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.

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217F

Composed by Zachary Cairns. Sws. Yps. Full score. 24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217F. Published by Carl Fischer Music (CF.YPS217F).

ISBN 9781491156551. UPC: 680160915095. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217

Composed by Zachary Cairns. Folio. Yps. Set of Score and Parts. 8+8+4+8+8+4+2+6+4+4+4+8+8 +8+8+6+6+6+4+6+4+2+2+4+6+ 10+24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217. Published by Carl Fischer Music (CF.YPS217).

ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS182

Composed by Larry Clark. Young String Orchestra. Set of Score and Parts. With Standard notation. 16+16+10+4+3+10+10+12 pages. Duration 3 minutes, 32 seconds. Carl Fischer Music #YAS182. Published by Carl Fischer Music (CF.YAS182).

ISBN 9781491151471. UPC: 680160908974. 9 x 12 inches. Key: G major.

The title, Live On, by Larry Clark, is taken from Chrissie Pinney's poem about grief and loss. The piece is meant to depict the personality of Linda Mann, to whom it is dedicated. The opening is poignant and pensive, followed by a whimsical theme which alludes to happy thoughts of a life well-lived. The piece builds to a triumphant?conclusion based on an augmented version of the theme.

Live On was commissioned by Diplomat Middle School's staff, faculty and students in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Manns impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.

In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should depict Lindas personality - dynamic, sassy, yet thoughtful and almost mentor-like. They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.

After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey. That poem is entitled Live On by Chrissie Pinney.

Live On

Now as I live on

Without you

I hope to keep

The pieces of you

That I loved so dearly

Your mannerisms

And compassionate character

And smiles through struggle

So that you

May live on too

-Chrissie Pinney

I reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.

The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.

After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.

It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.

Larry Clark

Lakeland, FL 2017

.

Live On was commissioned by Diplomat Middle School's staff, faculty and students in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017.A Linda Mannas impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.

In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should adepict Lindaas personality - dynamic, sassy, yet thoughtful and almost mentor-like.a They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.

After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.A That poem is entitled Live On by Chrissie Pinney.

Live On

Now as I live on

Without you

I hope to keep

The pieces of you

That I loved so dearly

Your mannerisms

And compassionate character

And smiles through struggle

So that you

May live on too

A

-Chrissie Pinney

I reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes.A She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.

The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.

After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time.A The piece develops into a secondary theme that is a quasi inversion of the main fast theme.A This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.

It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.

aLarry Clark

Lakeland, FL 2017

.

Live On was commissioned by Diplomat Middle School's staff, faculty and students in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017.A Linda Mannas impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.

In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should adepict Lindaas personality - dynamic, sassy, yet thoughtful and almost mentor-like.a They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.

After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.A That poem is entitled Live On by Chrissie Pinney.

Live On

Now as I live on

Without you

I hope to keep

The pieces of you

That I loved so dearly

Your mannerisms

And compassionate character

And smiles through struggle

So that you

May live on too

A

-Chrissie Pinney

I reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes.A She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.

The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.

After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time.A The piece develops into a secondary theme that is a quasi inversion of the main fast theme.A This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.

It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.

aLarry Clark

Lakeland, FL 2017

.

Live On was commissioned by Diplomat Middle School's staff, faculty and students in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann's impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.

In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should depict Linda's personality - dynamic, sassy, yet thoughtful and almost mentor-like. They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.

After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey. That poem is entitled Live On by Chrissie Pinney.

Live On

Now as I live on

Without you

I hope to keep

The pieces of you

That I loved so dearly

Your mannerisms

And compassionate character

And smiles through struggle

So that you

May live on too

-Chrissie Pinney

I reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.

The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.

After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.

It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.

-Larry Clark

Lakeland, FL 2017

.
Live On was commissioned by Diplomat Middle School's staff, faculty and students in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann's impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association. In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should depict Linda's personality - dynamic, sassy, yet thoughtful and almost mentor-like. They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher. After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey. That poem is entitled Live On by Chrissie Pinney. Live On Now as I live on Without you I hope to keep The pieces of you That I loved so dearly Your mannerisms And compassionate character And smiles through struggle So that you May live on too -Chrissie Pinney I reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann. The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece. After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work. It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On. -Larry Clark Lakeland, FL 2017.
Live On was commissioned by Diplomat Middle School's staff, faculty and students in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality - dynamic, sassy, yet thoughtful and almost mentor-like.” They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.  That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

100 Timeless Songs to Learn and Play. Edited by Happy Traum. Homespun Tapes. Bluegrass, Blues, Folk. Softcover. 136 pages. Duration 165 seconds. Published by Homespun

Choral SSAA choir

SKU: CF.CM9717

Composed by Mark Burrows. 8 pages. Duration 3 minutes, 7 seconds. Carl Fischer Music #CM9717. Published by Carl Fischer Music (CF.CM9717).

