Alto saxophone and piano - Intermediate

SKU: FT.FM478

Composed by Phillip Rawle. Alto Sax and Piano. Score and part. Forton Music #FM478. Published by Forton Music (FT.FM478).

ISBN 9790570483778.

Comp assion As the title suggests, this piece should be played with warmth, the middle departure showing a little more anxiety before a return to the optimism of the opening theme. Apart from this there is no formal structure. There should be a marked contrast between the flowing, lyrical passages of the opening section and the crisp staccato in the middle descending arpeggios. Although the tempo indicates quickness, the feel should be one of animation rather than pace. The dynamic range is not great but should be accurately observed with clear contrasts. Tenderness This piece, written in the middle to high register, has a simple structure being a stable melody with variations and ornaments remaining in the key of C major. Where the piano accompaniment has the theme it should be allowed to show through. As the title suggests this should be played with a gentle lilt but not over sentimental.. Aim for a warm to mellow texture with comforting sounds. There is a general but slight crescendo throughout the piece. Mercy Much more of a duet for flute and piano rather than a solo. This has a yearning, minor aspect with a contrasting few bars of a more comfortable major feel at the end of the middle section.The lively tempo should be driven through the whole piece with only a slight let up in the final two measures. Although written in waltz time, this is no dance being loaded with underlying energy and emotion. The dynamics remain fairly loud with only the expected variation in line with the phrasing.

SKU: HL.1117973

Lewitt Audio. Microphone. Hal Leonard #LCT840. Published by Hal Leonard (HL.1117973).

UPC: 847986001085. 7.0x19.5x18.0 inches.

Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Your tube mic that sounds even better than it looks. If you are looking for larger-than-life tube sound, look no further. The LCT 840 stands for exceptionally warm and classic tube sound. The dual triode 12AX7 tube delivers comforting sound with smooth high frequencies, while still preserving the ability to cut through the mix. Low self-noise and high dynamic range exemplify how the LCT 840 is classic design brought into the present. The LC10 capsule is precision taken to a new level. The externally polarized dual-diaphragm 1″ capsule captures every nuance of your performance thanks to its 3-micron-thin, gold-layered, low-mass diaphragms. It handles everything from vocals to full orchestras. Dual triode 12AX7 tube for warm sound The LCT 840 is fully devoted to warm tube sound. We use a dual triode 12AX7 tube to create that warm and comforting sound with smooth high frequencies while still preserving the ability to cut through the mix. Remote control and power supply in one The user interface on the remote control with integrated power supply allows a quick setup of polar pattern, pre-attenuation, and low-cut. It is easy to check or change the settings even in complete darkness due to its illuminated user interface.

Composed by Brenda Portman. Sacred Anthem. Octavo. Sacred Music Press #10/4868S. Published by Sacred Music Press (LO.10-4868S).

Female choir (SSMezAA) - Level 4

SKU: BA.BA08522

Composed by Marten Jansson. Stapled. Choral score. 11 pages. Baerenreiter Verlag #BA08522_00. Published by Baerenreiter Verlag (BA.BA08522).

ISBN 9790006563210. 27 x 19 cm inches. Text Language: Swedish, English. Libretto: Einar Askestad. Text: Einar Askestad.

“In genting utanför / Nothing Beyond” is another collaboration between Mårten Jansson and the Swedish poet Einar Askestad. This a cappella choral work deals with sorrow and loss. After a forceful, harmonically ambiguous section and a clear break in the music, the piece ends with a comforting decrescendo of reconciliation. It was commissioned by the Uppsala female choir “La Cappella” and is dedicated to its choral director Tony Margeta.

