(from Final Alice). By David Del Tredici. Arranged by Mark Spede. Boosey and Hawkes Concert Band. 16 pages. Published by Boosey & Hawkes.

Concert Band (Score) - Grade 2

SKU: HL.4005899

Arranged by Johnnie Vinson. MusicWorks Grade 2. Concert. Softcover. 24 pages. Duration 269 seconds. Published by Hal Leonard (HL.4005899).

UPC: 888680942106. 9.0x12.0x0.074 inches.

Exploring some of the most well-known traditional folk tunes from Korea, here is an appealing and well-paced suite for young players. Let's Sing and Dance starts slowly then gradually speeds up similar to how it is usually sung. The Gate is a song and game played by Korean children, and this is followed by the beautiful ballad Bellflowers. Finally The Palace completes the set in a bold and optimistic style. Dur: 3:55.

Easy Piano Piano/Keyboard

SKU: HL.282481

The New Decade Series. Composed by Various. Easy Piano Songbook. Alternative, Pop, Rock. Softcover. 410 pages. Published by Hal Leonard (HL.282481).

ISBN 9781540034380. UPC: 888680789251. 9.0x12.0x0.965 inches.

The 1990s saw the rise of R&B, boy bands and alternative rock as the 20th century came to a close. This collection features 80 songs from the decade arranged for easy piano with lyrics: Always Be My Baby * As Long As You Love Me * ...Baby One More Time * Black Velvet * Can You Feel the Love Tonight * Dreams * Fields of Gold * Friends in Low Places * Good Riddance (Time of Your Life) * How Am I Supposed to Live Without You * I Need to Know * I'm the Only One * Ironic * Livin' La Vida Loca * Losing My Religion * More Than Words * Only Wanna Be with You * Smells like Teen Spirit * Smooth * Tears in Heaven * Under the Bridge * You Must Love Me * You're Still the One * and more.

(Four Songs For Handbells). By Kevin McChesney. For handbells (2-3 octaves). Level 2. Sheet music. Published by Chorister's Guild

Piano/Vocal/Chords Vocal Selections (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 96 pages. Published by Hal Leonard.

Item Number: HL.148355 As in the first movie, this mashup weaves together several great songs and storylines from throughout the film, with a twist of an ending. Songs include “Run The World (Girls),” “Where Them Girls At,” “We Belong,” “We Got The World,” and “Flashlight.”.

Choral (ShowTrax CD)

SKU: HL.323132

Composed by Randy Newman. Arranged by Mac Huff. Disney Choral. Disney, Medley, Movies, Pop, Show Choir. CD. Duration 405 seconds. Published by Hal Leonard (HL.323132).

UPC: 888680977887. 5.0x5.0x0.15 inches.

Like finally seeing a beloved, long-lost toy from your childhood again, the geniuses at Disney-Pixar have captured the sense of joy and wonder of what it means to have an imagination for an incredible fourth time in the long-running Toy Story franchise, and composer Randy Newman has been there every single step of the way. This essential and affectionate medley includes a taste of every installment: You've Got a Friend in Me, The Ballad of the Lonesome Cowboy, When She Loved Me and We Belong Together.

Trumpet (Trumpet)

SKU: HL.48181292

Composed by Raymond Gallois Montbrun. Leduc. Classical. Softcover. 6 pages. Alphonse Leduc #AL20696. Published by Alphonse Leduc (HL.48181292).

UPC: 888680867157. 9.0x12.25x0.07 inches.

“Sara bande et Finale is a nice piece by Raymond Gallois Montbrun for Bb or C Trumpet and Piano accompaniment. Quite difficult, this piece is great for recitals or concert. Starting with the Piano for just six measures before the Trumpet Solo, the sarabande has a slow tempo. The finale is faster, Allegro, and features a period with solo Piano before evolving into Vivo. It features the score and parts for Bb or C Trumpet. Raymond Gallois Montbrun (1918-1994) was a French violinist and composer who won the Premier Grand Prix de Rome and the Grand Prix de Paris. He later became the director of the Paris Conservatoire. He composed many symphonic pieces, an opera, a quartet and many pieces for Solo Piano, Violin and Piano and other instruments.”.

