Composed by John Brimhall and Jonathon Robbins. Collection; Classical. Book. Santorella Publications #O114. Published by Santorella Publications

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum and more. - Grade 2-2.5

SKU: CF.YPS64

Composed by Joseph Compello. FS-SWS. Carl Fischer Young Performance Series. Score and Set of Parts. With Standard notation. 32+8+2+4+4+2+2+10+4+2+4+4 +8+6+3+2+6+3+1+2+6 pages. Carl Fischer Music #YPS64. Published by Carl Fischer Music (CF.YPS64).

ISBN 9780825864612. UPC: 798408064617. 9 X 12 inches. Key: Bb major.

A winning and moderately easy concert piece that takes its name from one of the moons of Jupiter, Callisto is a vibrantly scored set of two variations on a fragment of a theme from the Jupiter movement of Gustav Holst's orchestral suite, The Planets. The characteristic flatted-7th of much English folk music is retained in both the quick opening section and the slow, reflective variation that forms the B section of this clever and appealing overture-style piece.

Arranged by Deborah Greenblatt. Trios for Strings. Set of parts. Published by Greenblatt and Seay (GS.BSG3ROTFS-T).

Arranged by Deborah Greenblatt. For String Trio (violin, viola, cello). Spiral-bound. Trios for Strings. Set of parts. 49 (violin a), 49 (viola b), 48 (cello c) pages. Published by Greenblatt & Seay

Arranged by Deborah Greenblatt. Trios for Strings. Part book. Published by Greenblatt and Seay (GS.BVN3ROTFSVN-B).

By Johann Sebastian Bach (1685-1750). Arranged by Eric Vireton. Clarinet Trio. For 2 Bb Clarinets, 1 Bass Clarinet. Baroque, Chamber Music. Grade 4. Score and Set of Parts

Guitar

SKU: BT.SCHBB4000640

Composed by François Campion. Arranged by Siegfried Behrend. Book Only. Bote & Bock #SCHBB4000640. Published by Bote & Bock (BT.SCHBB4000640).

Guitar. Campion, F.

Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard

By Janet Vogt. Piano. Mastering Melodies. Level: Level 2+. Piano method. Published by Heritage Music Press.

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.

Schirmer's Library of Musical Classics, Vol. 2139. Composed by Various. Piano. Classical. Softcover. 386 pages. G. Schirmer #LIB 2139. Published by G. Schirmer

(For the Later Beginner). Arranged by Tom Gerou. For Piano. Book; Graded Standard Repertoire; Method/Instruction; Piano - Alfred's Basic Piano Library. Alfred's Basic Piano Library. Broadway; Children; Movie; Pop. Beginner. 40 pages. Published by Alfred Music

(pending). For Piano. Book; Masterworks; Piano Collection. Masterwork; Recital. 356 pages. Published by Alfred Music Publishing

Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque and Classical Period. Fake book (softcover). With melody line (no accompaniment included) and chord names. 128 pages. Music Sales #AM92350. Published by Music Sales

Edited by Steven Osborne. Classical. Textbook. Trinity College London #TCL024091. Published by Trinity College London

By Gilbert M. Martin. For organ. Sacred. Sacred organ. Published by Lorenz Publishing Company. (70/1572L)
Level: 3-staff.

Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding and Sacred. Print Music Collection (Book). 407 pages. Published by Hope Publishing Company.
Level: (Moderate).

Arranged by Daniel Kelley. For French Horn and Piano. Solos. Recital. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.

55 Selections from Symphonies, Ballets, Operas & Piano Literature for Piano Solo. Arranged by Blake Neely, Richard Walters. World's Greatest Classical Music. Size 9x12 inches. 240 pages. Published by Hal Leonard.

John Thompson's Modern Course Compiled and edited by Philip Low, Sonya Schumann & Charmaine Siagian. Composed by Various. Willis. Softcover. 32 pages. Published by Willis Music

Composed by Various. Guitar Solo. Softcover. 136 pages. Published by Hal Leonard

(The Conceptual Core). Composed by Walter Noona. For piano. Piano Method. Level 3. Piano method. Roger Dean Publishing #KM107. Published by Roger Dean Publishing