By Various. Arranged by Brian Balmages and Ryan Fraley. For trombone. Sensational Solos!. Christmas. Grade 2.5. Solo book and play-a-long CD. Composed 2009

Score and Parts Cello; Clarinet; Viola; Voice (Score & Parts)

SKU: HL.48014976

For Baritone Voice, Clarinet, Viola and Violoncello. Composed by Hans Krá and sa. This edition: M202517284. Boosey & Hawkes Voice. Classical, Contemporary. 20 pages. Bote & Bock #M202517284. Published by Bote & Bock (HL.48014976).

UPC: 073999474251. 9.25x12.25x0.102 inches.

Contents: Quatrain (The Star Wept) * Sensation * Friends.

Vocal and Piano - Grade 2

SKU: HL.14030378

Composed by Borge Muller and Kai Normann Andersen. Music Sales America. TV-Film-Musical-Show. Score. Composed 2005. Edition Wilhelm Hansen #WH24286. Published by Edition Wilhelm Hansen (HL.14030378).

ISBN 9788759879238.

Song s by Kai Normann Andersen from the film Skaf En Sensation (1934) . Text by Borge Mü,ller.

(1 Piano, 4 Hands/Mid-Intermediate Level). By Glenda Austin. Willis. Mid-Intermediate. Published by Willis Music

By Various. Arranged by Brian Balmages and Ryan Fraley. For trumpet. Sensational Solos!. Christmas. Grade 2.5. Solo book and play-a-long CD. Composed 2009

By Various. Arranged by Brian Balmages and Ryan Fraley. For tenor saxophone. Sensational Solos!. Christmas. Grade 2.5. Solo book and play-a-long CD. Composed 2009

By Various. Arranged by Brian Balmages and Ryan Fraley. For alto saxophone. Sensational Solos!. Christmas. Grade 2.5. Solo book and play-a-long CD. Composed 2009

By Various. Arranged by Brian Balmages and Ryan Fraley. For flute. Sensational Solos!. Christmas. Grade 2.5. Solo book and play-a-long CD. Composed 2009

By Various. Arranged by Brian Balmages and Ryan Fraley. For violin. Sensational Solos!. Christmas. Grade 3. Solo book and play-a-long CD. Composed 2009

By Various. Arranged by Brian Balmages and Ryan Fraley. For Bb clarinet. Sensational Solos!. Christmas. Grade 2.5. Solo book and play-a-long CD. Composed 2009

By Various. Arranged by Brian Balmages and Ryan Fraley. For piano. Sensational Solos!. Christmas. Accompaniment book. Composed 2009

Saxophone

SKU: ST.C255

Composed by Helen Madden. Wind & brass music. Clifton Edition #C255. Published by Clifton Edition (ST.C255).

ISBN 9790570812554.

20 Sensational Saxophone Studies for Saxophone contains a combination of musical styles, including jazz and modern classical. The book takes the player from grade 1 to 8. Each study is written with a particular focus in mind; be it a rhythmic, technical or genre specific focus, each one is written with a clear purpose and with the intention of helping the player progress to the next level.
Grades 5–8
Former Spartan Press Cat. No.: SP1254.

Guitar solo - Advanced

SKU: DZ.DZ-4283

Composed by Alfredo Franco. Arranged by Cristiano Porqueddu. Score. Les Productions d'OZ #DZ 4283. Published by Les Productions d'OZ (DZ.DZ-4283).

ISBN 9782898522000.

The writing of this piece arose from seeing Goya's painting Un pavo muerto an unadorned oil painting where a turkey and a wicker basket rest on an indistinct black background.
Fantasizin g about making a harpsichord fantasy (I wrote a double stave version of the piece), how to evoke and decline the sensations felt at the glance, musically? Through, I thought, the use of a particularly dark and passionate mode, culturally and emotionally akin to the tones and features of the great Spanish painter's painting. Unlike my usual type of writing, often susceptible to unexpected disturbances, I forced myself to use almost exclusively the notes of the modal scale in different combinations, and in the middle section of the piece to employ them by transforming them into brighter modes (to let some light filter through).
A composition that also features some rather explicit moments of instrumental virtuosity, ideally thought of as possible offshoots of a hellish fandango.
- Alfredo Franco, January 2024

