SAB/opt. C Instrument C Instrument; Choral; Violin (SAB/C INSTRUMENT)

SKU: HL.1191698

(Oh, How I Love Jesus). Composed by Dan Boone. Shawnee Sacred. General Worship. Octavo. Duration 220 seconds. Published by Shawnee Press (HL.1191698).

UPC: 196288132097. 6.75x10.5x0.029 inches. John 1:14, John 3:16, Matthew 1:18-23.

This treasured hymn lyric is beloved by many, and this resetting gives it new expressive potential. Lyrical and lovely, the theme has elegant contours and the harmonies are effective and accessible. A majestic final chorus soars before the anthem surrenders to devotion and serenity.

The Big Apple (A New York Symphony)(Symphony No. 2) (Part II Gotham - Parts Only). By Johan De Meij. For Concert Band. Amstel Music. Grade 5-6. Amstel Music #AM17. Published by Amstel Music

The Big Apple (A New York Symphony)(Symphony No. 2) (Complete Edition - Parts Only). By Johan De Meij. For Concert Band. Amstel Music. Grade 5-6. Amstel Music #AM19. Published by Amstel Music

Chamber Ensemble

SKU: HL.14022412

Composed by Asbjorn Schaathun. Music Sales America. Classical. Score. 72 pages. Music Sales #KP00754. Published by Music Sales (HL.14022412).

ISBN 9788759858646. English-Danish.

MUS ICAL GRAFITTI(II)In Musical Grafitti(II), virtuoso drawings for amplified piano, large ensemble and tape with cosmic sounds, von den herrn Asberion Ska-tune (1983-84), Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image, and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture, which are presented in the initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON, written especially for this work by Swedish composer Bo Rydberg, governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece, the computer establishes the chordal focal points of the work, thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from white noise to music characterized by an advanced syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios points on the curve to find... At one point Schaathun's curve crosses Berios curve, and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the coloured noise into which the piece fades away.(+ Fransk versjon NMI).

Choral (ChoirTrax CD)

SKU: HL.334900

Composed by Heather Sorenson. Daybreak Christmas Choral. Christmas, General Worship, Sacred. CD. Duration 220 seconds. Published by Daybreak Music (HL.334900).

UPC: 840126910582. 5.0x5.0x0.15 inches. Edmund H. Sears/Heather Sorenson. John 14:27, Luke 2:9-14.

From the cantata Little Lion, Little Lamb, the contours of this reimagined carol are fashioned with beautiful arching leaps, instantly endearing it to the listener. A good balance of unison and four-part writing expresses the miracle of the incarnation with sensitivity and sincere devotion. The B section offers some theater with distinctive layers of Gloria that crescendo with impressive impact. The final angelic proclamation fades into the Christmas sky with delicate and artful sonority. Heavenly! Score and Parts (fl 1-2, ob, cl 1-2, bn, tpt 1-3, hn 1-2, tbn 1-2, tbn3/tba, perc 1-2, timp, hp, vn 1-2, va, vc, db) available as a digital download.

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3

SKU: CF.CAS117

Composed by Lauren Bernofsky. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 8+8+2+5+5+5+8 pages. Duration 3 minutes, 59 seconds. Carl Fischer Music #CAS117. Published by Carl Fischer Music (CF.CAS117).

ISBN 9781491153291. UPC: 680160910793. 9 x 12 inches. Key: A major.

Abendstern, composed by Lauren Bernofsky,?evokes an image of a sunset over the tree-covered hills of the Bavarian countryside with the Abendstern, or evening star, shining brightly over the scene. A hauntingly beautiful theme in falling thirds?evokes the treetops as they become darker and murkier. This piece is a wonderful addition to any concert program and can be used as a touching?tribute at a memorial service.
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3

SKU: CF.CAS117F

Composed by Lauren Bernofsky. Concert String Orchestra (CAS). Full score. With Standard notation. 8 pages. Carl Fischer Music #CAS117F. Published by Carl Fischer Music (CF.CAS117F).

ISBN 9781491153307. UPC: 680160910809. 9 x 12 inches.

Abendstern, composed by Lauren Bernofsky,?evokes an image of a sunset over the tree-covered hills of the Bavarian countryside with the Abendstern, or evening star, shining brightly over the scene. A hauntingly beautiful theme in falling thirds?evokes the treetops as they become darker and murkier. This piece is a wonderful addition to any concert program and can be used as a touching?tribute at a memorial service.
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light..
One summer night during a visit to Bavaria in southern Germany, I stood outside on a balcony overlooking the hills of the Bavarian forest, watching the beautiful early-evening sky. It was still light out, but I could make out one solitary star in the sky. As the sun slowly went down, the landscape became more and more dark and indistinct, and the star shone brighter and brighter. My mother-in-law stood there with me. I asked her the name of the star, and she answered, Abendstern (or Evening Star.) I was so moved by what I saw, I went inside and took out my manuscript paper and started to write down this piece. The tree-covered hills and tranquility of the evening are evoked by the theme, whose contour (with little bumps) mirrors the contour of the treetops on the hills. The star is represented by the sustained note E; at the beginning of the piece, it can be heard in a low register in the violas, and over the course of the piece, it is heard in higher and higher octaves, as the star shines ever more brightly. By the end, the landscape has disappeared into the darkness, and now all we see is the star, shining its brightest, and played by the upper strings, now harmonized to convey its brilliant light.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Soprano Voice and Chamber Ensemble

