(For Trombone, Two Percussionists, and Keyboards). Composed by Donald Erb. Chamber ensemble. For Trombone, Percussion I, Chimes, Vibraphone, Marimba, Crotales, Bass Drum, Percussion II, Nipple Gong (in C), Glockenspiel, Timpani (4), Roto-Toms, Bongos, Keyboard, Piano, Harpsichord, Celesta, Celesta, Harmonica. Classical. Score and part(s). Standard notation. 38 pages. Duration 10 minutes. Theodore Presser Company #144-40142. Published by Theodore Presser Company

Orchestra Piano

SKU: PR.11641861SP

Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP).

UPC: 680160685202.

What? ! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

Unison/2-part youth choir

SKU: HP.8213

Composed by Allen Pote. Musicals. Youth Musicals. General Worship, Sacred. Value Pack (10 Listening CDs). Hope Publishing Company #8213. Published by Hope Publishing Company (HP.8213).

UPC: 763628182137. Tom S. Long.

Musical for Young Voices This musical for young voices is adapted from the classic Christmas story Why the Chimes Rang, by Raymond MacDonald Alden. Allen Pote and Tom Long have transformed this inspirational tale of sacrificial love and giving into a moving 30-minute musical program. Easy to perform, it requires a minimum of sets and props and concludes with a nativity pageant in the dramatic final act.

Piano - intermediate-advanced

SKU: HL.14016569

Composed by John McCabe. Music Sales America. Post-1900. Book [Softcover]. 14 pages. Music Sales #NOV954767. Published by Music Sales (HL.14016569).

8.25x11.75x0.076 inches.

Commissione d by the British Music Society as a Test Piece for its Piano Awards Competition held at Trinity College of Music, London on 31st October 2004. The piece was inspired by the peal at Tunstall Church, Kent, and is a tribute to the Piano music of Maurice Ravel.

Unison/2-part youth choir

SKU: HP.8211

Composed by Allen Pote. Musicals. Youth Musicals. General Worship, Sacred. Listening CD. Hope Publishing Company #8211. Published by Hope Publishing Company (HP.8211).

UPC: 763628182113. Tom S. Long.

Musical for Young Voices This musical for young voices is adapted from the classic Christmas story Why the Chimes Rang, by Raymond MacDonald Alden. Allen Pote and Tom Long have transformed this inspirational tale of sacrificial love and giving into a moving 30-minute musical program. Easy to perform, it requires a minimum of sets and props and concludes with a nativity pageant in the dramatic final act.

By Various. For Piano/Vocal/Guitar. Waltons Irish Music Books. Book only. 64 pages. Hal Leonard #WM1331. Published by Hal Leonard

By Nancy Faber, Randall Faber. For Piano. Accelerated Piano Adventures. Level: Primer/Level 1. Book. Published by The FJH Music Company, Inc.

Arranged by Douglas E. Wagner. Orchestra. For full (bells/chimes, timp, crash cym/triangle/snare, vln3). Full Orchestra; Part(s); Score. Belwin Intermediate Full Orchestra. Form: Medley. Light Concert. Grade 3. 228 pages. Published by Belwin Publishing

Arranged by Mack Wilberg. For TTBB choir and piano/orchestra (3 flutes ( piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns. 3 trumpets (C), 3 trombones, tuba, timpani, 3 percussion (triangle, suspended cymbal, bass drum, chimes), harp, organ, strings). Male Voices. Spirituals, Leaflet. Level B (easy). Vocal score. 12 pages. Duration 5'. Published by Oxford University Press

Arranged by Edwin McLean. For Piano. The FJH Piano Teaching Library. Piano solos with optional duets. Level: Early Elementary. Book. Published by The FJH Music Company Inc.

By The Beach Boys. Paperback Songs (Melodies, lyrics, and chords in a convenient format). Softcover. 160 pages. Published by Hal Leonard.

