By John Williams, Leslie Bricusse. (2 part). John Williams Signature - Choral. Size 6.7x10.5 inches. 40 pages. Published by Hal Leonard

Arranged by Mac Huff. (2 Part Singer). Broadway Choral. Size 6.7x10.5 inches. 56 pages. Published by Hal Leonard.

By D.L. Brunner. (2 part). CME INTERMEDIATE SERIES. 10 pages. Published by Boosey and Hawkes.

(String Quartet No. 3). Composed by Shulamit Ran (1949-). For string quartet (2 violins, 2 violas, violoncello). Contemporary. Score and Parts. Standard Notation. Composed March 9 2013. 92 pages. Duration 23 minutes. Theodore Presser Company #114-41690. Published by Theodore Presser Company

Composed by John Williams and Leslie Bricusse. Arranged by Mark Hayes. 2-Part. Shawnee Press. Octavo. Published by Shawnee Press

Arranged by Mac Huff. (2-part score). Broadway Choral. Size 9x12 inches. 96 pages. Published by Hal Leonard.

Chamber Music String Quartet

SKU: PR.14440265S

Composed by Sydney F. Hodkinson. Large Score. With Standard notation. Duration 25 minutes. Merion Music #144-40265S. Published by Merion Music (PR.14440265S).

UPC: 680160027910.

The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed. Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler. An annunicatory 'leaping motive' (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force. A five-note motive, usually very deliberate, also keeps recurring like an insistent caller. All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic 'grammar' spoken tends to recall the jazz world of my youth. To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms. The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda. The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like 'call-and-response.' It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani. The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto. All three movements make much use of canonic stretti, similar gestures, and repetition. For example, the climax of movement III's Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.
The Second and Third Quartets were conceived at the same time; indeed, their composition intermingled, over half of No. 3 being sketched before No. 2 was completed.  Accordingly, they share similar material but, like the intertwining blood of cousins, their natures differ: No. 2 being somewhat acerbic and declamatory, No. 3 more lyric and gentler.An annunicatory ‘leaping motive’ (derived from a motto generated by my name) opens Quartet No. 2 and inhabits the course of the piece as a cyclical binding-force.  A five-note motive, usually very deliberate, also keeps recurring like an insistent caller.  All three movements are based on tonal centers (I on B and E, II on D, III on C) and the harmonic ‘grammar’ spoken tends to recall the jazz world of my youth.To hopefully achieve a certain classical ambience was one of the goals of this piece, and all three movements have traditional forms.  The first movement is a modified Sonata-Allegro design, with a severely-truncated recapitulation balanced by a lengthy, and decaying Coda.  The second movement is a set of strophic variants and an epilogue interspersed with both solo ritornelli and first-movement material (the motto and the five-note motive) in the nature of a fantasia-like ‘call-and-response. ’  It is dedicated to the memory of the American mezzo-soprano Jan DeGaetani.  The third movement is a modified Rondo (ABACBA) which evolves out of the opening motto.All three movements make much use of canonic stretti, similar gestures, and repetition.  For example, the climax of movement III’s Rondo throws the first movement back at us again, as if the players were reluctant to let it go, so that the entire piece could perhaps be viewed as a single large, extended, Sonata movement, with introduction and Coda.

Chamber Music String Quartet

SKU: PR.114405050

Composed by John Downey. Set of Score and Parts. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505. Published by Theodore Presser Company (PR.114405050).

UPC: 680160008377. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique efffect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water , disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorlines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluch the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against the sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in spae. Here, the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement , two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue among the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of 'psycho-rhythmics contributes to an on-rush of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

Chamber Music String Quartet

SKU: PR.11440505S

Composed by John Downey. Full score. With Standard notation. 53 pages. Duration 25 minutes. Theodore Presser Company #114-40505S. Published by Theodore Presser Company (PR.11440505S).

UPC: 680160008391. 11 x 14 inches.

