in each refrain. This version of the hymn went on to become a powerful symbol of the American civil rights movement.
In 1961, a diverse group of student activists organized a movement called “Freedom Riders” to challenge racial segregation in Southern states. Their strategy was to ride busses into cities with segregation laws and deliberately break them. For instance, white students would use “colored only” restrooms, while black students would sit at “white only” food counters. The hope was that, when confronted by police, the federal government would be forced to step in and defend the students' constitutional rights. On many occasions, these demonstrations were met with violent behavior from locals, including beatings and a firebombing. Ultimately, these “Freedom Riders” helped lead to the abolishment of segregation by bringing national attention to the injustices of segregation.While touring, the Freedom Riders would collectively perform songs with messages about freedom and justice. One participant, African -American preacher Rev. Robert Wesby, reimagined the lyrics of the hymn “Woke Up this Mornin’” by replacing the name “Jesus” with “freedom” in each refrain. This version of the hymn went on to become a powerful symbol of the American civil rights movement.