Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

SATB choir

SKU: ST.EM28

Composed by Henry Youll. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Note: Print on demand. Spiral-bound A4. Madrigals. Collection. Stainer & Bell Ltd. #EM28. Published by Stainer & Bell Ltd. (ST.EM28).

ISBN 9790220218798.

CONT ENTS
Awake, sweet love (SSA (or T))
But behold where they return (SST)
But though poor sheep (SST)
Cease, restless thoughts (SST)
Come, love, let's walk (SSA (or T))
Come, merry lads, let us away (SSA)
Each day of thine (SST)
Early before the day doth spring (SSA)
In the merry month of May (SSA)
In pleasant summer's morning (SST)
In yonder dale (SST (or A))
Now the country lasses hie them (SSB (or T))
Of sweet and dainty flowers (SAT)
Once I thought to die for love (SST)
Only joy, now here you are (SST)
Pipe, shepherds, pipe (SSB (or T))
Pity me, mine own sweet jewel (SST)
Say, shepherd, say (SST)
See where this nymph (SSA (or T))
Slow, slow, fresh fount (SST)
Sweet Phyllis, stay (SST)
The shepherd's daughters (SST)
Where are now those jolly swains? (SSB)
Whiles joyful springtime lasteth (SST).

Edited by David Brody. For violin. Format: fake book. With lead melody, chord names, instructional text and performance notes. Folk, americana and british. 302 pages. 9x12 inches. Published by Oak Publications.

Solo flute - Difficulty: medium

SKU: AP.SB90

Arranged by Anne McGinty. Woodwind - Flute Method or Collection. Irish. Solo flute songbook. 48 pages. Alfred Music #00-SB90. Published by Alfred Music (AP.SB90).

ISBN 9780769221311. UPC: 029156185300. 9x12 inches. English.

Edited especially for flute players. May be used as supplementary etudes or just for fun.

by Mizzy McCaskill and Dona Gilliam. Complete. Level: Beginning-Intermediate. Book/CD Set. Size 8.75x11.75. 144 pages. Published by Mel Bay Pub., Inc.

Chamber Music Harpsichord

SKU: PR.110418390

Composed by Eric Ewazen. Full score. 11 pages. Duration 10 minutes. Theodore Presser Company #110-41839. Published by Theodore Presser Company (PR.110418390).

ISBN 9781491134603. UPC: 680160685158.

Eric Ewazen’s THREE INVENTIONS were inspired by Bach’s Two-part Inventions, yet they sound thoroughly like Ewazen. Composed for harpsichord (with a piano adaptation following later), Ewazen’s inventions maintain a pure “one note per hand” texture until their final chord, with strong-but-free imitative counterpoint between the two voices. While Ewazen may be best known for his wind music, he is a pianist himself, and composers’ works for their own instrument are a direct insight into how they write for their own performances. The piano adaptation of THREE INVENTIONS is also available as a separate publication.
THREE INVENTIONS was written for my dear friend Maria Rojas, who premiered the work on a faculty recital at Juilliard. Maria is both a pianist and a harpsichordist, and I first met her when she gave a demonstration of the harpsichord for the students in my theory classes.I’ve always been captivated by Bach’s series of Two-Part and Three-Part Inventions. With the Two-Part Inventions, I’m amazed how Bach could create such wonderful intricacy and counterpoint with only two voices. I consequently modeled my inventions after the counterpoint of Bach, involving the traditional contrapuntal devices he used: imitation, development, harmonic and modal shifts, fragmentation, and sequence, essentially creating a dialog between two completely equal voices conversing with each other!Bach wrote 15 Two-Part Inventions (as well as 15 Three-Part Inventions, not to mention the 48 preludes and fugues in The Well-Tempered Clavier!), and that’s just the start of his voluminous repertoire for the keyboard! I was happy just to write three!!!Each of my inventions has a distinctive mood. The first is in a relaxed, yet cheerful C Major tonality (as a nod to Bach’s Invention No. 1 in C Major); the second is heartfelt and lyrical; and the third invention (involving a Gigue rhythm in the compound meter of 12/8) is energetic, and full of life and spontaneity. The third is primarily in a minor tonality, resulting in a feeling of drama, bringing the THREE INVENTIONS to an exciting finale.

Mezzo-Soprano & Piano

SKU: SU.32040040

For Mezzo-Soprano & Piano. Composed by Amy Riebs Mills. Vocal/Choral, Solo Voice. Accompanied by piano. Piano Vocal Score. Subito Music Corporation #32040040. Published by Subito Music Corporation (SU.32040040).

Mezzo-Soprano & Piano Duration: 17' Composed: 2014 Published by: Amy Mills Music, LLC These three art songs can be performed independently or in sequence, at any time of the year. Stuart McAlpine’s profound text explores three men from the Christmas story, Joseph, the Inn-keeper, and Simeon. The creative and beautiful musical settings allow for powerfully dramatic interpretation and performance. To Joseph (who taught me how to look at art) The singer sings to Joseph, …you beheld a work of art, the making of a holy heart… and watching through Joseph’s eyes, when hung at last, its meaning was decreed. (4:40) The Inn-keeper’s Lament McAlpine brilliantly explores the possibility…what if the inn-keeper who turned away Mary & Joseph later became the inn-keeper who accepted the injured man brought in by the Good Samaritan? This powerfully dramatic piece depicts the Bethlehem inn-keeper’s bravado, Caeser’s decree was heaven sent, as guests raised glasses, I raised rent! But as the enormity of his mistake became apparent, in later years he bemoans, …if I’d known then what I know now… and finally declares at the end, I know now! (7:50) Simeon’s Last Prayer Simeon sings of being summoned to the temple where he holds his infant Savior. …then as grandfathers do, rejoiced as if he were my one-and-only too. As he leaves he whispers his final prayer, …dismiss your servant, to find You face-to-face. (4:30) Difficulty Level: Baritone/Mezzo-Soprano 6 (Professional) (Baritone Range: low A (optional low G) to high F# (optional high G,A) (Mezzo Range: low A (optional low G) to high G (optional high A) Piano 6 (Professional)(Same level as Debussy or Ravel) See also the version for Baritone Voice and Piano See composer website for audio sample.