“My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings which life has to offer. This has led people to describe my music as ‘so sad that it sounds like birds who have lost their wings’ but also as ‘the happiest classical music that we have ever heard‘.
My compositions are almost all sacred. They express not only my own faith but also my appreciation and respect for the timeless texts that have been used for centuries and centuries.“

Mårten Jansson (b. 1965), elected member of the Föreningen svenska tonsättare (the Society of Swedish Composers), graduated from the Royal College of Music, Stockholm (KHM) with an MFA degree in Music Education, Dalcroze Eurhythmics and Voice. For more than ten years he was the music director and conductor of “Carmen”, one of the most prominent womens’ vocal ensembles in Sweden. He currently teaches choral conducting and music theory as well as giving vocal tuition at the Bolandgymnasiet and Musikskolan in his home town of Uppsala.

Composed by Hugo Wolf (1860-1903). For 8-part mixed choir. Contemporary choral music. Collection. 12 pages. Published by Carus Verlag

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Flute 1, Flute 2, Oboe 1, Oboe 2, Piccolo, alto Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.165001000

Hymns for Wind Ensemble. Composed by Dan Welcher. Folio. Set of Score and Parts. 4+24+24+16+8+4+4+24+12+12 +8+4+4+4+4+8+8+8+8+4+4+4+ 4+8+8+8+8+8+8+8+8+4+16+4+ 8+4+8+8+4+4+4+48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100. Published by Theodore Presser Company (PR.165001000).

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more.

SKU: PR.16500100F

Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F).

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: HL.1739071

Beyer-Dynamic. Monitors and Headphones. Duration 300 seconds. Hal Leonard #733016. Published by Hal Leonard (HL.1739071).

8.5x9.0x4.5 inches.

The TYGR 300 R is an open-back headphone with true professional sound reinvented for gaming. High wearing comfort and detailed sound create a unique adventure and brings gaming to another level. Hear sounds that you have never experienced before. The magnificent soundstage of the TYGR headphones is adapted for accurate and fast in-game sound localization. The open-back design and innovative acoustic-fleece emphasize the spatial sound environment. The result is a perfectly balanced sound for an impressive gaming experience. Time is limitless when you are in the game. The TYGR headphones combine carefully selected materials, light design and robust build to provide the perfect synergy between comfort and quality. Even the sound is optimized for an ultimate wearing comfort. The integrated acoustic-fleece prevents fatigue due to sharp heights, since it levels the high frequencies without any loss of detail. Therefore, nothing stands between you and a long gaming session. Designed to be used for many years, the TYGR 300 R is a solid long-term investment. The materials used are carefully handcrafted by highly skilled experts in Germany. This degree of manual workmanship results in a unique level of quality and ensures that the headphones will fit comfortably for years and years to come.

SKU: HL.234017

Metalliance Academy. METAlliance Academy. Computers & Technology, Recording/Music Business. Softcover. 118 pages. Published by Hal Leonard (HL.234017).

ISBN 9781495094514. UPC: 888680684419. 7.5x9.25x0.279 inches. Al Schmitt Metalliance Academy Presents.

In Al Schmitt on Vocal and Instrumental Recording Techniques, legendary producer and engineer Al Schmitt takes us into the studio and shares his process of selecting a microphone and shows us how to get the best sounds. Considerations such as song style, instrumentation, and the recording space itself are taken into account when making mic choices and determining the best placement for each. Schmitt demonstrates how to achieve the best sounds for a number of instruments – including drums, bass, piano, guitars (both acoustic and electric), organs, and horns – across many genres of music. Drawing on decades of experience in the studio, Schmitt brings a unique and invaluable perspective to not only making mic choices and their placement, but also the importance of interacting with musicians – taking their vision and preferences into account to create the most comfortable and effective recording experience for all involved. Also featured in Vocal and Instrumental Recording Techniques is an interview of Schmitt conducted by fellow METAlliance producer and engineer Ed Cherney.

Concert Band - Grade 1.5

SKU: AP.48119S

Composed by Lon McClearn. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Alfred Debut Series. Funk; Light Concert; Rock. Score. 20 pages. Duration 2:10. Alfred Music #00-48119S. Published by Alfred Music (AP.48119S).

ISBN 9781470661915. UPC: 038081554747. English.

