(Skizzen fur ein string quartet (1. String quartet)). By Gerhard Schedl (1957-). Chamber Music (Strings). For 2 violins, viola, cello. 5/5/5/5. Study score. Composed (1976). 12 pages

(Clarinet and Piano). By Various. Edited by Eric Simon. Arranged by Eric Simon. Woodwind Solo. CD only. 8 pages. Published by G. Schirmer

Recorder Ensemble

SKU: HL.49002948

Performance Score. Composed by Henry Purcell. Edited by Walter Bergmann. This edition: Folding. Sheet music. Edition Schott. Classical. Playing score. 8 pages. Schott Music #ED11795. Published by Schott Music (HL.49002948).

ISBN 9790220112522. UPC: 073999314359. 9.0x12.0x0.045 inches.

4 recorders (SATB).

By Kevin Costley. For Piano. Spotlight Solo Sheets. This piece includes syncopated rhythms and pentatonic harmonies. It's sure to be a crowd pleaser!. Around the World. Level: Intermediate. Solo Sheet. Published by The FJH Music Company, Inc.

By Steve Hurte. Arranged by Mike Speck, Cliff Duren and Danny Zaloudik. For SATB choir with vocal solo. Moderate. Octavo. Published by Lillenas Publishing Company

By Chris Brooks. For marching percussion ensemble (Snare, Tenor Drums, Cymbals, Bass Drums, Bells, Xylophone, Cowbell, Suspended Cymbal, Tambourine, Vibra Slap). Grade 1. Score and parts. Duration 1:07. Published by Row-Loff Publications . Score and Parts.

Edited by Benham. Petrie. Brass - Trombone and Baritone Method or Collection. Book. 52 pages. Published by Alfred Publishing.

Choral (SSATTB choir a cappella)

SKU: HL.154015

Composed by Simon Lole. De Haske Choral Music. Concert, Sacred. Octavo. 8 pages. Published by De Haske Publications (HL.154015).

UPC: 888680098247. 6.75x10.5 inches.

A lovely setting of the Latin Grace from Jesus College, Cambridge, featuring harmonic richness and subtle rhythmic and textural merits. An excellent a cappella selection for mature mixed choruses.

(1.1.2.1/2.2.1.0,timp,org ,str,vn solo)

SKU: TM.05412SET

Composed by Riccardo Drigo. Set Type: C. Set of parts. Published by Lucks Music Library (TM.05412SET).

P/C in set.

Piano

SKU: LM.29083D

Composed by Beata Suranyi, Beatrice Quoniam, and M.J. Saladin De Nuglar. Le repertoire du pianiste. Classical. CE. Editions Henry Lemoine #29083D. Published by Editions Henry Lemoine (LM.29083D).

ISBN 9790231702545.

ALBE NIZ M. : Sonate en Re - BACH C.P.E. : Sonata 6 - BACH J.S. : Petite fugue a 2 voix - BERKOWITSCH I. : Variations - BOELY A.P.F. : Allegretto - BONIS M. : Romance sans paroles - BROADY T.E. : Mandy's Broadway Stroll - FAURE G. : Improvisation - GADE N. : Barcarolle - GALUPPI B. : Sonate no. 5 - HAYDN J. : Adagio - LISZT F. : Variation sur une valse de A. Diabelli - LISZT F. : Piece pour piano no. 2 - LISZT F. : Mazurek - LISZT F. : Avec joie et souffrance - LISZT F. : Krakowiak - LONGO A. : Due momenti musicali - RACHMANINOV S. : Morceau de fantaisie - ROTA N. : Pagina - SATIE E. : Je te veux - SCHUMANN R. : 7 pieces en forme de fugue - SCRIABINE A. : Prelude - SIBELIUS J. : Etude - SZYMANOWSKI K. : Prelude - WEBER C.M. von : Andante con variazioni - YUYAMA A. : Rush Rush Rush.

By Heinrich Schneikart. Double bass. For bass. Level: 4-5. Composed (1984). Published by Doblinger (Austrian import).

Arranged by Joel Raney. For SATB choir. Musicals. Christmas, Sacred. Choral score. Published by Hope Publishing Company

Piano

SKU: HL.50512676

Composed by Percy Buck. Lengnick Publishing. Classical. Book Only. Alfred Lengnick & Co #AL0352A. Published by Alfred Lengnick & Co (HL.50512676).

By Leon Steward. Brass Choir. For 3 trumpets, 2 horns, 1 trombone, 1 baritone, 1 tuba, timpani. Level: Grade 2. Published by Echelon Music.

((Angelina the Baker)). Arranged by Robert Longfield. For Concert Band (Score and Parts). MusicWorks Grade 2. Grade 2. Published by Hal Leonard

Jewish Music for Weddings. Transcontinental Music Folios. Size 8.5x10.75 inches. 172 pages. Published by Transcontinental Music Publications.

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

Composed by Almicare Ponchielli. Anacrouse. Transcription pour piano 4 mains + Biographie + Notes sur l'oeuvre. Score. Editions Bourges #EBR-A088. Published by Editions Bourges

Organ (Organ)

SKU: HL.48182450

Composed by Olivier Messiaen. Leduc. Classical. CD. 72 pages. Alphonse Leduc #AL23673. Published by Alphonse Leduc (HL.48182450).

UPC: 888680833015. 8.0x11.5x0.249 inches.

In this edition written in German, The Technique Of My Musical Language by Olivier Messiaen explains the full theory behind Messiaen?s compositions. Enabling a better understanding, this book will help advanced students and professionals for the interpretation of his work, and is a must-have for all composers. This book includes the scales of limited transpositions, well-known in Jazz, the rhythmic permutations, as well as other techniques. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composer of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the ''Bird Catalogue'' in 7 volumes and the ''Treatise on rhythm, colour and ornithology'' in 7 volumes..

10 Essential Arias with Plot Notes, IPA, Recorded Diction Lessons and Recorded Accompaniments. Composed by Various. Vocal Collection. Softcover Audio Online. 88 pages. Published by G. Schirmer