Score Only Concert Band (Score) - Grade 5

SKU: HL.4004764

Composed by John Williams. Arranged by Paul Lavender. Concert Band Professional. Concert, Movies. Softcover. Duration 1320 seconds. Published by Hal Leonard (HL.4004764).

UPC: 888680624385. 10.5x14.0x0.148 inches. John Williams/trans. Paul Lavender.

Performed by the United States Marine Band, and from the blockbuster 2015 film Star Wars: The Force Awakens, this authentic transcription features the dramatic music used at the climax of the film followed by the explosive Finale.

Score Only Concert Band (Score) - Grade 4

SKU: HL.4006379

Composed by Ludwig van Beethoven. Arranged by Robert Longfield. MusicWorks Grade 4. Classical. Softcover. 40 pages. Duration 290 seconds. Published by Hal Leonard (HL.4006379).

UPC: 888680987664. 9.0x12.0x0.107 inches.

The year 2020 marks the 250th anniversary of the birth of Ludwig van Beethoven. While the first movement of his famous fifth symphony is more often performed, the majestic and triumphant finale beautifully exemplifies the craftsmanship and genius of one of the greatest composers of all time. Slightly truncated in form, this masterful adaptation for concert band still retains the thematic material, power, and excitement found in the original. (MusicWorks).

The Mask of Zorro - Finale by James Horner (1953-). Arranged by Jay Bocook and Will Rapp. Performance/Easy Limited Edition. Grade 4. Published by Hal Leonard

Score Only Concert Band (Score) - Grade 3

SKU: HL.4001567

Composed by Ottorino Respighi. Arranged by James Curnow. MusicWorks Grade 3. Classical, Concert, Symphonic. 16 pages. Published by Hal Leonard (HL.4001567).

UPC: 884088065492. 9.0x12.0x0.029 inches.

James Curnow's adaptations of classic works for younger groups have become standard literature for many directors who seek the highest quality works for their younger groups. This edition of Respighi's famous finale to the Pines Of Rome is a real gem, putting the original's power and majesty within the reach of most bands.

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Solo flute - Level 3

SKU: LM.26465

Composed by Atarah Ben Tovim. Classical. Score. Editions Henry Lemoine #26465. Published by Editions Henry Lemoine (LM.26465).

ISBN 9790230964654.

BACH : Concerto Brandebourgeois n. 2 (1er mvt) - BBEETHOVEN : Concerto pour piano n. 1 (3e mvt) - Marche turque des Ruines d'Athenes - Symphonie n. 6 (1er mvt) - Symphonie n. 7 (3e mvt) - BERLIOZ : Les Francs-Juges (ouverture) - Symphonie fantastique (La Marche a l'echafaud) - BIZET : Carmen (Prelude) - L'Arlesienne (Carillon et Suite) - BRAHMS : Ouverture pour une fete academique - Variations sur un theme de Haydn (Final) - CHABRIER : Espana (Rapsodie) - DEBUSSY : Nocturne (Nuages) - DVORAK : Danses slaves Op.46 n. 1 - Symphonie n. 8 (2e, 4e mvt) - Symphonie n. 9 (2e, 3e mvt) - Variation symphonique n. 3 - ELGAR : Enigma variations (n. 1 et final) - FRANCK : Symphonie en re mineur (3e mvt) - GRIEG : Concerto pour piano Op.16 (1er, 3e mvt) - HAYDN : Symphonie n. 94 (3e, 4e mvt) - Symphonie n. 101 (2e mvt) - HOLST : Les Planetes (Jupiter) - LISZT : Rapsodie hongroise - MENDELSSOHN : Les Hebrides (ouverture) - Songe d'une nuit d'ete (Marche nuptiale) - MOZARTt : Concerto pour piano n. 21 (2e mvt) - Symphonie n. 40 (3e mvt) - NICOLAI : Les Joyeuses Commeres de Windsor (ouverture) - RIMSKY-KORSAKOV : Cappriccio espagnol (2e mvt) - Sheherazade (3e mvt, Le Prince) - ROSSINI : Le Barbier de Seville (ouverture) - Guillaume Tell (ouverture) - L'Italienne a Alger - SCHUBERT : Symphonie n. 5 (2e, 4e mvt) - Symphonie n. 8 (1er, 2e mvt) - SCHUMANN : Concerto pour piano Op.54 (3e mvt) - SMETANA : La Fiancee vendue (ouverture) - SUPPE : Cavalerie legere (ouverture) - TCHAIKOVSKY : Casse-Noisette (Danse russe, Valse des fleurs) - Ouverture 1812 Op.49 - Symphonie n. 2 (2e mvt) - Symphonie n. 5 (1er mvt) - Symphonie n. 6 (2e, 3e mvt) - WAGNER : Le Vaisseau fantome (ouverture) - WEBER : Oberon (ouverture).