The sounds of the city come alive in this fun and funky tune, In a New York Jam by Lon McClearn. Easy to prepare with very comfortable ranges and infectious rhythms. The audience will enjoy the sounds of the city traffic and construction, all set to a rock beat. (2:10) This title is available in MakeMusic Cloud.

Composed by Guy Van Nueten. Keyboards - Piano. Metropolis Music Publishers #PN7320EM. Published by Metropolis Music Publishers

Concert Band - Grade 1.5

SKU: AP.48119

Composed by Lon McClearn. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Alfred Debut Series. Light Concert; Rock. Score and Part(s). 142 pages. Duration 2:10. Alfred Music #00-48119. Published by Alfred Music (AP.48119).

ISBN 9781470661908. UPC: 038081554730. English.

The sounds of the city come alive in this fun and funky tune, In a New York Jam by Lon McClearn. Easy to prepare with very comfortable ranges and infectious rhythms. The audience will enjoy the sounds of the city traffic and construction, all set to a rock beat. (2:10) This title is available in MakeMusic Cloud.

Choral SAB Choir, Piano

SKU: CF.CM9703

Composed by Meredith Tompkins. Mjts. 12 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9703. Published by Carl Fischer Music (CF.CM9703).

ISBN 9781491160107. UPC: 680160918706. Key: D major. English. Traditional Scottish-Irish blessing.

Blessing of Light is an excerpt from a Scottish-Irish benediction of anonymous authorship, which may have originated from old Celtic traditions. The rich, poetic language encourages hospitality for both friends and strangers and a charge to cultivate the inner spirit as a beacon of light for others. This SAB-setting offers additional options for soprano or alto divisi and comfortable ranges for men. Drawing primarily from the soundscape of a gently sweeping Mixolydian mode, this piece is designed to remind the listener of the distant past and its connection to our present. Modes have been utilized in many cultures at least since the earliest days of recorded history. Ancient Greek musical modes were revived and explored during the Middle Ages, and are sometimes considered the fathers of the scales we use today in what is often labeled tonal music, or music rooted in Western European musical practices. Blessing of Light is an accessible introduction to modal harmony for mixed choirs. Modes are characterized by combinations of half or whole steps that form a unique scale. The Mixolydian scale in this piece, for example, is identical to the major scale with the exception of a lowered (or flatted) 7th scale degree. For ease of use in sight-reading, key signatures are indicated by the melodic tonal center with the chromatically altered lowered 7th. When introducing this piece, it may be beneficial for the conductor to begin with warm-ups or vocalizes utilizing the scales below.
Blessing of Light is an excerpt from a Scottish-Irish benediction of anonymous authorship, which may have originated from old Celtic traditions. The rich, poetic language encourages hospitality for both friends and strangers and a charge to cultivate the inner spirit as a beacon of light for others. This SAB-setting offers additional options for soprano or alto divisi and comfortable ranges for men.Drawing primarily from the soundscape of a gently sweeping Mixolydian mode, this piece is designed to remind the listener of the distant past and its connection to our present. Modes have been utilized in many cultures at least since the earliest days of recorded history. Ancient Greek musical modes were revived and explored during the Middle Ages, and are sometimes considered the fathers of the scales we use today in what is often labeled “tonal music,” or music rooted in Western European musical practices.Blessing of Light is an accessible introduction to modal harmony for mixed choirs. Modes are characterized by combinations of half or whole steps that form a unique scale. The Mixolydian scale in this piece, for example, is identical to the major scale with the exception of a lowered (or flatted) 7th scale degree. For ease of use in sight-reading, key signatures are indicated by the melodic tonal center with the chromatically altered lowered 7th. When introducing this piece, it may be beneficial for the conductor to begin with warm-ups or vocalizes utilizing the scales below.

For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

The Music of James Swearingen. Compact Disc (CD). Composed 2005. Published by C.L. Barnhouse.

