Jazz Ensemble - Grade 3

SKU: KN.52715S

Composed by Jeff Jarvis. Kendor Archive Editions. Kendor Music Inc #52715S. Published by Kendor Music Inc (KN.52715S).

This spirited original for developing bands provides rhythm section players with predominantly notated parts with chord symbols cued above the staff. Other features include groovin' sax and brass solis, a solo chorus for lead alto (may be repeated for additional soloists), and an open drum solo in the coda. Duration 4:30.

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

By Various. Edited by Helbich, Wolfgang / Herzog, Ernst. Hymn settings, Mass Sections, Motets, Psalms, German; Choral Collections, Mixed Choir; Occasions: Eucharist, Communion, Peace and Justice, Prayer, Confirmation, Praise and thanks, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Morning, Midday, Evening, Psalms, Daily hours, Mourning, Death, Our Father; Use during church year: Advent, Special Days, End of the church year, Lent and Passiontide, Corpus Christi, Ascension, Holy Week, Easter and Eastertide, Ascension, Reformation day, Trinity, Christmas. Ch

Guitar

SKU: FG.55011-324-4

Composed by Kai Nieminen. Fennica Gehrman #55011-324-4. Published by Fennica Gehrman (FG.55011-324-4).

ISBN 9790550113244.

Quad ri Morandi (2014) ties together two essential themes of Kai Niminen's (b. 1953) compositional style: guitar and a subject inspired by Italy. The strong presence of the guitar in his works is natural since he is in an actively performing guitarist himself, and guitar works indeed play a significant role in his oeuvre. Moreover, he has written plenty of orchestral music; for instance two symphonies, numerous concertos, and chamber music. In the field of Finnish music he is a composer who can be characterized as free from any specific school or style. In his musical language, free tonal in essence, one can detect traces of Impressionism, Neoromanticism and even Expressionism at times, but he is also willing to employ more recent 20th-century stylistic devices. Nieminen has mentioned that he finds himself very similar to Japanese Toru Takemitsu both musically and in thought.

Mediterannean culture and Italy especially have been close to Nieminen's heart ever since he first visited the country and appeared in the jury of the international Fernando Sor guitar competition in 1981. He has composed a great number of works which refer to Italian landscapes or artists. The work Quadri Morandi (Morandi's pictures) is written in four movements. It has at its centre the painter Giorgio Morandi (1890-1964), who is known as a master of still lifes and landscapes painted in a plain manner and is subdued colours. Their atmosphere typically reflects a calm spirit. This is the third guitar work that nieminen has written for Kleemola.

It is easy to find a counterpart for the encaptivating realm of Morandi's art in Nieminen's clear and pure expression. The titles and expression markings also include several references to Morandi. For example, in the opening movement Prelude the words la Natura morta (still life) appear as an additional note on the chord sequence following the freely flowing opening section. At the end of the movement one can hear rhythmic motif coloured with flageolets that repeats the syllables of the painter's name: Gior-gio Moran-di. A similar motif can be heard at the end of the second movement Quasi cadenza. The tranquilly breathing third movement Paesaggio (landscape) creates an illusion of landscape by imitating the echo of monastery bells (come campane del monastero) and at the same time refers to il monaco (the monk), the name by which Morandi was often called. The final movement Ritratto (Portrait) is the most extensive of all the movements and can be seen, with its recurring motifs, as a reflection of the stable yet subtly varying elements of Morandi's art. The work ends with the rhythmic motif that once more echoes Morandi's name, like signature.

Edited by Amy Appleby. Music Sales America. Baroque and Classical Period. Set of performance parts (includes separate pull-out violin part, softcover). With solo part and piano accompaniment (spiral bound). 237 pages. Music Sales #AM948882. Published by Music Sales

Without Fingering. Composed by Franz Joseph Haydn (1732- 1809). Edited by Georg Feder. Henle Music Folios. Classical. Softcover. G. Henle #HN1536. Published by G. Henle

Choral (SATB)

SKU: HL.1413031

Composed by Diane Hannibal and Wes Hannibal. Arranged by Joel Raney. Shawnee Sacred. General Worship. Octavo. Duration 200 seconds. Published by Shawnee Press (HL.1413031).

UPC: 196288196365. 6.75x10.5 inches. John 4:5-30.

Pure jubilation surrounds this anthem dedicated to an important moment in the teaching ministry of Jesus. Filled with toe-tapping rhythms and dazzling gospel piano stylings, this crowd-pleasing song will provide a joyful spirit for celebrative services.

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello

SKU: PR.11441690S

String Quartet No. 3. Composed by Shulamit Ran. Sws. Contemporary. Full score. With Standard notation. Composed March 9 2013. 32 pages. Duration 23 minutes. Theodore Presser Company #114-41690S. Published by Theodore Presser Company (PR.11441690S).

UPC: 680160626021. 9 x 12 inches.

Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.
My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago.  Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination.  Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars.  It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07.  Nussbaum would have been a bit too young to be included in this exhibit.  His most noteworthy art was created in the last very few years of his short life.  The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.    The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) â� ��If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes.  All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .

by William Bay. For all recorder. Sacred, duets. Level: Intermediate. Book. Solos. Size 8.75x11.75. 40 pages. Published by Mel Bay Pub., Inc.

By Johannes / Mendelssohn Bartholdy Brahms. Edited by Bretschneider, Wolfgang / Dromann, Hans-Christian. Hymns, Hymn settings, Masses, German, Mass Sections, Motets, Secular Choral Music; Choral Collections, Mixed Choir; Occasions: First Communion, Praise and thanks, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary, Psalms, Tantum ergo; Use during church year: Special Days, Holy Week, Easter and Eastertide, Ascension, Christmas. Choral collection. 96 pages. Published by Carus Verlag (German import).

Choral, Oboe Accompaniment, Percussion (SAB, oboe, percussion)

SKU: HL.299644

(Nesikhathi Ingoma). Composed by David Schwoebel. Shawnee Sacred. Concert, General Worship, Pentecost, Sacred. Octavo. 16 pages. Published by Shawnee Press (HL.299644).

ISBN 9781540060983. UPC: 888680957834. 6.75x10.5 inches.

This anthem is divided into two distinct sections. The first lyrical portion takes a passage from the Song of Solomon and offers it in a pleasing 3/4 tune that celebrates the birth of spring. The second section is a cheerful syncopated theme with Zulu text punctuating English in a spirited invitation to praise. The words create rhythm with precision and good articulation is essential. Pure joy!

Choral Djembe 1, Djembe 2, Piano, alto 1, alto 2, soprano 1, soprano 2

SKU: CF.CM9791

Composed by Jacob Narverud. Duration 2 minutes. Carl Fischer Music #CM9791. Published by Carl Fischer Music (CF.CM9791).

ISBN 9781491164624. UPC: 680160923533. Key: D major. Swahili, English. Original.

Sing my soul, sing my heart. Sing for peace, sing for joy.                                        There is so much love here, yes! Kuimba Nafsi Yangu is a celebratory song derived from common Swahili phrases for joy. Intended as a concert opener, this spirited piece is pure energy from start to finish. The piano and djembes drive the momentum forward while the choir sings in call and response. Each section gets a chance to shine, all while building with anticipation to the final note and stomp. Accents/articulations, vocal inflections, and three part chords call for vocal flexibility, rhythmic intensity, and movement from the singers. If desired, mm. 3 and 4 may serve as a vamp, while the performers enter from around the auditorium to take the stage.PronunciationKuimba nafsi yangu,                                                                                                        [Koo-eehm-bah nahf-see yahn-goo,]                                                                Kuimba moyo wangu.                                                                                                     [Koo-eehm-bah moh-yoh wahn-goo.]                                                             Kuimba kwa amani,                                                                                                         [Koo-eehm-bah kwah ah-mah-nee,]                                                                  kuimba kwa furaha.                                                                                                         [Koo-eehm-bah kwah foo-rah-ha.]                                                                         Sana upendo, sana mpenzi wangu.                                                                           [Sah-nah oo-pehn-doh, sah-nah mmpehn-zee-wahn-goo.]                         Na wewe. Ey na wewe. Ndiyo.                                                                                        [Nah way-way. Ay nah way-way. Nn-dee-yoh.]                                                         O hey na, hey na!                                                                                                                    [Oh hey nah, hey nah!] About the ComposerJacob Narverud (b. 1986) is an American Composer, Arranger, and Conductor. A native Kansan, Jake is the Founding Artistic Director of the Tallgrass Chamber Choir, a professional ensemble of musicians from across the Great Plains. Dr. Narverud is a frequent guest lecturer at universities and conferences and is the Editor of Santa Barbara Music Publishing, Inc. As a sought-after composer, Jake has been commissioned to write new works for over fifty choral organizations nationwide, as well as ensembles in Australia and Japan. Many of Narverud's pieces are publisher Best Sellers and are performed worldwide by choirs of all levels.Website: jnarverud.com          YouTube & Spotify: jacobnarverud  .

Coro SATBarB

SKU: CA.921600

Composed by Zequinha de Abrehu. Arranged by Juan M. V. Garcia. Contemporary Choir Music. Folk songs, Secular choral music. Full Score. Duration 4 minutes. Carus Verlag #CV 09.216/00. Published by Carus Verlag (CA.921600).

ISBN M-007-24181-0. All languages.

Tico-Tic o no fuba means a sparrow in the cornmeal. Originally, this South American choro song was a purely instrumental composition; only later did Aloysio de Oliveira add a Portuguese text. The song is performed here without lyrics, in the spirit of the original version.