ISBN 9781491160961. UPC: 680160919567. Psalm 91:4-5.

The Lord will overshadow you with his pinions, and you will find refuge under his wings. His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart. What a blessing it is, especially during times of distress or uncertainty, to know that we aren't alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, It's okay. I've got you. It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong. The first word - scapulis - is translated as pinions. On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section - mm. 1-20 - encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort. In mm. 21-30 we have a new section where uncertainty grows. At this point the text - and you will find refuge under his wings - is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs: Alto I - Measure 22 the Ab in pennis, m. 26 the Bb in sperabis Soprano II - Measure 23 the A natural in pennis, m. 29 the C in sperabis Soprano I - Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress. The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase. The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance - Felix Mendelssohn's Lift Thine Eyes.
The Lord will overshadow you with his pinions,and you will find refuge under his wings.His faithfulness will encompass you with a shield. Psalm 91:4-5 To feel safe and to feel cared for, these are two of the great yearnings of the human heart.What a blessing it is, especially during times of distress or uncertainty, to know that we aren’t alone, that someone is reaching out to help us and even hold us. It could be a family member or a friend. It could be a still small voice whispering, “It’s okay. I’ve got you.” It could even be a loving community, like a choir, assuring us that we are known, that we are loved, that we belong.The first word – scapulis – is translated as “pinions.” On a bird, a pinion is the outer part of the wing, including the flight feathers. The opening measures, with a one-measure phrase followed be a three-measure phrase, are meant to evoke the image of wings unfurling to welcome in. All through this section – mm. 1-20 – encourage phrasing that is never hurried but moves with intention to the last stressed syllable of each phrase, before ebbing slightly. This section is all about reassurance and comfort.In mm. 21-30 we have a new section where uncertainty grows. At this point the text – and you will find refuge under his wings – is more aspirational than definitive. Leaning into non-chord tones will help make this feeling of uncertainty more palpable. Places where this occurs:Alto I – Measure 22 the Ab in pennis, m. 26 the Bb in sperabisSoprano II – Measure 23 the A natural in pennis, m. 29 the C in sperabisSoprano I – Measure 24 the C in pennis, m. 28 the D in sperabis The apex of the piece is at m. 30 where the yearning for comfort and assurance reaches its height, finding that comfort in the arrival back at Eb major in m. 39. The phrase veritas ejus (his faithfulness), with its triplet figure should flow gently, like a musical carress.The final reassurance occurs at m. 51 as we return to the melody, and the homophonic texture, of the opening. Even as the piece gets softer and softer, encourage the singers to keep energy moving through each phrase.The structure and feel of this piece was inspired by one of the all-time great settings of yet another Psalm of assurance – Felix Mendelssohn’s Lift Thine Eyes.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1 and more. - Grade 3

SKU: CF.CPS210

Composed by Sean O'Loughlin. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+16+8+16+32+32+8+8+8+8+ 8+8+16+16+16+8+8+12+12+12 +16+8+4+8+32+40+8 pages. Duration 3 minutes, 57 seconds. Carl Fischer Music #CPS210. Published by Carl Fischer Music (CF.CPS210).

ISBN 9781491152362. UPC: 680160909865.

A driving composition from Sean O'loughlin,?Commence!?beg ins with a spirited theme that oscillates between triple and duple meter. After developing into a heartfelt lush brass chorale, the lilting theme returns again. The composition concludes with a dramatic return of the B theme and a rousing finale. A beautiful piece,?Commence!?is a?strong choice for any contest or festival.

Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

.

Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

.
Co mmence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn. This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds. This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

Choral Children's choir, Piano

SKU: PR.312419290

From Terra Nostra. Composed by Stacy Garrop. Performance Score. 8 pages. Duration 2 minutes, 35 seconds. Theodore Presser Company #312-41929. Published by Theodore Presser Company (PR.312419290).

ISBN 9781491137932. UPC: 680160692620. Texts from The King James Bible, creation myths from India, North America, and Egypt; Edna St. Vincent Millay, Percy Bysshe Shelley, Walt Whitman, Lord Byron, Esther Iverem, William Wordsworth, Wendell Berry, Lord Alfred Tennyson, Charles Mackay, William .

Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?

Choral SSA choir

SKU: CF.CM9580

Composed by Richard Rasch. Arranged by Richard Rasch. Fold. Performance Score. 4 pages. Duration 2 minutes, 42 seconds. Carl Fischer Music #CM9580. Published by Carl Fischer Music (CF.CM9580).

ISBN 9781491154021. UPC: 680160912520. 6.875 x 10.5 inches. Key: D mixolydian. English, Latin. 15th Century Medieval Carol.