«L'écriture de cette pièce est née de la contemplation du tableau de Goya Un pavo muerto, une simple peinture à l'huile où une dinde et un panier en osier reposent sur un fond noir indistinct. En rêvant de composer une fantaisie pour clavecin (j'ai écrit une version à double portée de la pièce), comment évoquer et traduire musicalement les sensations ressenties au premier regard ? J'ai pensé que cela pourrait se faire en utilisant un mode particulièrement sombre et passionné, culturellement et émotionnellement proche des tons et des caractéristiques de la grande peinture espagnole du maître. Contrairement à mon style habituel, souvent sujet à des perturbations inattendues, je me suis imposé d'utiliser presque exclusivement les notes de la gamme modale dans différentes combinaisons, et dans la section centrale de la pièce, de les transformer en modes plus lumineux (pour laisser filtrer un peu de lumière).
Une composition qui comporte également quelques moments assez explicites de virtuosité instrumentale, idéalement pensés comme des dérivations possibles d'un fandango infernal.»
- Alfredo Franco, janvier 2024.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 0.5

SKU: CF.PAS20

Composed by Traditional. Arranged by Larry Clark. SWS FS. Primer String Orchestra. Set of Score and Parts. With Standard notation. 8+2+5+5+5+2+8+8 pages. Duration 2 minutes, 54 seconds. Carl Fischer Music #PAS20. Published by Carl Fischer Music (CF.PAS20).

ISBN 9781491146354. UPC: 680160903856. 9 x 12 inches. Key: D major.

Take lots of familiar Christmas tunes, mix them all together, and you have  Christmas Mash-Up. The setting is ideal for young players with the most difficult rhythm being a quarter note. This piece is perfect for highlighting the developing skills of the young orchestra.
Take lots of familiar Christmas tunes, mix them all together you have Christmas Mash-Up. It is set for the youngest of players and the most difficult rhythm is a quarter note. The piece is perfect to highlight developing skills at the winter or holiday concert. Mash-ups have become a pop culture sensation, and it is my hope that your audience and especially the parents will think your orchestra is a sensation at their concert!You might want to engage the audience in this one and have them try and recognize how many Christmas carols are used in the piece. There are seven: Jingle Bells, Up On the Housetop, Good King Wenceslas, Angels We Have Heard On High, Here We Come A Wassailing, O Come, Little Children, and Deck The Halls.It has been my pleasure to have the opportunity to write this piece.  I hope you and your students enjoy it and find it useful for your program.—LARRY CLARKLakeland, FL 2017.

Alto, Mixed choir (SATB), Piano

SKU: BA.BA11309

Composed by Camille Saint-Saens. Edited by Christina M. Stahl. This edition: urtext edition. Paperback. Score. Baerenreiter Verlag #BA11309. Published by Baerenreiter Verlag (BA.BA11309).

ISBN 9790006577705. 27 x 19 cm inches. Text Language: English.

It is a small music history sensation: Thanks to Yves Grard an unknown and unpublished manuscript penned by Camille Saint-Saëns has been unearthed in the Mdiathèque Jean Renoir in Dieppe in France.

It is the top four instrumental parts which make this manuscript something of a sensation. Placed under each other are â??Saxophone Soprano en Si bâ?, â??Saxophone Alto en Mi bâ?, â??Saxophone Tnor en Si bâ? and â??Saxophone Baryton en Mi bâ?, strings, soprano solo with chorus and organ. Musical history has hitherto credited Jean-Baptiste Singele (1812â??1875) with having written the first saxophone quartet, his opus 53, which he completed in 1857. Now this historiography clearly has to be revised. The date 1854 has been found under the first page of the treasure from Dieppe, which is pasted over and also sewn, meaning that Saint-Saënsâ?? work was written three years earlier than that of Singele.

In contrast to Singele, Saint-Saëns does not have the wind instruments taking solo parts but rather uses their tonal colour to depict textual moods and nuances. On the one hand the saxophones accompany the choral parts (certainly singable by amateurs) and support the human voices in fugal passages. On the other hand, they take the melody in the purely orchestral passages.