Composed by Peter Nostrand. For "2 violins, viola, cello, bass, piano". Score and set of parts. Duration "4 minutes, 15 seconds". Published by Imagine Music

Fanfare Band - Grade 3

SKU: BT.DHP-1125214-120

Composed by Jacob De Haan. Concert and Contest Collection Brass Band en Fanfare. Score Only. Composed 2012. 40 pages. De Haske Publications #DHP 1125214-120. Published by De Haske Publications (BT.DHP-1125214-120).

9x12 inches. English-German-French-Dut ch.

On a war memorial in the Dutch village of Wons is engraved a list of names to honour the fallen in World War II. This is the basis for the name of this piece. However, this composition was written for everyone who has made Wons what it is today: a pretty place near to Lake IJssel with a comfortable way of life. The piece begins with a celebratory introduction in which the village is presented to the listener. There follows a delightful rhythmic and high-tempo theme that reflects the happiness, innocence and carefree atmosphere before the war. Now we hear a moody, fragmented theme depicting soldiers shooting. This is brought to a close with dissonant clusters of sound,intoning the dreadful tragedy of the war. The ensuing quiet gives way to a calm middle section in a minor key that portrays both frustration and consolation. The fast tempo of the beginning returns, this time in the form of a victory march. We hear freedom being celebrated. We hear the previous happy, innocent and carefree themes, too. There follows a festive, martial theme, a tribute to the village, before the piece closes with sounds of celebration.

Op de gedenksteen in het Friese dorp Wons staat een erelijst (roll of honour) gegraveerd ter nagedachtenis aan de gevallenen van de Tweede Wereldoorlog. De titel van dit werk verwijst naar deze lijst. Deze compositie is echter tevens geschreven voor alle mensen die Wons hebben gemaakt tot wat het nu is: een prachtig dorpje vlak bij het IJsselmeer waar het prettig toeven is. De compositie begint met een statige inleiding, waarin het dorp zich presenteert aan de luisteraar. Dan klinkt een aansprekend ritmisch thema in een snel tempo dat de vrolijkheid, onbevangenheid en onbezorgdheid van voor de oorlog uitstraalt. Dit gaat over in een melodie in mineur, die het naderendeoorlogsgevaar aankondigt. Dan is er een grillig thema met stops waarin het schieten van de soldaten te horen is. Dit eindigt in enkele dissonante clusters die het tragische dieptepunt van de oorlog accentueren. De daaropvolgende stilte lost op in een gedragen middendeel in mineur waaruit enerzijds verdriet en anderzijds troost spreekt. Dan komt het snelle tempo van het begin weer terug, ditmaal in de vorm van een vreugdemars. De vrijheid wordt gevierd. Ook het thema van de vrolijkheid, onbevangenheid en onbezorgdheid is weer te horen. Er volgt nu een statig martiaal thema, een eerbetoon aan het dorp, waarna het werk wordt afgesloten met feestelijke klanken.

Auf einem Gedenkstein im niederländischen Dorf Wons ist eine Namensliste zu Ehren der Gefallenen im Zweiten Weltkrieg eingraviert. Auf diese bezieht sich der Titel des Werkes, der wörtlich übersetzt ‘Ehrenliste’ bedeutet. Diese Komposition wurde jedoch für alle Menschen geschrieben, die Wons zu dem gemacht haben, was es heute ist: ein schöner Ort nahe des IJsselmeeres, in dem es sich gut leben lässt. Das Werk beginnt mit einer feierlichen Einleitung, in welcher sich das Dorf dem Zuhörer präsentiert. Dann erklingt ein reizvolles rhythmisches und temporeiches Thema, das die Fröhlichkeit, Unbefangenheit und Sorglosigkeit vor dem Krieg ausstrahlt. Dieses geht in eine Moll-Melodieüber, welche von der nahenden Kriegsgefahr kündet. Dann erklingt ein launenhaftes Thema mit Unterbrechungen, in dem das Schießen der Soldaten zu hören ist. Dieses endet in einigen dissonanten Clustern, die den tragischen Tiefpunkt des Krieges betonen. Die darauffolgende Stille löst sich in einen ruhigen Mittelteil in Moll auf, aus dem einerseits Verdruss und andererseits Trost spricht. Dann kehrt das schnelle Tempo des Anfangs zurück, dieses Mal in der Form eines Freudenmarsches. Die Freiheit wird gefeiert. Auch das Thema der Fröhlichkeit, Unbefangenheit und Sorglosigkeit ist wieder zu hören. Nun folgt ein feierliches, martialisches Thema, eine Ehrerbietung an das Dorf, bevor das Werk mit festlichen Klängen endet.

