Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxophone, soprano Saxophone

SKU: PR.114419980

Composed by Stacy Garrop. Sws. Set of Score and Parts. 32+16+16+16+16+16 pages. Duration 16 minutes. Theodore Presser Company #114-41998. Published by Theodore Presser Company (PR.114419980).

UPC: 680160681723. 9 x 12 inches.

The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.

Chamber Music Bass Clarinet, Bassoon, Clarinet, English Horn, Oboe, alto Saxophone, soprano Saxophone

SKU: PR.11441998S

Composed by Stacy Garrop. Sws. Full score. 32 pages. Duration 16 minutes. Theodore Presser Company #114-41998S. Published by Theodore Presser Company (PR.11441998S).

UPC: 680160681730. 9 x 12 inches.

The ancient Egyptian empire began around 3100 B.C. and continued for over 3000 years until Alexander the Great conquered the country in 332 B.C. Over the centuries, the Egyptian empire grew and flourished into a highly developed society. They invented hieroglyphics, built towering pyramids (including the Great Pyramid of Giza, the oldest of the Seven Wonders of the World), and the created many household items we still use today, including toothbrushes, toothpaste, eyeliner, black ink, and the forerunner of modern-day paper. Included among their achievements were a series of highly developed funerary practices and beliefs in the Afterlife. As the average lifespan of an Egyptian hovered around 30 years, living past the death of oneAs physical body was a legitimate concern. Egyptians believed that upon death, their souls would undertake a harrowing journey through the Netherworld. If they survived the horrific creatures and arduous trials that awaited them, then their souls would be reunified with their bodies (hence the need to preserve the body through mummification) and live forever in a perfect version of the life they had lived in Egypt. To achieve this, Egyptians devised around 200 magical spells and incantations to aid souls on the path to the Afterlife. These spells are collectively called The Book of the Dead. Particular spells would be chosen by the family of the deceased and inscribed on the tombAs walls and scrolls of papyrus, as well as on a stone scarab placed over the deceasedAs heart. Subsequent collections of spells and mortuary texts, such as The Book of Gates, assisted a soul in navigating the twelve stages of the Netherworld. Not only did these spells protect and guide the soul on this dangerous path, but they also served as a safeguard against any unbecoming behavior an Egyptian did while alive. For instance, if a person had robbed another while alive, there was a spell that would prevent the soulAs heart from revealing the truth when in the Hall of Judgment. Rites for the Afterlife follows the path of a soul to the Afterlife. In Inscriptions from the Book of the Dead (movement 1), the soul leaves the body and begins the journey, protected by spells and incantations written on the tombAs walls. In Passage though the Netherworld (movement 2), the soul is now on a funerary barque, being towed through the Netherworld by four of the regionAs inhabitants. We hear the soul slowly chanting incantations as the barque encounters demons, serpents, crocodiles, lakes of fire, and other terrors. The soul arrives at The Hall of Judgment in movement 3. Standing before forty-two divine judges, the soul addresses each by name and gives a A!negative confessionA(r) connected to each judge (i.e. A!I did not rob,A(r) A!I did not do violence,A(r) and so on). Afterwards, the soulAs heart is put on a scale to be weighed against a feather of MaAat, the goddess of truth. If the heart weighs more than the feather, it will be eaten by Ammut, a hideous creature that lies in wait below the scale, and the soul will die a second and permanent death (this was the worst fear of the Egyptians). But if the heart is in balance with the feather, the soul proceeds onward. The final stage of the journey is the arrival at The Field of Reeds (movement 4), which is a perfect mirror image of the soulAs life in ancient Egypt. The soul reunites with deceased family members, makes sacrifices to the Egyptian gods and goddess, harvests crops from plentiful fields of wheat under a brilliant blue sky, and lives forever next to the abundant and nourishing waters of the Nile. Rites for the Afterlife was commissioned by the Barlow Endowment on behalf of the Akropolis Reed Quintet, Calefax Reed Quintet, and the Brigham Young University Reed Quintet. -S.G.

For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.

(Audio Sampler (includes actor script and listening CD)). Composed by Chad Beguelin and Matthew Sklar. For Choral (AUDSAMPLER). Recorded Promo - Stockable. Published by MTI (Music Theatre International)

Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by Lara Downes. Collection. Theodore Presser Company #440-40028. Published by Theodore Presser Company

Artist Edition B-Flat Instruments. By Pat Metheny. Fake Book. Jazz. Softcover. 272 pages. Published by Hal Leonard

Artist Edition C Instruments. By Pat Metheny. Fake Book. Softcover. 272 pages. Published by Hal Leonard (HL.120809).

Performed by Pat Metheny. For guitar (no tablature). Format: fake book. With leadsheet notation and chord names. Jazz and jazz fusion. 448 pages. 9x12 inches. Published by Hal Leonard.