The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherds response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassthe distance between the highest and lowest noteis at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherdas response in the gospel of Luke 2:15, Transeamus. Latin phraseA translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compassathe distance between the highest and lowest noteais at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pari forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written. The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd's response in the gospel of Luke 2:15, Transeamus. Latin phrase translation source Alleluia Alleluia Laetabundus Res miranda A thing to be wondered at Laetabundus Pares forma of equal form Laetabundus Gaudeamus Let us rejoice! Gaudeamus Transeamus Let us go Luke 2:15 The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty. The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists. Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass--the distance between the highest and lowest note--is at its widest. The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.
The text of this poem is from the Trinity Carol Roll, an English manuscript housed at the Wren Library of Trinity College, Cambridge. It is originally in the Norfolk dialect of Middle English but has been modernized for use in this setting. Also, it's macaronic, meaning it combines words from two languages, the other being Latin which was in use by the church when this carol was written.The Latin phrases come from different parts of the Advent/Christmas liturgies; a sequence called Laetabundus, the title of an Introit antiphon called Gaudeamus, and the shepherd’s response in the gospel of Luke 2:15, Transeamus.Latin phrase  translation sourceAlleluia Alleluia LaetabundusRes miranda A thing to be wondered at LaetabundusPares forma of equal form LaetabundusGaudeamus Let us rejoice! GaudeamusTranseamus Let us go Luke 2:15The poet compares the Virgin Mary to a rose. She has a special place among all women in being chosen as the mother of Jesus, and likewise the rose has a special place among all flowers surpassing them in complexity and beauty.The music in this setting mimics the petals of a rose as it blooms. Imagine the petals unfurling over time as does the music which starts in unison for each verse and expands outward into two and three vocal lines with increasingly complex harmonic twists.Word painting is employed in several places but none are as important as the dramatic climax in the fourth verse where the shepherds along with all the angels in heaven proclaim Gloria in excelsis Deo (Glory to God on high). What a sound that must be! On these words the music reaches it loudest point as the sopranos rise to their highest note and the compass—the distance between the highest and lowest note—is at its widest.The setting is brought to a close as the five Latin phrases that finished each verse are repeated as a coda and musically summarize the five verses of the carol.

Orchestra

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS181

Composed by Peter Terry. Young String Orchestra. Set of Score and Parts. With Standard notation. 8+8+5+5+2+2+5+12 pages. Duration 2 minutes, 3 seconds. Carl Fischer Music #YAS181. Published by Carl Fischer Music (CF.YAS181).

ISBN 9781491151464. UPC: 680160908967. 9 x 12 inches. Key: B minor.

Peter Terry's The Lightning Catcher celebrates youth and the mysteries of summer nights. The wonder of lightning bugs and the hours spent chasing, catching, and releasing them back are childhood staples for many. With bold gestures and textures, this dramatic piece takes the audience back in time to the days of their youth.
The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories< span class=s2> of summer thunderstorms moving across the Great Lakes and a certain naive wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.

Peter Terry, 2018

.
The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories< span class=s2> of summer thunderstorms moving across the Great Lakes and a certain naA-ve wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.

Peter Terry, 2018

.
The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories< span class=s2> of summer thunderstorms moving across the Great Lakes and a certain naA-ve wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.

Peter Terry, 2018

.
The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories< span class=s2> of summer thunderstorms moving across the Great Lakes and a certain naive wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.

Peter Terry, 2018

.
The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories of summer thunderstorms moving across the Great Lakes and a certain naive wish that this too could be caught in a glass jar for later release. The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece. I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts. Peter Terry, 2018.
The Lightning Catcher is a piece that celebrates youth and the mysteries of a summer night. These mysteries include the wonder of lightning bugs: spending hours chasing them, catching them in jars and then releasing them back into the night, only to catch them again on another perfect night. Coupled with this experience are memories of summer thunderstorms moving across the Great Lakes and a certain naïve wish that this too could be caught in a glass jar for later release.The Lightning Catcher is a dramatic work with big, bold gestures and textures. Make sure that you reserve enough volume and energy to make the ending the biggest point in the piece.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.Peter Terry, 2018.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Spoons, Timpani, Trombone, Trumpet, Tuba, Washboard, Whistle, alto Saxophone and more. - Grade 2

SKU: CF.YPS231

Composed by Travis Weller. Folio. Yps. Set of Score and Parts. 8+2+8+2+2+5+2+2+8+4+3+3+2 +3+2+1+2+3+16 pages. Duration 2 minutes, 14 seconds. Carl Fischer Music #YPS231. Published by Carl Fischer Music (CF.YPS231).

ISBN 9781491157831. UPC: 680160916436. 9 x 12 inches.

The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk songa900 Milesaand they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song--900 Miles--and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song—900 Miles—and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience.While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region.The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Spoons, Timpani, Trombone, Trumpet, Tuba, Washboard, Whistle, alto Saxophone and more. - Grade 2

SKU: CF.YPS231F

Composed by Travis Weller. Sws. Yps. Full score. 16 pages. Duration 2 minutes, 14 seconds. Carl Fischer Music #YPS231F. Published by Carl Fischer Music (CF.YPS231F).

