(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

(Something New Every Lesson) Written by John Thompson. Instructional book for piano. With introductory text, instructional text, instructional photos, illustrations, easy piano notation, fingerings and lyrics (on some songs). 79 pages. Published by Willis Music Company.

First Grade - Book/Audio. Willis. Instruction, Method. Softcover book with online audio. 84 pages. Willis Music #12815. Published by Willis Music

Soprano, baritone, spoken voice, mixed choir (SSSSAAAATTTTBBBB, and 9 boys' voices, S/A) and orchestra (Vocal Score) - difficult

SKU: HL.49006579

Oratorio Vocal Score. Composed by Hans Werner Henze. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Piano reduction. Composed 1968/1990. 336 pages. Duration 70'. Schott Music #ED6719. Published by Schott Music (HL.49006579).

ISBN 9790001071291. 9x12 inches. German - English. Text: Ernst Schnabel.

4 (1., 2. auch Picc., 3., 4. auch Altfl.) * 1 * Ob. d'am. * Engl. Hr. * Heckelphon * Es-Klar. * 1 * Altklar. (oder Bassetthr.) * Bassklar. * Sopransax. * Tenorsax. * 2 * Kfg. - 4 * Picc.-Trp. * 2 * Basstrp. * Altpos. * 1 * Basspos. * Alt-Ofikleide (oder Bombardino) * Bass-Ofikleide (oder Pos. mit Quartventil) * Bombardino (oder Tb. in F) * Wagnertb. * 1 * Kb.-Tb. - P. S. (3 Trgl. * 3 hg. Beck. * Beckenpaar * 3 Gongs * Kuhgl. * 5 Tamt. * Tamb. * Mil. Tr. * 3 Bong. * Tabla * orient. Woodbl. * gr. Tr. * 2 Tempelbl. * Metallbl. * Woodbl. * Mar. * Guiro * Bambusbundel * 3 Metallplatten * Shell-Chimes * Vibr. * Marimba * Rohrengl.) (5 Spieler) - E-Git. * E-Bassgit. * 2 Hfn. * Klav. * E-Org. - Str. (12 * 0 * 8 * 6 * 4).

By Bela Bartok. Arranged by James Ancona. Percussion Ensemble. For glockenspiel, 3 marimbas (low A), xylophone, crotales, 3 vibraphones, 5 timpani, large tam tam, chimes, 2 china cymbals, 18" suspended cymbal, 4 toms, wind gong, medium gong, 2 small gongs of different sizes, dark sus. Cym., bright sus. Cym., sizzle cym., snare drum, 2 small ZilBells, mounted ratchet. (8 players). Level: Advanced. Score and parts. Duration 4:00. Published by Tapspace Publications.

By Quincy C. Hilliard. For concert band. March. Grade 1. Score and parts. Duration 1 minute 40 seconds. Published by TRN Music Publisher

Arranged by Sammy Nestico. Brass choir. For 2 Bb Trumpets, Horn in F, 2 Trombones, Baritone BC (opt. Baritone TC included), Tuba, and optional Chimes and Bells. Grade 4. Score and parts. Published by Kendor Music Inc

By Mack Wilberg (1955-). For SATB 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). M

(Featuring: Obliviate / Polyjuice Potion / Harry and Ginny / Ministry of Magic / Ron Leaves). By Alexandre Desplat (1961-). Arranged by Victor LÌ_pez. Orchestra. For full (Vibraphone/Bells/Marimba , timp, Snare Drum/Wind Chimes/ Hi-Hat Cymbals, Bass Drum, Finger Cymbals/Suspended Cymbals/Triangle/Ride Cymbal, Low Tom, pno). Full Orchestra; Part(s); Score. Pop Concert Full Orchestra. Form: Medley. Light Concert; Movie; Pop. Grade 3.5. 240 pages. Published by Alfred Music Publishing

By Greg Gilpin. For unison choir and performance/accompaniment CD. General music. Published by Heritage Music Press. (30/2220H)

Arranged by Mack Wilberg. For SATB choir and organ or large orchestra (3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 2 percussion (suspended cymbal, chimes), organ, strings). Mixed Voices. Sacred. Level B (easy). Octavo. Duration 3 minutes. Published by Oxford University Press

(for percussion ensemble). Composed by John Willmarth. Percussion Ensemble. For glockenspiel, 2 marimbas (low A), 2 vibraphones (with mallets plus 2 bows and 2 triangle beaters), chimes, crotales (with mallets and triangle beaters), piano, 32 timpani, 2 suspended cymbals, sizzle cymbal, 2 triangles, tam tam, concert bass drum, mark (9 players). Medium-Easy. Score and parts on CD-ROM. 18 pages. Duration 4'40 . Published by Tapspace Publications

Composed by Gabriel Jackson (1962-). For SATB choir divisi, soprano voice solo, tenor voice solo, and 10 players (piccolo/alto flute, bass clarinet, soprano saxophone (B flat) / alto saxophone (E flat), horn, percussion (1 player) (bass drum, vibraphone, tub, wind chimes (metal), tam-tam, brake drum, water gong, suspended cymbal, vibraslap, 3 temple blocks (high, med). Oratorios. New Horizons. Level C (moderately difficult). Vocal score. 152 pages. Duration 60 minutes. Published by Oxford University Press

Arranged by Jack Bullock. Orchestra. For full (chimes, bells, timp, sus cymbal, pno (opt), vln3). Full Orchestra; Part(s); Score. Belwin Intermediate Full Orchestra. Hymn; Sacred. Grade 3. 122 pages. Published by Belwin Publishing

By John Baptiste Calkin. Arranged by Robert Cundick. For SATB choir, Organ, Chimes. Christmas, Sacred. Octavo. Duration 2:20. Published by Jackman Music Corporation

Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clarinet, Clarinet 1, Clarinet 2, Claves, Contrabass, Contrabassoon, Cowbell, Crotales, English Horn, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Maracas, Marimba, Oboe 1 and more.

SKU: PR.11641737S

Composed by Steven Stucky. Study Score. 68 pages. Duration 9 minutes. Merion Music #116-41737S. Published by Merion Music (PR.11641737S).

ISBN 9781491136133. UPC: 680160688432.

Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.

Edited by Bob Dingley, words and music by Lionel Richie, Michael Jackson, arranged by Roger Emerson, performed by USA For Africa. Octavo for SATB choir and piano accompaniment (optional handbell or chimes). With chord names. Series: Pop choral octavo (SATB). 8 pages. Published by Alfred Publishing.