(It's the Gospel Truth! A Children's Christmas Musical). By Celeste Clydesdale. Arranged by David Clydesdale. For 2-part/Unison. Musical. Christmas. Choral Book. Duration 37'00 . Published by Word Music

The Praise and Worship Fake Book (B Flat Edition). By Various. For Bb Instruments. Fake Book. Softcover. 432 pages. Published by Hal Leonard

(Revised Women's Edition Volume 1). By Various. Vocal Collection. Piece for the NFMC Vocal event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Softcover. 256 pages. Published by Hal Leonard

SKU: HL.14004455

Composed by A. Hedger. Golden Apple. Music Sales America. Musicals. 16 pages. Music Sales #GA11550. Published by Music Sales (HL.14004455).

ISBN 9781844494576. UPC: 884088439880. 6.75x9.75x0.059 inches.

Adapted by Alison Hedger from the traditional tale from Hans Christian Andersen, this 15 minute musical is a mixture of narration, mime, rap and song, suitable for performance in school Assemblies and at end of term entertainments. Ideal for KS1 and Lower KS2. If you need to license a school/youth theatre performance of this product, please use the online application form.

Mixed choir

SKU: FG.55011-857-7

Composed by Žibuoklė Martinaitytė. Classical, contemporary. Book. Fennica Gehrman #55011-857-7. Published by Fennica Gehrman (FG.55011-857-7).

Žibuoklė Martinaitytė tells about the background of Aletheia (2022) for mixed choir (SSSSAAAATTTTBBBB): Aletheia is variously translated from Greek as unconcealedness, revealing or unclosedness. It is uncovering of the Truth - the one we are afraid to face, the truth that can only be expressed directly through the pre-verbal communication. How do you find words for the horrors of the war, for all unimaginable global atrocities? How do you even allow yourself to feel it out? Solely through art, through music that offer a safe space and a formalized framework for processing these accumulated complex emotions and sharing them with others in a moment. This piece has no verbal text and it is based on various combinations of vowels and consonants, thus connecting us on a deeper level through the immediate emotional experience.

The war in Ukraine in spring of 2022 had an impact on all of us and shattered my deeply rooted Lithuanian identity. When the freedom is threatened and innocent people are dying, it is hard to make sense out of the reality. Yet there is poetry even in the worst nightmares. I was imagining that the only instrument people have even in situations of destruction, in the midst of the war, is their VOICE. It brought back memories of my youth when Singing revolution was taking place in the Baltic countries. Human voice was the only weapon that people used to express their determination for freedom and independence. Voice is our first and the very last instrument we have in our lifetime. Thinking in these terms brings almost a sacred dimension to the voice as an expression of the life itself - from the very first baby's scream until the last breath and whisper.

Duration c. 15'

The works of New York -based Lithuanian composer Žibuoklė Martinaitytė (b. 1973) have been lauded as breathtaking and profoundly moving. Her stimulating music bristles with energy and tension and revolves often around the subject of beauty, which she calls both a guiding principle and an aesthetic measure for sonic quality.

(Mezzo Soprano/Alto Voice). Edited by Lisa DeSpain. For Voice (Alto voice (Mezzo)). Vocal Collection. Singer's Library of Musical Theatre. Broadway. Book and CD. 224 pages

Voice, guitar or piano

SKU: LM.PB802

By Irma. By Irma. Album. Pop, jazz. Score. Bookmakers International #PB802. Published by Bookmakers International (LM.PB802).

ISBN 9790231308020.

Lett er to the Lord - I Know - Their truth - End of the story - Everybody - Watching Crap on TV - Every smile - In love with the Devil - Your guide - Love you - Mr. Love - Somehow.

By Gordon A. Young. For SATB Choir. Sacred Anthem. Octavo. Published by Sacred Music Press

Composed by Benji Cowart and Michael Weaver. Arranged by Mike Speck and Stan Whitmire. For SATB choir and keyboard accompaniment. Anthem. General. Difficulty: moderate. Octavo. 15 pages. Published by Lillenas Publishing Company

For Easy Piano. By Katherine Beard. Solo piano. For Piano Solo. Classical. Solo part. 23 pages. Published by Theodore Presser Company.

Classroom

SKU: BT.9780713671803

Composed by Suzy Davies. History Songsheets. Book with CD. 6 pages. Collins Music Publishing #9780713671803. Published by Collins Music Publishing (BT.9780713671803).

ISBN 9780713671803. English.

This catchy and fun classroom songsheet is packed with facts about the Tudors. Not just a song, but an exciting and inventive way to learn. This title has a unique historical focus, bringing the British Tudor ancestry to lifewith a song that is brimming with interesting and accurate historical details that link to National Curriculum Key Stage Two. The music can be performed with a Piano, or with the high-quality backing tracks on the accompanying CD,with photocopiable lyric sheets and printed performance guidance included.
Perfect for assemblies and school concerts, this songsheet will also enliven any classroom!