Saint-Sa ëns wrote the motet in the period when he had taken up his first permanent appointment as organist at the Church of Saint-Merri in Paris. He revised the work several times over the decades, changing the motifs at the beginning, correcting obvious mistakes, reworking the ending, eventually changing the instrumentation several times and even â?? probably in the final stage â?? replacing the Latin text with an English one. Today, three-and-a-half versions have been handed down, one of them stopping after just a few pages. The compositional steps have been successfully reconstructed by means of detailed detective work. Furthermore, the first saxophone version (BA 11305) and the last English piano version (BA 11309) have been edited to produce a scholarly-critical edition.

The present edition of the English version for soprano solo, choir and piano (BA 11309) serves both as a full score and as a vocal score due to the instrumentation.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

Piano Trio

SKU: BR.EB-9382

Composed by Shen Ye. Chamber music; stapled. Edition Breitkopf. Music post-1945; New music (post-2000). Score. Composed 2011. 64 pages. Duration 17'. Breitkopf and Haertel #EB 9382. Published by Breitkopf and Haertel (BR.EB-9382).

ISBN 9790004188521. 9 x 12 inches.

This work was commissioned by the Phoenix Concerts of New York State Council. I clarified that I tend to provide sensation, instead of telling a story under the frame of the Folk Tale Project. It's the sensation of a traveller, stranger, geographical, temporal or cultural, while he/she reaches a new spot just with his/her memories, knowledges and songs. The work Five Folk Songs is about exploration and integration. Folk song is just like the goblet. Every time it is refilled, the fragrance of wine is different. From the goblet she drinks Muscat. Happy or sad in her heart fulfilled? It is also variant. The Five Folk Songs could be listened to paradigmatically. You may notice that essentially the Folk Songs are like the wine bottles, Bartok, Brahms, Berio..., composers pour their thinking and consciousness into. (SHEN Ye)

World premiere: New York City, Church of St. Matthew & St. Timothy, December 9, 2011.

Composed by David Leisner (1953-). Sws. Duration 10 minutes. Theodore Presser Company #144-40721. Published by Theodore Presser Company

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.

Beginner - Advanced. Rock House. Softcover Media Online. 152 pages. Published by Hal Leonard

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.

Violin 1 (solos: STB - choir: SATB - 3.2.2.2.dble bsn - 2.2.3.0. - timp - str - bc)

SKU: BR.OB-4381-15

Oratorio. Composed by Franz Joseph Haydn. Stapled. Orchester-Bibliothek (Orchestral Library).

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic spher. Oratorio/passion; Classical. Part. 32 pages. Duration 120'. Breitkopf and Haertel #OB 4381-15. Published by Breitkopf and Haertel (BR.OB-4381-15).

ISBN 9790004306802. 10 x 12.5 inches.

Following sensationally acclaimed premiere performances in Vienna, The Creation was published in several languages and by various publishing houses, including Breitkopf & Hartel in Leipzig. We now know that a continuo instrument was used for Haydn's oratorio as premiered in Vienna. The supplementary continuo part enables an historically accurate reproduction for the first time: the harpsichord (and, increasingly, the pianoforte) fulfilled the important continuo function in the orchestras of the time.

In the late 18th century, Joseph Haydn composed a choral work - The Creation - which set the standard for the sacred oratorio genre that stood long after the Viennese classical era and far beyond the boundaries of the German linguistic sphere.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani and more. - Grade 3

SKU: CF.CPS170F

Composed by Yukiko Nishimura. SWS. Full score. 28 pages. Duration 4 minutes, 3 seconds. Carl Fischer Music #CPS170F. Published by Carl Fischer Music (CF.CPS170F).

ISBN 9781491140840. UPC: 680160628902. 9 x 12 inches.

The music of Sailing is characterized by an atmosphere that is vibrant and full of energy. The piece depicts a ship's journey on the ocean, the colors of which can readily change from a rich, welcoming blue to a dark, menacing gray. Sometimes the ship is sprayed by the waves; sometimes the ship floats blithely along a sea of tranquility. Articulations play a prominent role in this piece, with a combination of staccatos and slurs expressing sensations of happiness and joy in the ocean journey. It's the next best thing to experiencing the ocean firsthand!

By Percy Aldridge Grainger (1882-1961). Arranged by Douglas E. Wagner. Concert Band. Concert Band. Belwin Symphonic Band. 20th Century. Grade 4. Conductor Score and Parts. 252 pages. Duration 2:31. Published by Belwin Publishing