Sur le monument aux morts du village néerlandais de Wons est gravée une liste de noms en hommage aux soldats tombés lors de la Seconde Guerre mondiale. Ce monument a inspiré le titre de cette composition. Mais celle-ci a aussi été écrite pour toutes les personnes qui ont donné Wons son caractère d’aujourd’h ui : un joli village proche du lac d’IJssel où il fait bon vivre. La pièce débute par une introduction festive qui présente le village l’auditeur. S’ensuit un thème allègre et délicieusement rythmique qui reflète l’ambiance joyeuse, na ve et optimiste de l’avant-guerre. Puis nous entendons un motif sombre et fragmenté, représentant les fusillades ciblant les soldats. Cettepartie se termine par un faisceau de sons dissonants traduisant le caractère tragique de la guerre. Le calme revient avec un passage tranquille en mineur qui évoque la fois la frustration et l’apaisement. Le tempo du début est repris, cette fois sous la forme d’une marche victorieuse. Puis résonnent les accents premiers de gaieté, d’innocence et d’insouciance, invoquant la célébration de la liberté. Un thème martial et festif en hommage au village nous mène un pétillant finale.

SKU: HL.365499

Coral Blue. Michael Kelly Guitars. Guitars. Michael Kelly Guitar Co. #MKPDSOBERA. Published by Michael Kelly Guitar Co. (HL.365499).

UPC: 809164021902. 19.0x42.5x4.0 inches.

With its iconic look, striking finishes, and endless tonal options, the Patriot Decree is destined to be your favorite instrument. The Patriot Decree gets its signature sound from two over-wound PAF-inspired humbucker pickups. Featuring the Great 8 mod, two push-pull knobs allow you to split the coils for switching from a rich, thick humbucker to smooth, bright single-coil sounds. A total of eight distinctive pickup configurations offer a wealth of options for any playing style or genre. A chambered mahogany body with deeply carved figured maple top provides a robust warm sound with a clear punch. Its modern “C” profile mahogany neck with 24.75″ scale offers a comfortable feel and is capped by a Macassar Ebony or Roasted Jatoba (Cherry Sunburst) fingerboard. A Tune-O-Matic bridge along with string-thru body design results in precise intonation and incredible sustain. Pick up a Patriot Decree and you'll quickly agree that it's the perfect instrument for any player.

Jazz ensemble - Grade 2

SKU: CL.032-4173-01

Composed by Rowe. Jazz Ensemble. Audio recording available separately (item CL.991-2013-01). Extra full score. Composed 2013. Duration 3 minutes, 11 seconds. C.L. Barnhouse #032-4173-01. Published by C.L. Barnhouse (CL.032-4173-01).

Introduce your young musicians to big band swing with this clever new original by Howard Rowe. Solid orchestration ensures that it comes together quickly and sounds big and bold. Written solo or soli sections are comfortably within the range and abilities of young players and will get them swingin' like pros. If rehearsal time is tight, this is an excellent choice by a writer-teacher who has been there! Everyone will agree; your band is a winner!

Music and Lyrics for 100 Classic Songs. Composed by Various. Piano/Vocal/Guitar Songbook. Softcover. 464 pages. Published by Hal Leonard

Fanfare Band - Grade 3

SKU: BT.DHP-1125214-020

Composed by Jacob De Haan. Concert and Contest Collection Brass Band en Fanfare. Set (Score & Parts). Composed 2012. De Haske Publications #DHP 1125214-020. Published by De Haske Publications (BT.DHP-1125214-020).

