Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawnee Press.

SKU: HL.130699

Berklee Press. Music Business. Softcover. 320 pages. Published by Berklee Press (HL.130699).

ISBN 9780876391532. UPC: 888680022389. 6.0x9.0x0.73 inches. Keith Hatschek with Breanne Beseda.

If you dream about a career in the music industry, this book is for you. These practical strategies will help you to prepare for and land your dream job in the music business. Thousands of readers have used this book to educate and empower themselves and jumpstart successful music industry careers. You can, too! The third edition includes a new career tool kit and social media strategy. Inside you'll find: details on booming job prospects in digital music distribution and music licensing; interviews with nine music industry professionals under 35 who discuss how they got their starts, plus what skills today's leading job candidates must possess; a resource directory of industry related job websites as well as U.S. and Canadian trade associations; step-by-step guidance for developing a first rate resume and acing your interviews; workshops to help you assess and develop your own personalized career tool kit; strategies for industry networking, finding a mentor, and how to effectively use social media.

Edited by Josh Dampier. Accessible Solo Repetoire. Classical, Acoustic. Book and Digital Audio. Excelcia Music Publishing #SB1801. Published by Excelcia Music Publishing

Accessible Solo Repetoire. Classical, Acoustic. Book and Digital Audio. Excelcia Music Publishing #WB1802. Published by Excelcia Music Publishing

Accessible Solo Repetoire. Classical, Acoustic. Book and Digital Audio. Excelcia Music Publishing #WB1804. Published by Excelcia Music Publishing

Accessible Solo Repetoire. Classical, Acoustic. Book and Digital Audio. Excelcia Music Publishing #WB1805. Published by Excelcia Music Publishing

Accessible Solo Repetoire. Classical, Acoustic. Book and Digital Audio. Excelcia Music Publishing #WB1801. Published by Excelcia Music Publishing

Composed by Taylor Scott Davis. Multi-Movement/Large Choral Work. Christmas, Advent, 21st Century. Choral score. MorningStar Music Publishers #70-015. Published by MorningStar Music Publishers

A Complete Course for the Beginner Guitarist!. Performed by Keith Wyatt. Dvd. DVD (Digital Video Disc). Size 5.25x7.5 inches. Published by Hudson Music And Hal Leonard.

Choir, SSA Choir - medium

SKU: JK.02060

Arranged by Merrilee Webb. Christian, Contemporary Christian, Gospel, Inspirational. Duration 4:00. Jackman Music Corporation #02060. Published by Jackman Music Corporation (JK.02060).

UPC: 093285020603.

Perfo rmed by a Relief Society Choir during the October 2008 General Conference, this rendition by Merrilee Webb is both majestic and simple. The rich harmonies, a capella section, and moving accompaniment make this a beautiful piece for SSAA groups. Accompaniment available for Organ or Piano.

Text: Susan Evans McCloud
Music: K. Newell Dayley
Arranger: Merrilee Webb
Difficulty: Medium
Performance Time: approx. 4:00
Piano and organ accompaniment parts available separately as digital download.

SKU: BR.EB-9387

Composed by Christian Mason. Edition Breitkopf. New music (post-2000); Music post-1945. Set of parts. Composed 2019. Duration 20'. Breitkopf and Haertel #EB 9387. Published by Breitkopf and Haertel (BR.EB-9387).

ISBN 9790004188576. 0 x 0 inches.

Commissione d by the Kolner Philharmonie (KolnMusik) for the non bthvn projekt 2020 and the Cite de la musique / Philharmonie de Paris Dedicated to Arditti Quartet Each movement of this quartet explores a single state, its lights and its shadows. Each movement, you could say, is a moment . And these moments could last for more or less time without compromising their essential nature. The processes could be extended or compressed, repeated or reversed, but the core ideas - if they are ideas, but maybe they are simply experiences? - are what they are. Despite this, the precise sequence of movements matters a great deal. Heard together they do articulate some kind of linear narrative, maybe even a metaphorical journey (albeit a circular one where the arrival might, who knows, prove to be a new departure). One situation gives way to another and instrumental relationships within the quartet vary, but ultimately the imaginative impulse behind the piece preferences states of unity. Whether or not this unity is expressed texturally - sometimes literal unisons pervade, but not always - there is generally a sense that even seemingly diverse aspects relate to a fundamental condition of concord: a conscious limitation in the pitch structure to spectral emanations of the root notes E-flat and C. At the opening this is unambiguously audible in the perpetual alternation of these two notes in the low cello register. Later the two spectra are woven into a micro-tonal 'double-spectral-mode' (derived from the first 24 partials of the C and E-flat fundamentals), which defines the subtle melodic inflection of the second movement, and the never-quite-chromatic ascending scales of the third. For now this feels like a rich source of melodic possibility, so far only just glimpsed... And why the insistence on E-flat? Probably by way of historical anecdote. Apparently Karl Holz (a member of the Schuppanzigh Quartet) said to Beethoven: We performed your Quartet in E-flat Op. 127 in his [Weber's] honour; he found the Adagio too long; but I told him: Beethoven also has a longer feeling and a longer imagination than anyone standing or not standing today. - Since then, even Linke (another member of the quartet) can no longer stand him: we cannot forgive him for this. Listening again to Op. 127, in light of these comments, I was struck by the opening moment: the unfolding of an E-flat 7th chord over the course of a few bars. Every time I hear it I find myself wishing that Beethoven would have lingered longer there, without resolution or progression, just enjoying that sonority. And maybe - why not? - tune the 7th naturally. And what would it be to stretch that moment into an entire piece? What would Weber think of that?! In the end I was not so extreme in my self-limitation, and other concerns took over, but it was from these thoughts that the composition process began... Lastly, about the title: it comes from a book called 'The Clock of the Long Now' by Stewart Brand, published at the turn of the millennium. It's about the creation of a thousand-year clock to embody the aspiration to thinking in terms of longer time-spans than are presently habitual. If the music of Beethoven embodied a 'longer' feeling and imagination than some of his contemporaries were able to appreciate, what is our relation to time now? Longer or shorter? Maybe it depends who you ask... It's probably more extreme in both directions: attention spans might be diminishing in the digital world, but conversely there is an awareness of distant pasts and potential futures which would have been inconceivable at the time of Beethoven. In any case, the interesting thing is to ponder how societal conditions, assumptions and expectations might - whether consciously or unconsciously - influence the time of art, for listeners and creators alike. And what if time is running out? (Christian Mason)

World premiere: Paris, Cite de la musique, January 14, 2020.

Oboe, violin i, violin ii, viola, basso

SKU: HH.HH468-IPT

Composed by Christian Michael Wolff. Edited by Michael Talbot. Oboe, Violin I, Violin Ii, Viola, Basso. Instrumental parts. Edition HH Music Publishers #HH468-IPT. Published by Edition HH Music Publishers (HH.HH468-IPT).

ISBN 9781910359709.

DIGI TAL DOWNLOAD FROM EDITION HH WEBSITE.

Flute, violin i, violin ii, viola, basso

SKU: HH.HH467-IPT

Composed by Christian Michael Wolff. Edited by Michael Talbot. Flute, Violin I, Violin Ii, Viola, Basso. Instrumental parts. Edition HH Music Publishers #HH467-IPT. Published by Edition HH Music Publishers (HH.HH467-IPT).

DIGITAL DOWNLOAD FROM EDITION HH WEBSITE.