SKU: HL.14023221

Composed by Arne Nordheim. Music Sales America. Classical. Score. Composed 2002. Edition Wilhelm Hansen #WH30002. Published by Edition Wilhelm Hansen (HL.14023221).

ISBN 9788759867822. International (more than one language).

Version for Soprano and Chamber Ensemble. Aftonland (1957) for soprano and chamber orchestra, the work to give Nordheim his breakthrough in the Northern countries, is written on the basis of four poems by the Swedish Nobel prize-winner, the writer Par Lagerkvist. The original version is for soprano accompanied by five strings, harp, celesta and percussion. The second version (1965) is for soprano and chamber orchestra with 22 strings. The work is dedicated to the memory of the composer's father, Erling Nordheim. Transition, transformation and existential wonder, as evoked by these lines in the second movement, resonate, sympathetically, seemed to be etched into the very musical fabric as well. Nordheim's free-tonal language with its dissonant intervals is employed effectively to punctuate Aftonland's powerful expressivity. Beyond the contours and importance of the lines, however, the instrumentation too probes broad expressive registers and is highly foregrounded in its own right.

Featuring: Symphony No. 4 / The Nutcracker Suite / 1812 Overture. Composed by Pyotr Ilyich Tchaikovsky [Peter Ilyich Tchaikovsky]. Arranged by Douglas E. Wagner. Masterworks; Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Masterwork Arrangement; Romantic. 72 pages. Published by Belwin Music

Choral Cello, Contrabass voice, Piano, Viola, Violin 1, Violin 2, Violin 3, SATB chorus

SKU: CF.CM9734

Composed by Basque Carol. Arranged by Christopher Thomas. 12 pages. Duration 2 minutes, 37 seconds. Carl Fischer Music #CM9734. Published by Carl Fischer Music (CF.CM9734).

ISBN 9781491161142. UPC: 680160919734. Key: A minor. English. Basque Carol.

A Basque Carol (also known as Gabriel's Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer's Canterbury Tales: Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .. Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song's lasting popularity. I would also attribute A Basque Carol's continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as his wings as drifted snow, his eyes as flame. I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I've added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino. I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you're a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!.
A Basque Carol (also known as Gabriel’s Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer’s Canterbury Tales:  “Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .”.Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song’s lasting popularity. I would also attribute A Basque Carol’s continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as “his wings as drifted snow, his eyes as flame.”I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I’ve added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino.I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you’re a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!

Composed by Brad Nix. Harold Flammer. Holy Week, Sacred. Octavo. 12 pages. Published by Harold Flammer Music

SSA choir, piano

SKU: LO.15-3581H

Composed by Jean Berger. Arranged by Douglas E. Wagner. Choral. Octavo. Heritage Music Press #15/3581H. Published by Heritage Music Press (LO.15-3581H).

ISBN 9780787761967.

See the mountains kiss high heaven and the waves clasp one another ... and the sunlight clasps the earth, and the moonbeams kiss the sea ... From Berger’s Five Shelley Poems, this arrangement uses tempo changes and dynamic nuances to honor the contour of the text. Included are two short optional a cappella sections which make this a solid piece of concert repertoire for upper-voice ensembles.

(Mastering the Language of Jazz (E-Flat Instruments)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For E-Flat. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 44 pages. Published by Alfred Music Publishing

(Mastering the Language of Jazz (Bass Clef Instruments)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For Bass Clef. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 44 pages. Published by Alfred Music Publishing

(Mastering the Language of Jazz (Teacher Edition)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For Teacher Edition. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 52 pages. Published by Alfred Music Publishing

(Mastering the Language of Jazz (Bass)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For Bass. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 64 pages. Published by Alfred Music Publishing

(Mastering the Language of Jazz (C Instruments)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For C Instruments. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 44 pages. Published by Alfred Music Publishing

(Mastering the Language of Jazz (Drums)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For Drums. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 60 pages. Published by Alfred Music Publishing

(Mastering the Language of Jazz (Piano)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For Piano. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 64 pages. Published by Alfred Music Publishing

(Mastering the Language of Jazz (B-Flat Instruments)). By Caleb Chapman and Jeff Coffin. Jazz Ensemble. For B-Flat. Book; CD; Jazz Ensemble Method; Method/Instruction; Play-Along; Technique Musicianship. The Articulate Jazz Musician. Jazz. Grade 2; Grade 3. 44 pages. Published by Alfred Music Publishing