ISBN 9781491157824. UPC: 680160916429. 9 x 12 inches.

The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk songa900 Milesaand they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song--900 Miles--and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song—900 Miles—and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience.While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region.The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1 and more. - Grade 5

SKU: CF.SPS85

Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+28+28+14+14+4+14+14+7+2 4+28+28+8+4+8+8+14+8+9+12 +12+8+8+8+8+12+12+9+12+8+ 16+4+3+2+6+6+6+7+44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85. Published by Carl Fischer Music (CF.SPS85).

ISBN 9781491156421. UPC: 680160914968. 9 x 12 inches.

Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.
Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece” to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms” into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Crash Cymbals, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3 and more. - Grade 5

SKU: CF.SPS85F

Composed by Jeremy Martin. Sws. Sps. Full score. 44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85F. Published by Carl Fischer Music (CF.SPS85F).

ISBN 9781491156438. UPC: 680160914975. 9 x 12 inches.

Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.
Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece” to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms” into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.

Choral TBB chorus

SKU: CF.CM9588

Composed by Tomas Luis de Victoria. Arranged by Jeb Mueller. Fold. Performance Score. 8 pages. Duration 1 minute, 59 seconds. Carl Fischer Music #CM9588. Published by Carl Fischer Music (CF.CM9588).

ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.

Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.
TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,” which sounds similar to the English words bought and got. The letter “t” should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s” should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.

By John Cage (1912-1992). For for any instrument or combination of instruments. Modern. Sheet Music. Composed 1952. Duration 4 minutes 33 seconds. Published by Edition Peters

Woodwinds (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0.0. - 0.2.0.0. - timp - str - bc)

SKU: BR.EOS-8063-30

Hail! Bright Cecilia. Composed by Henry Purcell. Stapled. Eulenburg Orchestral Series. Renaissance/early Baroque; Baroque. Set of parts. 40 pages. Duration 60'. Breitkopf and Haertel #EOS 8063-30. Published by Breitkopf and Haertel (BR.EOS-8063-30).

ISBN 9790004789827. 8.5 x 11.5 inches.

The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause.
(The Gentlemen's Journal, 1692)

The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.
(Christop her Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2.5

SKU: CF.YPS212

Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8 +12+6+6+2+2+4+10+20+4 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #YPS212. Published by Carl Fischer Music (CF.YPS212).

ISBN 9781491152317. UPC: 680160909810. Key: C minor.

Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.
Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.” They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.  That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.

Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Piano, Piccolo, Timpani and more. - Grade 4

SKU: CF.SPS93

For Those Who Continue to Rise. Composed by Travis Weller. Set of Score and Parts. 30+2+12+12+4+12+12+12+4+4 +4+4+4+4+6+6+6+8+9+9+6+9+ 6+6+4+2+2+9+4+12+4 pages. Duration 6 minutes, 10 seconds. Carl Fischer Music #SPS93. Published by Carl Fischer Music (CF.SPS93).

ISBN 9781491159774. UPC: 680160918362.

Adver sity, in any form at any point of our lives, can be absolutely debilitating mentally, physically, emotionally and spiritually. In the midst of hard times, it is difficult to imagine what our lives will look like on the other side of the adversity we are facing. Yet so many of us carry on, move forward, and rise above determined to never be defined by our circumstances. For some their personal faith, support from family, or relationship to friends provides the necessary fuel for the resilience they need to rise above adversity. It is amazing when a group of people are able to come together to overcome a common obstacle. With this in mind, I put to music that spirit of rising above for the Liberty High School Band and their director Michael Summers. Northeast Ohio has seen its share of prosperity and significant times of hardship along many different fronts. I still see resilient leaders, community members, and educators like Mike who continue to fight for what is best and what is right. The debut of this work, like so many other things, was interrupted in the spring of 2020. Now on the precipice of a new beginning for many band programs across the country, all of us in instrumental music education must summon resilience to ensure our groups recover, grow and flourish. The rising major second represents us all taking the first step forward in good and difficult times. The adversity (tension) arrives in various ways harmonically throughout the work. Tension can make us lose sense of where we are on our journey and rob us of our ability to imagine getting through our current situation. But I am reminded that not all tension is bad. Given enough time and enough resolution, we can often make sense of the adversity. We can recognize that the adversity taught us something about ourselves we didn't know, or perhaps challenged us to grow in a way we didn't think possible. Either way, it does not happen unless we possess resilience. I thank you in advance for your support of this music and wish you and your group the very best moving forward with Resilience.
Adversity, in any form at any point of our lives, can be absolutely debilitating mentally, physically, emotionally and spiritually. In the midst of hard times, it is difficult to imagine what our lives will look like on the other side of the adversity we are facing. Yet so many of us carry on, move forward, and rise above determined to never be defined by our circumstances.For some their personal faith, support from family, or relationship to friends provides the necessary fuel for the resilience they need to rise above adversity. It is amazing when a group of people are able to come together to overcome a common obstacle. With this in mind, I put to music that spirit of rising above for the Liberty High School Band and their director Michael Summers. Northeast Ohio has seen its share of prosperity and significant times of hardship along many different fronts. I still see resilient leaders, community members, and educators like Mike who continue to fight for what is best and what is right. The debut of this work, like so many other things, was interrupted in the spring of 2020. Now on the precipice of a new beginning for many band programs across the country, all of us in instrumental music education must summon resilience to ensure our groups recover, grow and flourish. The rising major second represents us all taking the first step forward in good and difficult times. The adversity (tension) arrives in various ways harmonically throughout the work. Tension can make us lose sense of where we are on our journey and rob us of our ability to imagine getting through our current situation. But I am reminded that not all tension is bad. Given enough time and enough resolution, we can often make sense of the adversity. We can recognize that the adversity taught us something about ourselves we didn’t know, or perhaps challenged us to grow in a way we didn’t think possible. Either way, it does not happen unless we possess resilience.I thank you in advance for your support of this music and wish you and your group the very best moving forward with Resilience.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS105