By C. 1774 Katholisches Gesangbuch. Arranged by Brian Zuar. For Voices: SATB, assembly. Instruments: Brass quartet (2 trumpets in B or C, 2 trombones), timpani, 6 handbells (or orchestral chimes) (instruments required). Organ. Choral Sacred. Level: easy. 10 pages. Published by GIA Publications.

Guitar Chord Songbook. Performed by The Beach Boys. Guitar Chord Songbook. Size 5.88x9 inches. 144 pages. Published by Hal Leonard.

Handbell - Grade 2

SKU: BP.HB697

Composed by Patricia Hurlbutt. Arranged by Patricia Hurlbutt. Handbell choir music. Handbell score. Beckenhorst Press #HB697. Published by Beckenhorst Press (BP.HB697).

Arranged for 3 to 5 octave handbell choir and o octaves of handchimes. Level 2. Patricia Hurlbutt's festive arrangement of DARWALL'S 148th is as much fun to ring as it is to hear! Joyous arpeggios give way to a chordal treatment of the theme, complete with bold and unexpected harmonies. A key change ushers in a verse underscored by delicate martellatos before a verse on the chimes accompanied by peals and arpeggios in the treble bells. A final exuberant flourish ends the piece on a triumphant note. Perfect for any celebratory moment in concert or worship!

(Ukrainian Christmas Carol - Full Score and Parts). By Peter Wilhousky. Arranged by Richard Hayman. Orchestra. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Bassoon I, Bassoon II, Horn I, Horn II, Horn III, Horn IV, Trumpet I, Trumpet II, Trumpet III, Tenor I, Tenor II, Tenor III, Tuba, Timpani, Glockenspiel, Chimes, Swiss Hand Bells, Suspe. Carl Fischer Orchestra Edition. Score and part(s). Standard notation. 29 pages. Published by Carl Fischer

By Edwin Franko Goldman (1878-1956). Arranged by Douglas E. Wagner. Concert Band. Concert Band; Part(s); Score. Pop Beginning Band. Form: March. Patriotic. Grade 1. 134 pages. Published by Alfred Music Publishing

Composed by Carol Lynn Mizell. For selected handbells (chimes, glockenspiel), oboe, unison voices. Level 2 . Full score and parts. Published by Chorister's Guild

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Hi-hat Cymbal, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Trombone and more. - Grade 2-2.5

SKU: CF.YPS38

There's No Place Like. Composed by Robert Allen. Arranged by Larry Clark. FS-SWS. Carl Fischer Young Performance Series. Score and Set of Parts. With Standard notation. 16+8+2+4+4+2+2+5+2+2+4+4+ 4+6+3+2+3+2+1+2+2 pages. Carl Fischer Music #YPS38. Published by Carl Fischer Music (CF.YPS38).

ISBN 9780825852152. UPC: 798408052157. 9 X 12 inches. Key: Eb major. Text: Al Stillman. Al Stillman.

The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal. The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a hymn-style section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program. -LARRY CLARK New York, NY 2003.
The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal.The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a “hymn-style” section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program.-LARRY CLARKNew York, NY 2003.

By Frank Ticheli. Concert band - antiphonal. Suitable for the most advanced high school bands, community, college, university, and professional bands. Grade 5. Conductor score and set of parts. Duration 5:30

By Frank Ticheli. Concert band. Suitable for the most advanced high school bands, community, college, university, and professional bands. Level: Grade 6. Conductor Full Score. Duration 21:00. Published by Manhattan Beach Music.

(for percussion ensemble and solo flute). Composed by Stuart P. O'Neil. Percussion Ensembles. For Flute (soloist), 4 tuned crystal glasses (C, D, Eb, and F), glockenspiel, xylophone, vibraphone (or marimba), chimes, rainstick, 4 timpani, windchimes, cabasa, suspended cymbal, sizzle cymbal, bass drum, tam tam, and triangle (11 players). Difficulty: Medium-Easy. Folio and CD-ROM. 16 pages. Duration 3:20. Published by Tapspace Publications