SKU: GI.G-9234

Unlocking the Great Songs Inside You. Composed by Mark Caro and Steve Dawson. Music Education. 192 pages. GIA Publications #9234. Published by GIA Publications (GI.G-9234).

ISBN 9781622772117. English.

I don’t claim to know how to teach anybody anything, let alone something so individual and subjective as writing songs. The truth is, dear readers, you already know how to write songs. You’ve been, in a sense, studying them your whole life. My goal as a teacher, and the goal of this book, is ‘unlocking the great songs inside you.’ They’re in there. I have witnessed the births of hundreds of songs in class, some so beautiful that the class is wiping back tears by the end. These songs were written by people exactly like you: lovers of music, strummers of guitars, banjos, mandolins, people who’ve dreamed of writing songs like the ones they love. So, welcome and good luck. — Steve Dawson, from the Introduction T_x001F_ake It to the Bridge combines a_x001E_ lively, instructive dia_x001E_logue, helpful chord, key _x001E_and song-form cha_x001E_rts, _x001E_and crea_x001E_tive songwriting assignments designed to inspire _x001E_anyone who ever h_x001E_as thought of _x001E_adding songs to the world. Steve Dawson is a singer/songwriter/musicia n who leads the rock/folk band Dolly Varden and has taught songwriting and guitar at Chicago’s Old Town School of Folk Music for more than a decade. Mark Caro is author of the award-winning non_x001D_iction book The Foie Gras Wars and has written about music, f_x001D_ilm, food and culture for the Chicago Tribune, The New York Times, and other publications. http://www.tothebridgeson gwriting.com/.

Performed by Derek And The Dominoes. For guitar and voice. Format: guitar tablature songbook. With standard guitar notation, guitar tablature, vocal melody, lyrics, chord names, guitar chord diagrams and guitar notation legend. Classic rock. Series: Hal Leonard Guitar Recorded Versions. 176 pages. 9x12 inches. Published by Hal Leonard.

Chamber Music Violin

SKU: PR.114418750

Composed by Michael Hersch. Sws. Performance Score. 8 pages. Duration 11 minutes. Theodore Presser Company #114-41875. Published by Theodore Presser Company (PR.114418750).

ISBN 9781491129524. UPC: 680160655489. 9 x 12 inches.

The seven-movement in the snowy margins might be considered a sort of atomic suite, as each movement is succinct, yet a microcosmic powerhouse inspired by “The Comet,” by Polish writer and Holocaust victim Bruno Schulz. Hersch’s intensity is expressed through dramatically captivating violin gestures, pushing the boundaries of texture, technique, and emotion.
Michael Hersch’s in the snowy margins was written in 2010. Like much of his work, it is grounded in literature and art. The title is drawn from a short story, The Comet by Polish writer, poet, and artist, Bruno Schulz (1892-1942). This forms the last of his collection The Street of Crocodiles, published in 1934. Schulz was shot by a Nazi officer in 1942.Both the title of Hersch’s work, and the ‘motto’ found on the composer’s manuscript (‘Thus far and no further. But what has become of the end of the world…’) are to be found in The Comet. It’s interesting that in in the snowy margins, unlike his earlier Fourteen Pieces which were inspired by the poetry of Primo Levi, Hersch chose to not title each individual movement with a quote. However his choices of text are applied, there is a clear quality of distillation. In every case, the texts which the composer has chosen to eschew lie beneath the music, akin to the greater mass of an iceberg, submerged, but imminent.Hersch also has very particular taste in visual art, and there seems to be common ground between the intensely expressionist drawing of Schulz, and those of Michael Mazur, which inspired his string quartet Images from a Closed Ward. The parallels between these artists reflect common traits shared between these two pieces, which provide a window on how the music should be approached, expressively and technically. I would argue, that from a violinist’s point of view, this pertains directly to how bow and left hand should approach the string: the febrile vibrancy of both Mazur and Schulz’s pencil and charcoal strokes, perhaps what T.S. Eliot called the ‘circulation of the lymph’, in every gesture, speaks to the intense experience, physically and emotionally, of playing (and hearing) this music. There is an intense sense of ‘truth to materials’ at every moment, the sense that every note sings on the edge of, or even beyond, total collapse.— Peter Sheppard-Skaerved.

Composed by Elizabeth Alexander. Collegiate Repertoire, Community Chorus, Concert Music, Church Choir-Anthem. Seasonal-Spring, Sacred-Seasonal-Thanksgiv ing, Choral, Worship and Praise. Octavo. With Text language: English. Duration 5 minutes. Published by Seafarer Press (SF.SEA-078-00).