Composed by Bud Woodruff. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 8+8+2+5+5+2+5+8 pages. Duration 1 minute, 46 seconds. Carl Fischer Music #FAS105. Published by Carl Fischer Music (CF.FAS105).

ISBN 9781491151365. UPC: 680160908868. 9 x 12 inches. Key: B minor.

Composer Bud Woodruff continues to present compositions that students will love to perform and will learn from playing. The title, Dorian's Barn has a unique double meaning in that it is dedicated to a man named Dorian and it is in the Dorian mode. The addition of the word 'barn' in the title also adds to the music a fun country backwoods aesthetic.

I had promised a piece for my valued friend, Dorian Barnes, in exchange for some repair work he performed on my violin at an inconvenient time for him. He is a very gifted luthier, which is a very ancient craft, and in addition to carving modern instruments, he has also carved more archaic stringed instrument. So I wanted to write a piece that captured the gist of what those original instruments might have performed.

The title Dorian's Barn is a twist on his name (Dorian Barnes), but also gave a good bit of inspiration to the piece, too. There are many ancient, deserted, old barns where I live, and they are all wonderfully made, but there is no telling what one might find inside of one of them. There is a real sense of mystery one feels when approaching one for the first time, and I wanted to capture that feeling in the music, too. It turns out that there was an old barn on the land where Dorian grew up, and that image has really stuck in his mind, too.

As a further twist on Dorian's name, the piece is primarily in the E-Dorian mode.

.

I had promised a piece for my valued friend, Dorian Barnes, in exchange for some repair work he performed on my violin at an inconvenient time for him. He is a very gifted luthier, which is a very ancient craft, and in addition to carving modern instruments, he has also carved more archaic stringed instrument. So I wanted to write a piece that captured the gist of what those original instruments might have performed.

A The title Dorian's BarnA is a twist on his name (Dorian Barnes), but also gave a good bit of inspiration to the piece, too. There are many ancient, deserted, old barns where I live, and they are all wonderfully made, but there is no telling what one might find inside of one of them. There is a real sense of mystery one feels when approaching one for the first time, and I wanted to capture that feeling in the music, too. It turns out that there was an old barn on the land where Dorian grew up, and that image has really stuck in his mind, too.

A As a further twist on Dorian's name, the piece is primarily in the E-Dorian mode.

.

I had promised a piece for my valued friend, Dorian Barnes, in exchange for some repair work he performed on my violin at an inconvenient time for him. He is a very gifted luthier, which is a very ancient craft, and in addition to carving modern instruments, he has also carved more archaic stringed instrument. So I wanted to write a piece that captured the gist of what those original instruments might have performed.

A The title Dorian's BarnA is a twist on his name (Dorian Barnes), but also gave a good bit of inspiration to the piece, too. There are many ancient, deserted, old barns where I live, and they are all wonderfully made, but there is no telling what one might find inside of one of them. There is a real sense of mystery one feels when approaching one for the first time, and I wanted to capture that feeling in the music, too. It turns out that there was an old barn on the land where Dorian grew up, and that image has really stuck in his mind, too.

A As a further twist on Dorian's name, the piece is primarily in the E-Dorian mode.

.

I had promised a piece for my valued friend, Dorian Barnes, in exchange for some repair work he performed on my violin at an inconvenient time for him. He is a very gifted luthier, which is a very ancient craft, and in addition to carving modern instruments, he has also carved more archaic stringed instrument. So I wanted to write a piece that captured the gist of what those original instruments might have performed.

The title Dorian's Barn is a twist on his name (Dorian Barnes), but also gave a good bit of inspiration to the piece, too. There are many ancient, deserted, old barns where I live, and they are all wonderfully made, but there is no telling what one might find inside of one of them. There is a real sense of mystery one feels when approaching one for the first time, and I wanted to capture that feeling in the music, too. It turns out that there was an old barn on the land where Dorian grew up, and that image has really stuck in his mind, too.

As a further twist on Dorian's name, the piece is primarily in the E-Dorian mode.

.
I had promised a piece for my valued friend, Dorian Barnes, in exchange for some repair work he performed on my violin at an inconvenient time for him. He is a very gifted luthier, which is a very ancient craft, and in addition to carving modern instruments, he has also carved more archaic stringed instrument. So I wanted to write a piece that captured the gist of what those original instruments might have performed. The title Dorian's Barn is a twist on his name (Dorian Barnes), but also gave a good bit of inspiration to the piece, too. There are many ancient, deserted, old barns where I live, and they are all wonderfully made, but there is no telling what one might find inside of one of them. There is a real sense of mystery one feels when approaching one for the first time, and I wanted to capture that feeling in the music, too. It turns out that there was an old barn on the land where Dorian grew up, and that image has really stuck in his mind, too. As a further twist on Dorian's name, the piece is primarily in the E-Dorian mode.
I had promised a piece for my valued friend, Dorian Barnes, in exchange for some repair work he performed on my violin at an inconvenient time for him. He is a very gifted luthier, which is a very ancient craft, and in addition to carving modern instruments, he has also carved more archaic stringed instrument. So I wanted to write a piece that captured the gist of what those original instruments might have performed. The title Dorian's Barn is a twist on his name (Dorian Barnes), but also gave a good bit of inspiration to the piece, too. There are many ancient, deserted, old barns where I live, and they are all wonderfully made, but there is no telling what one might find inside of one of them. There is a real sense of mystery one feels when approaching one for the first time, and I wanted to capture that feeling in the music, too. It turns out that there was an old barn on the land where Dorian grew up, and that image has really stuck in his mind, too. As a further twist on Dorian's name, the piece is primarily in the E-Dorian mode.

Basso (cello/double bass) (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0.0. - 0.2.0.0. - timp - str - bc)

SKU: BR.EOS-8063-26

Hail! Bright Cecilia. Composed by Henry Purcell. Stapled. Eulenburg Orchestral Series. Renaissance/early Baroque; Baroque. Part. 20 pages. Duration 60'. Breitkopf and Haertel #EOS 8063-26. Published by Breitkopf and Haertel (BR.EOS-8063-26).

ISBN 9790004789810. 8.5 x 11.5 inches.

The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause.
(The Gentlemen's Journal, 1692)

The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.
(Christop her Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Chorus (with soloists) and piano (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0.0. - 0.2.0.0. - timp - str - bc)

SKU: BR.ED-10296

Hail! Bright Cecilia. Composed by Henry Purcell. Edited by Christopher Hogwood. Choir; stapled. Renaissance/early Baroque; Baroque. Piano/Vocal Score. 80 pages. Duration 60'. Breitkopf and Haertel #ED 10296. Published by Breitkopf and Haertel (BR.ED-10296).

ISBN 9790220101977. 7.5 x 11 inches.

The Ode was admirably set by Mr. Henry Purcell, and performed twice with universal applause.
(The Gentlemen's Journal, 1692)

The popularity of Purcell's setting is apparent from the many sources that survive and from the printed extracts which appeared almost immediately after its first performance. The primary source for this edition is the largely autograph manuscript in the Bodleian Library. Rather to reduce the orthography to a norm, the capitalization of the vocal text favours Purcell's preferences.
(Christop her Hogwood) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Gong, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 4

SKU: CF.SPS95

December 7, 1941. Composed by Christina Huss R. Alan Carter. Sps. Set of Score and Parts. 2+16+4+8+8+8+4+4+4+4+4+4+ 6+6+6+4+4+4+4+6+6+6+6+4+6 +6+2+4+8+2+28 pages. Duration 6 minutes, 45 seconds. Carl Fischer Music #SPS95. Published by Carl Fischer Music (CF.SPS95).

ISBN 9781491161302. UPC: 680160919895.

Writt en to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the date which will live in infamy- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath. The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Aweigh, the mood seems to change, foreshadowing the fate of the U.S. fleet. Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished. Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People. You may want to consider using portions of Franklin Delano Roosevelt's famous speech to enhance your performance. The following sections are suggested: Measure 46: Yesterday, December 7th, 1941 - a date which will live in infamy - the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan. Measure 83: The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost. Measure 105: No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory..
Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the “date which will live in infamy”- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath.The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Aweigh, the mood seems to change, foreshadowing the fate of the U.S. fleet.  Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished.Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People.You may want to consider using portions of Franklin Delano Roosevelt’s famous speech to enhance your performance.  The following sections are suggested:Measure 46: “Yesterday, December 7th, 1941 – a date which will live in infamy – the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan.”Measure 83: “The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost.”Measure 105: “No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.”.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Gong, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 4

SKU: CF.SPS95F

December 7, 1941. Composed by Christina Huss R. Alan Carter. Sps. Full score. 28 pages. Duration 6 minutes, 45 seconds. Carl Fischer Music #SPS95F. Published by Carl Fischer Music (CF.SPS95F).