Baritone voice & Piano

SKU: SU.32040041

For Baritone & Piano. Composed by Amy Riebs Mills. Vocal/Choral, Solo Voice. Accompanied by piano. Piano Vocal Score. Subito Music Corporation #32040041. Published by Subito Music Corporation (SU.32040041).

Baritone Voice & Piano Duration: 17' Composed: 2014 Published by: Amy Mills Music, LLC These three art songs can be performed independently or in sequence, at any time of the year. Stuart McAlpine’s profound text explores three men from the Christmas story, Joseph, the Inn-keeper, and Simeon. The creative and beautiful musical settings allow for powerfully dramatic interpretation and performance. To Joseph (who taught me how to look at art) The singer sings to Joseph, …you beheld a work of art, the making of a holy heart… and watching through Joseph’s eyes, when hung at last, its meaning was decreed. (4:40) The Inn-keeper’s Lament McAlpine brilliantly explores the possibility…what if the inn-keeper who turned away Mary & Joseph later became the inn-keeper who accepted the injured man brought in by the Good Samaritan? This powerfully dramatic piece depicts the Bethlehem inn-keeper’s bravado, Caeser’s decree was heaven sent, as guests raised glasses, I raised rent! But as the enormity of his mistake became apparent, in later years he bemoans, …if I’d known then what I know now… and finally declares at the end, I know now! (7:50) Simeon’s Last Prayer Simeon sings of being summoned to the temple where he holds his infant Savior. …then as grandfathers do, rejoiced as if he were my one-and-only too. As he leaves he whispers his final prayer, …dismiss your servant, to find You face-to-face. (4:30) Difficulty Level: Baritone/Mezzo-Soprano 6 (Professional) (Baritone Range: low A (optional low G) to high F# (optional high G,A) (Mezzo Range: low A (optional low G) to high G (optional high A) Piano 6 (Professional)(Same level as Debussy or Ravel) See also the version for Mezzo-Soprano and Piano See composer website for audio sample.

Complete theoretical and practical method for organ-playing in three parts. Composed by Flor Peeters. This edition: Paperback/Soft Cover. Sheet music. Organ Collection. 100 pages. Schott Music #SF 8978. Published by Schott Music

By Johann Strauss. Arranged by Michael Story. By Johann Strauss / arr. Michael Story. For Concert Band. Concert Band. Belwin Very Beginning Band. Level: Very Easy (grade 1/2-I). Conductor Score, Parts and CD. Duration 1:44. Published by Alfred Publishing.

For Flute. Classical (Laureate Master Classes with piano). Includes a high-quality printed music score annotated with performance suggestions and a compact disc with complete versions (with soloist) followed by piano accompaniments to each piece, minus the soloist. Published by Music Minus One.

For Flute. Classical (Laureate Master Classes with piano). Includes a high-quality printed music score annotated with performance suggestions and a compact disc with complete versions (with soloist) followed by piano accompaniments to each piece, minus the soloist. Published by Music Minus One

(Violin and Piano Ensembles for Mixed Levels). By Dr. Alfred Garson. For Violin. Book; String Ensemble (Suzuki). 156 pages

By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. Size 9x12 inches. 80 pages. Published by Hal Leonard.

With Guitar Chords. Composed by Various. Waltons Irish Music Books. Celtic, Irish. Softcover with CD. 112 pages. Waltons Irish Music #WM1314CD. Published by Waltons Irish Music

With Guitar Chords. Composed by Various. Waltons Irish Music Books. Celtic, Irish. Softcover. 112 pages. Waltons Irish Music #WM1314. Published by Waltons Irish Music (HL.634214).

By Patrick Steinbach. For Acoustic Instruments. Solos. AMA Verlag. Celtic/Irish. Level: Beginning-Intermediate. Book/CD Set. Size 9.x11.75. 180 pages. Published by AMA Verlag. ISBN 3899220234.

Written by David Reiner, Peter Anick. For fiddle. Includes fiddle songbook and examples CD. With standard notation, bowings, black and white photos and introductory text. Folk. 184 pages. 9.25x11.75 inches. Published by Mel Bay Publications, Inc.

Fiddle, Violin - Difficulty: medium

SKU: HL.235

By Various. Fiddle. Folk. Solo fiddle songbook. With performance notes, introductory text and standard notation. 96 pages. Published by Centerstream Publications (HL.235).

ISBN 9781574240566. UPC: 073999567786. 9x12 inches.

This comprehensive collection of fabulous fiddle tunes includes reels, hornpipes, strathspeys, jigs, waltzes and slow airs.

String quartet String Quartet

SKU: PR.16400272S

Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S).

UPC: 680160588442. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.

Chamber Music String Quartet

SKU: PR.164002720

Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720).

UPC: 680160573042. 8.5 x 11 inches.

My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change.   I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania]   The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla.   Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional.   II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts]   This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture.   This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream.   III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts]   The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this.   Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1.   String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet.