Piano. Composed by Claude Debussy (1862-1918). Edited by Wilhelm Ohmen. This edition: Saddle stitching. Sheet music. Edition Schott - Single Edition. Classical. Softcover. 32 pages. Schott Music #ED09859. Published by Schott Music

Composed by Kevin A. Memley. Arranged by Vaclav Pokorny. Sheet music. Pavane Secular. Octavo. 12 pages. Pavane Publishing #P1607. Published by Pavane Publishing

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

SKU: CF.FAS108F

Composed by Bud Woodruff. First-Plus String Orchestra (FAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #FAS108F. Published by Carl Fischer Music (CF.FAS108F).

ISBN 9781491151761. UPC: 680160909261. 9 x 12 inches.

Annie's Gone Home, composed in the style of a spiritual, was written as a tribute to composer Bud Woodruff's mother. The tune is built on phrases of easily understandable material, but the poignant nature of the piece is marked with profundity. From the subtle bass solo to the emotional high points, the piece is inspired by this strong woman in the life of the composer.

Annies Gone Home is a tribute to my Mother, Annette Fenner Hains (19232017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.
Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.
Annie� �s Gone Home is a tribute to my Mother, Annette Fenner Hains (1923–2017). Her siblings and cousins always called her “Annie.” She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

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

SKU: CF.FAS108

Composed by Bud Woodruff. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 8+8+5+5+2+5+2+8 pages. Duration 3 minutes, 21 seconds. Carl Fischer Music #FAS108. Published by Carl Fischer Music (CF.FAS108).

ISBN 9781491151396. UPC: 680160908899. 9 x 12 inches. Key: D major.

Annie's Gone Home, composed in the style of a spiritual, was written as a tribute to composer Bud Woodruff's mother. The tune is built on phrases of easily understandable material, but the poignant nature of the piece is marked with profundity. From the subtle bass solo to the emotional high points, the piece is inspired by this strong woman in the life of the composer.

Annies Gone Home is a tribute to my Mother, Annette Fenner Hains (19232017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annieas Gone HomeA is a tribute to my Mother, Annette Fenner Hains (1923a2017). Her siblings and cousins always called her aAnnie.a She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.

Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.

While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

.
Annie's Gone Home is a tribute to my Mother, Annette Fenner Hains (1923-2017). Her siblings and cousins always called her Annie. She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals. While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.
Annie� �s Gone Home is a tribute to my Mother, Annette Fenner Hains (1923–2017). Her siblings and cousins always called her “Annie.” She loved music, and her influence was the primary inspiration for me to go into music. Her tastes were wildly diverse, loving everything from symphonic music to Country/Western, to various styles of folk music, to pop, to marches, but she had a very tender spot for hymns and spirituals.While it is easy to interpret grief in this music, and its presence is undeniable, it is really intended more as a song of the ultimate triumph of goodness. In her wisdom, she was able to capture deep thoughts within simple phrases, which I have also tried to capture. Her life was one of frequent struggles, yet she was inspiring to many. She emerged from every difficulty, never unscathed, but always victorious, with clear eyes and head held high, until her last battle, which brought about her greatest victory. This sentiment is what I tried to capture. If too slow a tempo is taken, that feeling is lost and a sense of grief takes over. That may be what a conductor wants to convey, but is not what I intended.

Handbells 3-7 octave handbell choir with optional 3-7 octave handchimes - Level 3

SKU: HP.2764

Composed by Amy Grant and Chris Eaton. Arranged by Sandra Eithun. Christmas, Sacred. Handbell score. 12 pages. Hope Publishing Company #2764. Published by Hope Publishing Company (HP.2764).

UPC: 763628127640. By Amy Grant & Chris Eaton.

Contemporary Christian song by Amy Grant & Chris Eaton
Amy Grant's poignant and haunting contemporary Christmas classic has been set for 3-7 octaves of handbells and optional handchimes. The opening suspended mallets create an ethereal backdrop for this well-known text which shares the inner voice of Mary as she journeys to Bethlehem to give birth to the Christ child. Her conversation with God reveals her fears and confusion as she cries out for God to be with me now. The quiet and subtle closing provides a sense of resolve as Mary accepts her task and trust in her Lord.

By Robert Sheldon. For Concert Band. Concert Band. Alfred Concert Band. Level: 5 (Difficult) (grade 5). Conductor Score and Parts. 300 pages. Published by Alfred Publishing.