ISBN 9781491161845. UPC: 680160920525.

Writt en to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the date which will live in infamy- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath. The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Away, the mood seems to change, foreshadowing the fate of the U.S. fleet. Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished. Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People. You may want to consider using portions of Franklin Delano Roosevelt's famous speech to enhance your performance. The following sections are suggested: Measure 46: Yesterday, December 7th, 1941 - a date which will live in infamy - the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan. Measure 83: The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost. Measure 105: No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory..
Written to commemorate the 80th Anniversary of the surprise attack on the American Pacific Fleet, Remembering Pearl Harbor is a stirring tribute honoring the heroes of the “date which will live in infamy”- December 7, 1941. Like flying over the Pacific, the opening bars seemingly soar back in time. The composition takes the listener on a moving journey from the precarious moments before the fateful attack, through the air strike and resulting aftermath.The musical voyage begins with chimes, signifying the hour of the attack that Sunday morning, developing into the heroic main theme representing the Spirit of America. A rousing version of Anchors Aweigh takes us to the naval base at Pearl Harbor and the activities of the day. By the end of Anchors Away, the mood seems to change, foreshadowing the fate of the U.S. fleet.  Next, the haunting theme of the Japanese National Anthem is heard and the distant sound of propellers as they approach. When the planes arrive, the battle rages until there is total destruction. Countless people lost their lives on this tragic day. The playing of Taps and the Navy Hymn, Eternal Father, Strong to Save is presented as an homage to those who perished.Following this solemn moment, the American spirit begins to rise as they come together to defeat the enemy. As the U.S. triumphs in the end, we hear fragments of many American tunes depicting the strength and resilience of the American People.You may want to consider using portions of Franklin Delano Roosevelt’s famous speech to enhance your performance.  The following sections are suggested:Measure 46: “Yesterday, December 7th, 1941 – a date which will live in infamy – the United States of America was suddenly and deliberately attacked by the naval and air forces of the Empire of Japan.”Measure 83: “The attack yesterday on the Hawaiian Islands has caused severe damage to American naval and military forces. I regret to tell you that very many American lives have been lost.”Measure 105: “No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory.”.

Choral SSA Choir, piano, flute

SKU: CF.CM9583

Composed by Christopher Gabel. Sws. Performance Score. 20 pages. Duration 4 minutes, 9 seconds. Carl Fischer Music #CM9583. Published by Carl Fischer Music (CF.CM9583).

ISBN 9781491154052. UPC: 680160912551. 6.875 x 10.5 inches. Key: Eb major. English. Thomas Moore (1779-1852).

Thomas Moore (17791852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Filld with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasures dream is gone, Its memory lives in Musics breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendships balmy words may feign, Loves are even more false than they; Oh! tis only musics strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.
Thomas Moore (1779a1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music a Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fillad with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasureas dream is gone, Its memory lives in Musicas breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendshipas balmy words may feign, Loveas are even more false than they; Oh! atis only musicas strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.
Thomas Moore (1779-1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music - Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fill'd with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasure's dream is gone, Its memory lives in Music's breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendship's balmy words may feign, Love's are even more false than they; Oh! 'tis only music's strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.
Thomas Moore (1779-1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song. We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life? On Music - Thomas Moore When through life unblest we rove, Losing all that made life dear, Should some notes we used to love, In days of boyhood, meet our ear, Oh! how welcome breathes the strain! Wakening thoughts that long have slept, Kindling former smiles again In faded eyes that long have wept. Like the gale, that sighs along Beds of oriental flowers, Is the grateful breath of song, That once was heard in happier hours. Fill'd with balm the gale sighs on, Though the flowers have sunk in death; So, when pleasure's dream is gone, Its memory lives in Music's breath. Music, oh, how faint, how weak, Language fades before thy spell! Why should Feeling ever speak, When thou canst breathe her soul so well? Friendship's balmy words may feign, Love's are even more false than they; Oh! 'tis only music's strain Can sweetly soothe, and not betray. Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.
Thomas Moore (1779–1852) was an Irish poet, singer, songwriter and entertainer. In his poem, On Music, Moore emphasizes the power that music has in our lives and the ability it has to evoke memories and feelings from the past. Music transcends that which can be spoken or felt. The beauty of making music together is to establish meaningful connections with others and to share a common language through song.We are reminded, however, that relationships with each other can be fluid or unstable, but as the words of the poem remind us, music will not betray. No matter the experiences that we face, the relationships that we foster, or the memories that we create, music will always be there for us in times of need and in times of celebration. What does music mean to you? How does it enrich your life?On Music – Thomas MooreWhen through life unblest we rove,Losing all that made life dear,Should some notes we used to love,In days of boyhood, meet our ear,Oh! how welcome breathes the strain!Wakening thoughts that long have slept,Kindling former smiles againIn faded eyes that long have wept.Like the gale, that sighs alongBeds of oriental flowers,Is the grateful breath of song,That once was heard in happier hours.Fill’d with balm the gale sighs on,Though the flowers have sunk in death;So, when pleasure’s dream is gone,Its memory lives in Music’s breath.Music, oh, how faint, how weak,Language fades before thy spell!Why should Feeling ever speak,When thou canst breathe her soul so well?Friendship’s balmy words may feign,Love’s are even more false than they;Oh! ’tis only music’s strainCan sweetly soothe, and not betray.Note to the performer: Liberty can be taken with the tempo markings and rubato should be used throughout in order to further stress the beauty and significance of the text. With its vocal-like descant, the flute should be treated as an additional voice rather than mere accompaniment to enhance the texture of the piece.

Chorus (with soloists) and piano (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0.0.0. - vl.2va.vc/db)

SKU: BR.ED-12658

Requiem. Composed by Andre Campra. Edited by Jean-Paul Montagnier. Choir; Softbound. Mass; Requiem; Baroque. Piano/Vocal Score. 70 pages. Duration 55'. Breitkopf and Haertel #ED 12658. Published by Breitkopf and Haertel (BR.ED-12658).

ISBN 9790220121760. 7.5 x 11 inches.

Among Campra's Latin works, the ,Messe de mort' is perhaps one of the more successful and today it is one of the more frequently performed. It is also the most enigmatic score of his entire output. Despite extensive researches, no evidence of any sort has yet been brought to light to document its origin, purpose, date of composition, first performance or reception. A stylistic analysis indubitably supports the contention that the ,Messe de mort' is a late work, composed perhaps between 1722 and 1729.
The present edition is based on the manuscript from the Bibliotheque Nationale de France (Paris). It it the oldest known source of the work. The very few errors have been corrected.
(Jean-Paul Montagnier) Vokalensemble Stuttgart und den Kammerchor des Kopernikus-Gymnasiums Wasseralfingen. Fur diese beiden ganz unterschiedlichen Chorformationen hat Martin Smolka 2012 auch gezielt seine Partitur angelegt. Biografisch ist das Agnus Dei eine Art kleines Requiem fur seinen kurz zuvor verstorbenen Vater. Das liturgische Agnus Dei rahmt den deutschen Text Eh das Madchen entschlief ... der bei Auffuhrungen in anderen Landern durch eine Ubersetzung ersetzt werden soll.

Der SWR-Redakteur Hans-Peter Jahn schreibt dazu im Programmheft: Die fur Smolka typischen minimalistischen Taktzellen schaffen eine archaische Sinnlichkeit. Eine einfache und zugleich streng gebaute Vokalmusik mit Tiefenwirkung.

Nac h der Urauffuhrung war die Esslinger Zeitung hellauf begeistert: Smolka ist ein Meister der Stimmbehandlung und der chorischen Klanggestaltung. Im Zentrum des Stucks gerat die Musik zum Stillstand: im leisen gleichmassigen Summen uber dem plotzlich fortissimo ein tschechisches Kinderlied erklingt eines das der Vater seinen Kindern haufig vorgesungen hat. Das alles war sehr beruhrend. Und eigentlich noch mehr als das. My father PhDr. Jaroslav Smolka (1933-2011) was a leading Czech musicologist author of books Czech Cantata and Oratorium Fuga in Czech Music Smetana's Orchestra Music Smetana's Vocal Music monography of Jan Dismas Zelenka and many others. He was a legendary teacher of Music History at Prague Music Academy critic recording producer composer; for almost 50 years he was an important and highly respected personality of Prague musical life.
My father devoted a lot of time and energy to musical education and activities of my sister and me using often quite original methods such as teaching of intervals and counterpoint through Bartok's Microcosmos ear training filling all imaginable moments of everyday life or lessons of harmony analysis starting with Overture to Tristan and Musorgsky's Catacombs. The Martinu song Wondering Maiden was his solo number in our home vocal productions which he used to sing with amazing devotion while his huge voice was audible in several neighboring streets.
My Agnus Dei is closely bound to all this history e.g. by using canon and preferring beauty of dissonant seconds like Bartok or quoting Martinu and his refined neoclassical harmony. Father would be probably a bit critical about the minimalistic monotony of the main body of the piece. Nevertheless firstly he would improvise a short lecture of history of Agnus Dei in Requiem in Czech Music naming by heart many dates and all examples of changes of order of the traditional text by composers. Examples would be sung probably.
(Martin Smolka).