9x12 inches. English-German-French-Dut ch.

On a war memorial in the Dutch village of Wons is engraved a list of names to honour the fallen in World War II. This is the basis for the name of this piece. However, this composition was written for everyone who has made Wons what it is today: a pretty place near to Lake IJssel with a comfortable way of life. The piece begins with a celebratory introduction in which the village is presented to the listener. There follows a delightful rhythmic and high-tempo theme that reflects the happiness, innocence and carefree atmosphere before the war. Now we hear a moody, fragmented theme depicting soldiers shooting. This is brought to a close with dissonant clusters of sound,intoning the dreadful tragedy of the war. The ensuing quiet gives way to a calm middle section in a minor key that portrays both frustration and consolation. The fast tempo of the beginning returns, this time in the form of a victory march. We hear freedom being celebrated. We hear the previous happy, innocent and carefree themes, too. There follows a festive, martial theme, a tribute to the village, before the piece closes with sounds of celebration.

Op de gedenksteen in het Friese dorp Wons staat een erelijst (roll of honour) gegraveerd ter nagedachtenis aan de gevallenen van de Tweede Wereldoorlog. De titel van dit werk verwijst naar deze lijst. Deze compositie is echter tevens geschreven voor alle mensen die Wons hebben gemaakt tot wat het nu is: een prachtig dorpje vlak bij het IJsselmeer waar het prettig toeven is. De compositie begint met een statige inleiding, waarin het dorp zich presenteert aan de luisteraar. Dan klinkt een aansprekend ritmisch thema in een snel tempo dat de vrolijkheid, onbevangenheid en onbezorgdheid van voor de oorlog uitstraalt. Dit gaat over in een melodie in mineur, die het naderendeoorlogsgevaar aankondigt. Dan is er een grillig thema met stops waarin het schieten van de soldaten te horen is. Dit eindigt in enkele dissonante clusters die het tragische dieptepunt van de oorlog accentueren. De daaropvolgende stilte lost op in een gedragen middendeel in mineur waaruit enerzijds verdriet en anderzijds troost spreekt. Dan komt het snelle tempo van het begin weer terug, ditmaal in de vorm van een vreugdemars. De vrijheid wordt gevierd. Ook het thema van de vrolijkheid, onbevangenheid en onbezorgdheid is weer te horen. Er volgt nu een statig martiaal thema, een eerbetoon aan het dorp, waarna het werk wordt afgesloten met feestelijke klanken.

Auf einem Gedenkstein im niederländischen Dorf Wons ist eine Namensliste zu Ehren der Gefallenen im Zweiten Weltkrieg eingraviert. Auf diese bezieht sich der Titel des Werkes, der wörtlich übersetzt ‘Ehrenliste’ bedeutet. Diese Komposition wurde jedoch für alle Menschen geschrieben, die Wons zu dem gemacht haben, was es heute ist: ein schöner Ort nahe des IJsselmeeres, in dem es sich gut leben lässt. Das Werk beginnt mit einer feierlichen Einleitung, in welcher sich das Dorf dem Zuhörer präsentiert. Dann erklingt ein reizvolles rhythmisches und temporeiches Thema, das die Fröhlichkeit, Unbefangenheit und Sorglosigkeit vor dem Krieg ausstrahlt. Dieses geht in eine Moll-Melodieüber, welche von der nahenden Kriegsgefahr kündet. Dann erklingt ein launenhaftes Thema mit Unterbrechungen, in dem das Schießen der Soldaten zu hören ist. Dieses endet in einigen dissonanten Clustern, die den tragischen Tiefpunkt des Krieges betonen. Die darauffolgende Stille löst sich in einen ruhigen Mittelteil in Moll auf, aus dem einerseits Verdruss und andererseits Trost spricht. Dann kehrt das schnelle Tempo des Anfangs zurück, dieses Mal in der Form eines Freudenmarsches. Die Freiheit wird gefeiert. Auch das Thema der Fröhlichkeit, Unbefangenheit und Sorglosigkeit ist wieder zu hören. Nun folgt ein feierliches, martialisches Thema, eine Ehrerbietung an das Dorf, bevor das Werk mit festlichen Klängen endet.