Fantasia on the Rondo from the Piano Sonata in A major K. 331 by Wolfgang Amadeus Mozart, arranged for harp by Ekaterina Afanasieva (2015). Composed by Fazil Say. Arranged by Ekaterina Afanasieva. This edition: Saddle stitching. Sheet music. Der Finalsatz der Sonate A-Dur KV 331 von Wolfgang Amadeus Mozart, das Rondo Alla Turca, ist eines der bekanntesten Klavierstucke uberhaupt. An diese Popularitat knupft das als effektvolle Zugabe entstandene Stuck von Faz?l Say in der Bearbeitung fur Harf. Classical. Single sheet. Composed 1993. Op. 5b. 8 pages. Duration 4'. Schott Music #ED22797. Published by Schott Music

Arranged by Patrick Roszell. Concert Band. Concert Band. Belwin Beginning Band. Folk. Grade 1. Conductor Score and Parts. 134 pages

Piano. Composed by Bela Bartok (1881-1945). Edited by Laszlo Somfai. Sheet music. Henle Music Folios. Classical. Softcover. Op. 20. G. Henle #HN1405. Published by G. Henle

By Keith Getty. Arranged by Stuart Townend. For handbells (2-3 octaves) / handchimes (2-3 octaves). Christmas. Level 2. Sheet Music. Published by Lorenz Publishing Company

By Keith Getty. Arranged by Stuart Townend. For handbells (4-5 octaves) / handchimes (4-5 octaves). Christmas. Level 2. Sheet Music. Published by Lorenz Publishing Company

Choral (highlights)

SKU: HL.48186487

Composed by Isabelle Aboulker. Leduc. Softcover. 14 pages. Alphonse Leduc #AL30754. Published by Alphonse Leduc (HL.48186487).

UPC: 888680829094. 9x12 inches.

“AL 30 754 - MILA AND THE SHIP TREE - Choral Partitur For decades the French composer Isabelle Aboulker has been very successful with vocal works for children and young people, in whom well-known fairy tales are processed. Now she has once again met with Mila and the Schiffbaum, a work commissioned by the Académie musicale by Villecroze in the course of the project ”“3 composers write for the school”“, and by the French music publishers with the music prize 2015 in the category ”“ Works for young performers ”“. With this composition, Isabelle Aboulker has created a musical story for narrator, children's choir and instrumental accompaniment, which helps children between five and eight years in educational and valuable ways to gain first experiences with music theater and choral singing. Thanks to an excellent German translation, the successful work can now also be found in the German-speaking world. With the deep sensitivity and subtlety that is the secret of her art, Isabelle Aboulker tells of a little girl who succeeds in getting over the loss of a loved one, namely, his grandfather. The highly charming melodies of this piece, written for unanimous children's choir, are joined by an instrumental accompaniment in which tender melancholy and subtle humor alternate - this musical language comes directly from the heart. AL 30 753 - version for speaker, children's choir and piano (German and French text) The work is also available in English translation: AL 30 732 - version for speaker, children's choir and piano (French and English text) AL 30 743 - Choral Partitur (French and English text) As well as with other instrumental accompaniments: AL 30 733 - version for speaker, children's choir and trio (clarinet in B, cello and piano) (French and English text) AL 30 734 - version for spokesman, children's choir and instrumental ensemble (French, English, German, French, Italian, Italianandrdquo.

Piano

SKU: HL.48186486

Composed by Isabelle Aboulker. Leduc. Softcover. 32 pages. Alphonse Leduc #AL30753. Published by Alphonse Leduc (HL.48186486).

UPC: 888680829018. 9x12 inches.