Although structurally it subdivides into five movements, the entire quartet emerges as one vast continuum. There are no formal breaks between movements. However, certain musical signposts can be discerned, associated with each of the movements' terminations and new beginnings. The opening movement, The Nostalgia of Clanging Bell Sonorities, begins floating on recurrent Bbs whose soft rhythmic flow slowly puts into motion strong undercurrents suggestive of the latent power of water... After several suggestions of tolling bells, the movement gradually fades into hushed tones of veiled and very distant sonorities. It uses a unique effect, for the first time in a musical context, conveyed through the use of extra heavy practice mutes. The second movement, The Spill of Water, disengages itself from the first through its distinct contrast in tempo. Water moves fast, and when it splashes, it tends to run wildly. In this case, it happens to be bubbly water that gushes forth bodly... smashing across rocky shorelines. So, too, the music attempts to conjure such moods. At the end of this movement, a cello cadenza emerges, introducing an introspective type of melodicism. The third movement, The Poignancy of Memory, contains many silences as it tries to convey memory through fragmented remembrances much like often occur in our dream state. Progressing through several slowly building images, it gradually works itself into juxtaposition of musical images. Towards the movement's end, high harmonics are sounding in all four instruments while left hand pizzicato notes in the cello pluck the last remembrances of this central core. Almost imperceptibly, the viola assumes leadership as it dissolves into: The fourth movement, The Fluidity of Motion, which has mostly the viola, but also the cello, articulating lyrical statements against sheets of sound conjured up by the two violins playing a flood of swirling figures, evokes a kind of static motion in space. Here , the virtually imperceptible manner in which this hushed whisper continues incessantly, can suggest the potential fluidity with which movement may inch forward... Later into the fourth movement, two fairly extended solos by the second and then the first violins, lead to a kind of spontaneous dialogue amont the four instrumentalists. Eventually, this musical conversation gets caught up in: The fifth movement's The Rush of Time, which opens with a hushed flurry of speed, precipitates the Finale. It generates, at first slowly, but then very swiftly, whole shifts of rhythmic fields that initially seem to conflict with one another. Ultimately, this use of psycho-rhythmics contributes to an on-rush seem of motion and time. Rhythmic changes are, at times, abruptly precipitated with but little or no preparation creating a kind of inevitability in forward thrust, while the movement rushes forward with a feeling of gradual and continuous acceleration. It gathers density as more and more notes are piled progressively upon successive beats. The attempt is to spark tension and ignite excitement by means of frenetic confrontations of dissimilitudes. Ultimately - with the help of time - these polarities centrifically spin out their own destinies with their accompanying fall-out and own inevitable resolutions.

2 guitars

SKU: M7.DUX-838

Aus der Reihe Fingerstyle. Composed by Salvatore Seminara. Edited by Michael Langer. Sheet music. 10 pages. Edition Dux Verlag #DUX 838. Published by Edition Dux Verlag (M7.DUX-838).

ISBN 9783868492545.

Die Serie 'Fingerstyle: pop - rock - jazz - latin fu?r Gitarre' präsentiert Kompositionen und Arrangements fu?r eine oder zwei Gitarren. Herausgegeben in klassischer Notationsweise mit ausfu?hrlichen Fingersätzen und genauer Wu?rdigung stilistischer Feinheiten sollen diese Ausgaben Freude und Lust an neuer Gitarrenmusik machen. Salvatore Seminara ist ein italienischer Gitarrist und Komponist. Er hat mit 'Memory' eine gefu?hlvolle Ballade geschrieben, die einen sofort mit ihrer wehmu?tig, sehnsu?chtigen Stimmung gefangen nimmt, voll von Melodien in bester italienischer Tradition. Das Stu?ck ist vordergru?ndig klar aufgeteilt in Melodie und Akkordbegleitung. Beide Stimmen sind jedoch gitarristisch so raffiniert aufgelöst, dass ein vollkommen geschlossenes Klangbild entsteht.

By Trevor Nunn, Andrew Lloyd Webber, T.s Eliot. Arranged by Ed Lojeski. (SA). Pop Choral Series. Size 6.8x10.5 inches. 8 pages. Published by Hal Leonard.

By James Dillon (1950-). Piano Quintets. For 2 Violins, Viola, Cello, Piano. Modern. Score. Composed 2003; First Performance: Oberlin Contempoary Music Ensemble, Timothy Weiss. Published by Edition Peters

String Quartet

SKU: HL.14022547

Composed by Nicola LeFanu. Music Sales America. Classical. Book [Softcover]. Music Sales #NOV120815. Published by Music Sales (HL.14022547).

ISBN 9780853607595.

This quartet lasts about nine minutes. Composed in April 1996, it is dedicated to the memory of Nicola's father William LeFanu (1904-1995) and Elizabeth Maconchy (1907-1994). The quartet was commissioned for the 1997 London International String Quartet Competition.

By Andrew Lloyd Webber. Arranged by Mark A. Brymer. (2 part). Choral. Size 6.7x10.5 inches. 24 pages. Published by Hal Leonard.

String Quartet

SKU: HL.14022544

Composed by Nicola LeFanu. Music Sales America. Classical. Book [Softcover]. 32 pages. Music Sales #NOV120814. Published by Music Sales (HL.14022544).

ISBN 9780853607588. 8.25x11.75x0.162 inches.

This quartet lasts about nine minutes. Composed in April 1996, it is dedicated to the memory of Nicola's father William LeFanu (1904-1995) and Elizabeth Maconchy (1907-1994). The quartet was commissioned for the 1997 London International String Quartet Competition.

Arranged by Mac Huff. (2 Part Score). Choral. Size 9x12 inches. 88 pages. Published by Hal Leonard.