A Camaroon Marching Song. Composed by Camaroon Folksong. Arranged by Ken Berg. Fold. Octavo. 12 pages. Duration 2 minutes, 35 seconds. Carl Fischer Music #CM9658. Published by Carl Fischer Music

Concert Band/Harmonie (Score) - Grade 5

SKU: HL.44012759

Composed by Philip Sparke. Anglo Music Concert Band. Softcover. Composed 2015. Anglo Music Press #AMP443140. Published by Anglo Music Press (HL.44012759).

UPC: 888680610456. 10.75x14.0x0.142 inches. English-German-French-Dut ch.

Reflections on an Old Japanese Folk Song is based on the tune Suiryo-Bushi, which comes from the shamisen tradition and opens with two contrasting statements of the melody followed by several variations each in an own style based uponthe same tune, or sometimes only fragments of it. In one of the variants, the pentatonic scale is used. The final section is in the form of a scherzo, which eventually forms the accompaniment to a final presentation of the folk tune.

Reflectio ns on an Old Japanese Folk Song is gebaseerd op het liedje Suiryo-Bushi, dat afkomstig is uit de shamisen-traditie en opent met twee contrasterende statements van de betreffende melodie, gevolgd door verschillende variatieshierop, in diverse stijlen, steeds gebaseerd op hetzelfde liedje of fragmenten eruit. In een van de variaties wordt de pentatonische toonladder gebruikt. Het slotgedeelte begint met een scherzo, dat uiteindelijk de begeleiding vormt van een laatsteuiteenzetting van het volksliedje.

Das Stuck Reflections on an Old Japanese Folk Song basiert auf der Melodie des Volksliedes Suiryo-Bushi, das in der Tradition des japanischen Saiteninstruments Schamisen steht. Es beginnt mit zwei gegensatzlichen Darstellungen derMelodie, gefolgt von verschiedenen Variationen: jede in einem eigenen Stil, aber alle auf der gleichen Melodie oder auf Fragmenten der Melodie beruhend. In einer Variation wird auch die pentatonische Tonleiter verwendet. Im Scherzo, demSchlussteil des Stuckes, erklingt das Volkslied schliesslich zum letzten Mal.

Reflection s on an Old Japanese Folk Song est base sur la melodie Suiryo-Bushi, qui est issue de la tradition de shamisen. L'oeuvre commence par deux versions differentes de la melodie, suivies par plusieurs variations sur le theme enentier ou en partie, chacune dans son propre style. La section finale est dans la forme d'un scherzo, qui prend le role d'accompagnement a la fin, lors de la derniere presentation du theme folklorique.

Re flections on an Old Japanese Folk Song, basata su un motivo di Suiryo-Bushi, originariamente concepito per shamisen, strumento a corde tipico della tradizione musicale giapponese. La struttura del brano e del tutto peculiare, basata sulladalla reiterazione melodica di un tema o frammenti di esso, con l'inserimento di brevi variazioni. In una delle varianti, e usata la scala pentatonica. La sezione finale e nella forma dello scherzo.