By M. Cox. For SATB Choir and Harp or Keyboard. Sheet Music. Published by Mark Foster Music.

Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

(formerly 2000 Fingerpicking). Perfect binding. Book and online audio. Published by Mel Bay Publications, Inc (MB.98370M).

Composed by Rick Foster. Gospel/Sacred, Saddle- stitched. Style. Book. 36 pages. Mel Bay Publications, Inc #30797. Published by Mel Bay Publications, Inc

by Rick Foster. For classic and fingerpick guitar. Acoustic Guitar Series. Sacred, evangelical. Level: Intermediate-Advanced. Book. Solos. Size 8.75x11.75. 56 pages. Published by Mel Bay Pub., Inc.

Composed by Derrick Fox. Mark Foster. Concert, Festival. Octavo. 12 pages. Published by Mark Foster Music

Brothers, Sing On! - Jonathan Palant Choral Series. Composed by Derrick Fox. J Palant: Brothers Sing On. Concert, Festival. Octavo. 8 pages. Published by Mark Foster Music

Exigence Choral Series. Composed by Derrick Spiva, Jr. Exigence Choral Series. Concert, Festival. Octavo. 40 pages. Published by Mark Foster Music

Composed by Daniel Kallman. For Choral, Youth Choir (3-part Mixed). Mark Foster. Choral. 12 pages. Shawnee Press #YS0412. Published by Shawnee Press

Cello - Early Advanced

SKU: FH.VC8

Cello Series, 2013 Edition. Composed by The Royal Conservatory. Cello Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VC8. Published by The Frederick Harris Music Company (FH.VC8).

ISBN 978-1-55440-544-2.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.
Preparatory Level:
Etude in C Major - Schroeder, Carl
Stroll Along - Anonymous arr. Samuel Applebaum
Etude in C Major - Romberg, Bernhard Heinrich
Climbing the Scale - Hewitt-Jones, Anita
Etude in C Major - Kummer, Friedrich August
My Pony - Slovenian folk song arr. Francis Grant
Level 1:
The Willow Tree - Grant, Francis
Etude in C Major - Hohmann, Christian-Heinrich
Tra velling Along - Hewitt-Jones, Anita
The Train - Legg, Pat
Up and Down Again - Dancla, Charles arr. Samuel Applebaum
Etude in G Major - Dotzauer, Friedrich
Etude in C Major - Romberg, Bernhard Heinrich
Etude in G Major, op. 101, no. 9 - Lee, Sebastian
Level 2:
Etude in D Major - Kummer, Friedrich August
Etude in B flat Major, op. 70, no. 16 - Lee, Sebastian
Phrygian Frolic - Legg, Pat
Martele March - Hewitt-Jones, Anita
Pachyderm Parade - Mooney, Rick
Etude in G Minor - Romberg, Bernhard Heinrich
Etude in C Major - Werner, Josef
Level 3:
Etude in A Major - Dotzauer, Friedrich
Spiccato Race - Hewitt-Jones, Anita
Etude in G Major, op. 30, no. 6 - Brueckner, Oskar
Etude in C Major - Borschitzky, Johann Francis
Etude in B flat Major - Tabb, Richard Valentine
Etude in G Major - Kummer, Friedrich August
Etude in F Major - Matz, Rudolf
Fire Stations - Legg, Pat
Etude in F Major - Feuillard, Louis R.
Level 4:
Etude in G Minor, op. 70, no. 24 - Lee, Sebastian
Etude in C Major - Tabb, Richard Valentine
Etude in D Major - Matz, Rudolf
Calypso - Legg, Pat
I Was a Teenage Monster - Mooney, Rick
Suo-Gan (A Welsh Lullaby) - Welsh folk song Arr. Rick Mooney
Etude in D Minor - Werner, Joseph
Etude in G Major, op. 31, no. 12 - Schroeder, Carl
Etude in C Major - Feuillard, Louis R.
Spinner's Waltz - Hewitt-Jones, Anita.

Composed by Count Basie and Frank Foster. Arranged by Rick Stitzel. For Jazz Ensemble (Score and Parts). Discovery Jazz. Grade 1.5. Published by Hal Leonard

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3

SKU: CF.CPS251F

Composed by Patrick Glenn Harper. Full score. 25 pages. Carl Fischer Music #CPS251F. Published by Carl Fischer Music (CF.CPS251F).

ISBN 9781491159880. UPC: 680160918478.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.

Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3

SKU: CF.CPS251

Composed by Patrick Glenn Harper. Set of Score and Parts. 28+8+8+4+8+8+8+4+4+4+4+4+ 4+8+8+8+4+4+6+6+6+4+8+1+4 +2+2+12+2+8 pages. Duration 4 minutes, 27 seconds. Carl Fischer Music #CPS251. Published by Carl Fischer Music (CF.CPS251).

ISBN 9781491159873. UPC: 680160918461.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.

Grade 3

SKU: CL.012-2678-00

Two-Step. Composed by King. Arranged by Stephen Foster. Concert Band. Heritage of the March Series. Audio recording available separately (items CL.WFR174 & CL.WFR197). Score and set of parts. Composed 1995. Duration 2 minutes, 17 seconds. Opus III Wind Orchestra Publications #012-2678-00. Published by Opus III Wind Orchestra Publications (CL.012-2678-00).

A great new edition of Karl L. King’s classic circus piece with a happy ragtime beat. Originally written to accompany a trick horse act with the Barnum & Bailey’s Circus, the tune soon became so popular that it was used for a wide variety of acts including clown walk-a-bouts. Bob Foster’s arrangement retains all of the color and excitement of the original while making it playable with the modern concert band instrumentation. It’s not easy, but it sure is fun!

About Heritage of the March

Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

by William Bay and Mike Christiansen. For all guitars. Mastering Guitar. All styles, solos and exercises. Level: Beginning-Intermediate. Book/CD Set. Method. Size 8.75x11.75. 144 pages. Published by Mel Bay Pub., Inc.

2 trumpets, horn, trombone and tuba

SKU: M7.KECF-9

Composed by Patrick Sarsfield Gilmore and Stephen Foster. Arranged by Peter Bernard Smith. This edition: Saddle stitching. Sheet music. Score and parts. 64 pages. MDS (Music Distribution Services) #KECF 9. Published by MDS (Music Distribution Services) (M7.KECF-9).

ISBN 9790502360092. German English.

Drei Klassiker aus der Zeit des amerikanischen Bürgerkriegs: When Johnny comes marching home - Old black Joe - Oh Susanna. Trompetenstimmen in B und C, Hornstimmen in F und Es.

Arranged by Roger Edison. For Piano. Piano Collection. Family/Group; Novelty. Book. 80 pages. Published by Alfred Publishing.
Level: Intermediate (grade 4/5).

2-Part Treble Choral; Youth Choir (2PT TREBLE)

SKU: HL.35022885

Composed by Elizabeth Gilpatrick and Robert Louis Stevenson. Mark Foster. Concert. Octavo. 8 pages. Shawnee Press #YS0425. Published by Shawnee Press (HL.35022885).

UPC: 747510069379. 7.0x10.5x0.018 inches.

This lovely poem incorporating the text of Robert Louis Stevenson practically sings itself. A gentle melody floats above a smooth, yet buoyant accompaniment. “The Wind” is tranquil and peaceful, a great way to show off the purity of the young treble voice.