“AL 30 753 - MILA AND THE SHIP TREE - Version for piano For decades the French composer Isabelle Aboulker has been very successful with vocal works for children and young people, in whom well-known fairy tales are processed. Now she has once again met with Mila and the Schiffbaum, a work commissioned by the Académie musicale by Villecroze in the course of the project ”“3 composers write for the school”“, and by the French music publishers with the music prize 2015 in the category ”“ Works for young performers ”“. With this composition, Isabelle Aboulker has created a musical story for narrator, children's choir and instrumental accompaniment, which helps children between five and eight years in educational and valuable ways to gain first experiences with music theater and choral singing. Thanks to an excellent German translation, the successful work can now also be found in the German-speaking world. With the deep sensitivity and subtlety that is the secret of her art, Isabelle Aboulker tells of a little girl who succeeds in getting over the loss of a loved one, namely, his grandfather. The highly charming melodies of this piece, written for unanimous children's choir, are joined by an instrumental accompaniment in which tender melancholy and subtle humor alternate - this musical language comes directly from the heart. AL 30 754 - Choral Partitur (German and French text) The work is also available in English translation: AL 30 732 - version for speaker, children's choir and piano (French and English text) AL 30 743 - Choral Partitur (French and English text) As well as with other instrumental accompaniments: AL 30 733 - version for speaker, children's choir and trio (clarinet in B, cello and piano) (French and English text) AL 30 734 - version for spokesman, children's choir and instrumental ensemble (French, English, German, French, Italian, Italian)&rdquo.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 9:00. Published by Manhattan Beach Music.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Grade 3. Conductor Full Score. Duration 9:00

Concert band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 1, Bb Bass Clarinet, Bassoon 1, Bassoon 2, Contra Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone,) - grade 5.5

SKU: CN.S11307

Composed by Derek Bourgeois. Arranged by Mikkelson. Score only. Duration 15:00. Published by G & M Brand Music Publishers (CN.S11307).

Sea Dreams was written in memory of the composer's wife, Jean. After an introduction, which is not heard again until the end of the piece, the music becomes a rondo allegro, and gradually builds to a big climax. At the very end there is an oblique reference to the Liebestod of Wagner's Tristan and Isolde.

Sea Dreams was originally a commission, in 2007, from an American University who wanted me to write a piece in memory of my first wife, Jean, who died in 2006. I set about writing the music and quickly completed the score early in 2008, but, unfortunately, because of the sudden collapse in the worldwide financial markets the commission itself fell through. The music draws on three of the pieces that I had written for Jean in the early days before we were married, namely two violin sonatas (she was a violinist) and the 'Serenade' Opus 22 one of my most popular pieces. However the bulk of the music is new, and the quotes from these early pieces are subtle and merely passing references, not at all like the originals. After an introduction, which is not heard again until the end of the piece, the music becomes a rondo allegro, and gradually builds to a big climax. At the very end there is an oblique reference to the Liebestod of Wagner's Tristan and Isolde. Sea Dreams was premiered by Birmingham Symphonic Winds, conducted by Keith Allen, on Saturday March 20th 2010 at the CBSO Centre, Birmingham, England.

Concert band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 1, Bb Bass Clarinet, Bassoon 1, Bassoon 2, Contra Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone,) - grade 5.5

SKU: CN.R10307

Composed by Derek Bourgeois. Arranged by Mikkelson. Score and parts. Duration 15:00. Published by G & M Brand Music Publishers (CN.R10307).

Sea Dreams was written in memory of the composer's wife, Jean. After an introduction, which is not heard again until the end of the piece, the music becomes a rondo allegro, and gradually builds to a big climax. At the very end there is an oblique reference to the Liebestod of Wagner's Tristan and Isolde.

Sea Dreams was originally a commission, in 2007, from an American University who wanted me to write a piece in memory of my first wife, Jean, who died in 2006. I set about writing the music and quickly completed the score early in 2008, but, unfortunately, because of the sudden collapse in the worldwide financial markets the commission itself fell through. The music draws on three of the pieces that I had written for Jean in the early days before we were married, namely two violin sonatas (she was a violinist) and the 'Serenade' Opus 22 one of my most popular pieces. However the bulk of the music is new, and the quotes from these early pieces are subtle and merely passing references, not at all like the originals. After an introduction, which is not heard again until the end of the piece, the music becomes a rondo allegro, and gradually builds to a big climax. At the very end there is an oblique reference to the Liebestod of Wagner's Tristan and Isolde. Sea Dreams was premiered by Birmingham Symphonic Winds, conducted by Keith Allen, on Saturday March 20th 2010 at the CBSO Centre, Birmingham, England.

Choral 3-part mixed choir Voices with Piano

SKU: CF.CM9492

Composed by Reginal S Wright. Fold. Performance. With Standard notation. 12 pages. Duration 2 minutes, 11 seconds. Carl Fischer Music #CM9492. Published by Carl Fischer Music (CF.CM9492).

ISBN 9781491145968. UPC: 680160903467. 6.875 x 10.5 inches. Key: Eb major. Based on Wake the Song of Joy and Gladness by William F. Sherman (1826-1888) with additional words by RW.