Sur le monument aux morts du village néerlandais de Wons est gravée une liste de noms en hommage aux soldats tombés lors de la Seconde Guerre mondiale. Ce monument a inspiré le titre de cette composition. Mais celle-ci a aussi été écrite pour toutes les personnes qui ont donné Wons son caractère d’aujourd’h ui : un joli village proche du lac d’IJssel où il fait bon vivre. La pièce débute par une introduction festive qui présente le village l’auditeur. S’ensuit un thème allègre et délicieusement rythmique qui reflète l’ambiance joyeuse, na ve et optimiste de l’avant-guerre. Puis nous entendons un motif sombre et fragmenté, représentant les fusillades ciblant les soldats. Cettepartie se termine par un faisceau de sons dissonants traduisant le caractère tragique de la guerre. Le calme revient avec un passage tranquille en mineur qui évoque la fois la frustration et l’apaisement. Le tempo du début est repris, cette fois sous la forme d’une marche victorieuse. Puis résonnent les accents premiers de gaieté, d’innocence et d’insouciance, invoquant la célébration de la liberté. Un thème martial et festif en hommage au village nous mène un pétillant finale.

Introductory Harmonic Immersion Solfege for Individuals and Choirs. By Marilyn Shenenberger; James Jordan. Music Education. Instructional. 64 pages. Published by GIA Publications.

SKU: HL.456817

Transparent Black. Michael Kelly Guitars. Guitars. Michael Kelly Guitar Co. #MKO5OBKMRC. Published by Michael Kelly Guitar Co. (HL.456817).

UPC: 809164026518. 17.0x48.5x4.2 inches.

Element 5OP Designed for the modern bass player, the Element 5OP 5-string bass will immediately become a favorite instrument in your collection - not just for its striking looks but its tone and playability. The Element 5OP's open pore grain finish preserves the natural acoustic properties of the sungkai wood body, resulting in a wider range of sustained frequencies and a stellar low-end. Its 35″ maple neck and fingerboard provide a well-balanced feel and pinpoint articulation even on the low B string. The “C” neck profile features a satin finish for an extremely comfortable feel and easy lateral movement. The Element 5OP offers sonic flexibility without compromising authentic bass tone. For dialing up a broad range of sounds, it's equipped with two Rockfield single coil pickups, matched up with a 2-band EQ & preamp. If more of a vintage flavor is your preference, a push-pull switch bypasses the preamp and puts out a traditional passive tone. Between its gorgeous visuals and pristine low-end punch, the Element 5OP will be your go-to instrument on stage, at practice or in the studio.

Arranged by Cynthia Dobrinski. For handbell choir (3-7 octaves). Christmas, Sacred. Grade 3. Handbell score. 8 pages. Published by Hope Publishing Company

Guitar - Intermediate

SKU: AP.1-ADV14906

Composed by Fred Lipsius. Guitar Method or Supplement; Improvisation; Method/Instruction; Play-Along; Technique Musicianship. Advance Music: Playing Through the Blues. Blues. Book and CD. Advance Music #01-ADV14906. Published by Advance Music (AP.1-ADV14906).

UPC: 805095149067. English.

This intermediate-level reading book with accompanying CD (12 listening tracks; 12 play-along tracks) contains very melodic, fun-to-play blues lines and riffs in various styles and feels. The keys and tempos are comfortable. It's an excellent tool for learning what jazz soloing is all about. You can also improvise over the play-along tracks using the chords for the tracks shown in the book.

Titles: Tuning Notes * Blues for Michael Brecker * On the Spot * Sus Sounds * Goin' Home * Funky Blue * Blues Ascension * Four in Three * Diggin' In * Nightfall * Medieval Blues * Tradin' Ones & Twos * Shuffle Them Blues.