Celebrate Today is a very joyful and accessible choral setting based on words from the hymn Wake the Song by William F. Sherwin. With shifting moods from rhythmically driving to smooth and subtle, this celebratory and enjoyable piece is appropriate for any concert throughout the year.

Choral (ShowTrax CD)

SKU: HL.8203046

By Kelly Clarkson. Arranged by Mark A. Brymer. Pop Choral Series. Female Voices, Pop, Rock, Show Choir. CD only. Published by Hal Leonard (HL.8203046).

UPC: 884088635947. 5x5 inches.

Nobody's going to make a fool of Kelly Clarkson with this empowered anthem that shows she can stand up for herself! Opening with a subtle guitar groove, the R&B infused vocals cross genres between urban, country and rock for a gutsy tune your girls will love to sing! Available separately: SSA, ShowTrax CD. Duration: ca. 2:45.

SA choir, Descant, assembly, keyboard accompaniment, violin or C instrument

SKU: GI.G-008825

Composed by Peter Fisher Hesed. Lent, OT 4 Year A, OT 25 Year A, OT 3 Year A, OT 26 Year A, OT 33 Year A, OT 24 Year C, OT 2 Year B, OT 16 Year A, lent 4 Year C, OT 13 Year C, Pentecost, Ascension. Tune Name: Beams Of Love. Sacred. Octavo. 12 pages. GIA Publications #008825. Published by GIA Publications (GI.G-008825).

UPC: 641151088259. English.

Inspired by the words of nineteenth-century English poet William Blake, Peter Fisher Hesed has crafted an inspirational discipleship text and wedded it to his own lyrical tune. Each verse builds thematically as they move from unison to two-and three-part voicing with descant. Subtle instrumental interludes separate the verses. The assembly part encompasses all the verses and will blend beautifully with the choir's harmonies.

Concert Band - Grade 1.5

SKU: AP.44151

Composed by Robert Sheldon. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Sound Innovations for Concert Band. Form: Chorale. Score and Part(s). 130 pages. Duration 2:35. Alfred Music #00-44151. Published by Alfred Music (AP.44151).

UPC: 038081497976. English.

Serenade by Robert Sheldon is a lovely and lyrical offering that will provide your young band with a gentle and poignant moment on your next concert. Subtle, yet dramatic shifts in tonality create interest and momentum to this tuneful composition. (2:35) This title is available in MakeMusic Cloud.

SATB choir

SKU: ST.CN26P

Composed by Richard Bullen. SATB unaccompanied (with divisions). . This PRINTED version is available to purchase as a regular sheet music title for delivery by post. Octavo. Stainer & Bell Ltd. #CN26P. Published by Stainer & Bell Ltd. (ST.CN26P).

ISBN 9790220225390.

Rich ard Bullen's 'dark lullaby' The Oxen was commissioned by Choir & Organ magazine for the choir of St Paul's Cathedral, and it was featured in the September 2016 issue as part of the New Music series showcasing choral works by young composers. Although lilting rhythms evoke a mood of naivety and innocence, of children gathered in hushed excitement around the fireside on Christmas Eve as pictured in the first verse of Hardy's well-known poem, there is also an edge to the music that reflects its nostalgic, even bitter content. First published in The Times on 24 December 1915, this seasonal lyric can also be read as a lament for loss of innocence and of the simple urge to faith. We might also find in its reflection on the distance between the ideals of civilisation and its reality, a tragic separation that continues to this day. Part of the subtle resonance of the poem is its conversational manner. Each voice should therefore be phrased flexibly and feelingly in its contribution to the discourse, while the tempi should be judiciously chosen to enhance this overall effect according to the prevailing acoustic.

String quartet

SKU: HL.49045639

Chaconne. Composed by Fred Lerdahl. This edition: Saddle stitching. Sheet music. String Ensemble. Softcover. Composed 2016. 108 pages. Duration 990 seconds. Schott Music #ED 30174. Published by Schott Music (HL.49045639).

ISBN 9781540004796. UPC: 888680710774. 9.5x12.0x0.37 inches.

Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music.My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach's D minor violin partita and the finale of Brahms's Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern.My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl.

15 Well-Known Original Pieces in Progressive Order. Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Sylvia Hewig-Tr�¶scher. At the Piano. Softcover. 64 pages. G. Henle #HN1812. Published by G. Henle (HL.51481812).