By Billy Joe And Green Day. Arranged by Douglas E. Wagner. For Full Orchestra. Full Orchestra. Pop Intermediate Full Orchestra. Conductor Score. 28 pages. Published by Alfred Publishing.
Level: 3 (grade 3).

By Billie Joe And Green Day. Arranged by Douglas E. Wagner. For Full Orchestra. Full Orchestra. Pop Intermediate Full Orchestra. Pop/Rock. Level: 3 (grade 3). Conductor Score and Parts. 116 pages. Published by Alfred Publishing.

By Michael Oare. Edited by Bruce Pearson. For concert band. Concert Band. Standard of Excellence - in Concert. Score. Published by Neil A. Kjos Music Company.
Level: Grade 1.

Piano and orchestra

SKU: FG.55011-372-5

Composed by Matthew Whittall. Study score. Fennica Gehrman #55011-372-5. Published by Fennica Gehrman (FG.55011-372-5).

ISBN 9790550113725.

Imag es of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss.
Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water.
The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound.
It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.

Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello

SKU: PR.11442041S

Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Full score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041S. Published by Theodore Presser Company (PR.11442041S).

UPC: 680160687022.

In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.

Concert Band Alto Saxophone, Baritone (Bass Clef), Baritone Saxophone, Bass Clarinet, Bassoon, Clarinet I, Clarinet II, Flute, Horn, Mallet Percussion I, Mallet Percussion II, Oboe, Percussion I, Percussion II, Tenor, Tenor Saxophone, Timp, Trumpet I, Trumpet II, Tuba - Grade 1.5

SKU: CF.FPS58F

Reveille, Jingle Bells, Hark! The Herald Angels Sing. Composed by Traditional. Arranged by Joseph Compello. SWS. Carl Fischer First Plus Performance Series. Classical. Full score. With Standard notation. Carl Fischer Music #FPS58F. Published by Carl Fischer Music (CF.FPS58F).

ISBN 9780825864407. UPC: 798408064402. 9 X 12 inches.

Designed to showcase the percussion and trumpet sections of the band, Wake Up for Christmas has an inherently funny premise: that kids need to be awakened on Christmas! Mixing bits of Reveille with settings of two familiar Christmas time songs, Jingle Bells and Hark! the Herald Angels Sing, as well as fragments of assorted other seasonal tunes, this selection should bring a smile to the face of even the most committed Scrooge. The combining of all the elements at the climax is an inspired touch that ends this cheerful seasonal novelty with a bang!

Concert Band/Harmonie (Score) - Grade 5

SKU: HL.44007253

Composed by Itaru Sakai. De Haske Concert Band. Concert Piece. Score Only. Composed 2007. De Haske Publications #1074254. Published by De Haske Publications (HL.44007253).

UPC: 884088244385. 9x12 inches. English-German-French-Dut ch-Japanese.

In At the Lake vertelt Itaru Sakai een zelfbedacht sprookje over een prinses die in een kasteel aan een meer door een schurk wordt vastgehouden. Een jonge man bevrijdt haar, met behulp van de geest van het meer, die tot hemspreekt en een storm veroorzaakt om hem te helpen. Zo wordt de schurk verslagen. De prinses en de geest van het meer worden allebei verliefd op de schone jongeling, maar de liefde van de laatste is uitzichtloos: zij moet het meerblijven bewaken met haar stem. Een betoverend werk vol romantiek!

In At the Lake erzahlt Itaru Sakai in bezaubernden musikalischen Bildern ein Marchen von einer Prinzessin, die in einem Schloss am See von einem Bosewicht gefangen gehalten wird. Sie soll befreit werden von einem jungen Mann mithilfe des guten Geists des Sees, der selbst unglücklich in die schone Prinzessin verliebt ist. Der malerische, ruhige See, der kraftvolle stürmische See, die aufregende Rettung, Verzwei_x001F_ ung, Angst, Traurigkeit, Glück und Frieden - dies alles steckt in dieser Musik!

At the Lake (Sur les bords du lac) d'Itaru Sakai raconte une legende japonaise. La musique est aerienne et mysterieuse a l'image de l'histoire qu'elle illustre.Il etait une fois dans la lumiere pale du petit matin, un jeune homme, prenomme Innove. Alors qu'il longeait le lac, il entendit une mysterieuse voix feminine : << La princesse Eugemaille est emprisonnee dans le chateau d'un scelerat du nom de Jesse. Elle a besoin de ton aide. Ne perds pas de temps, pars immediatement. >>. Touche par cette voix inspirante, Innove se mit en chemin vers le chateau de Jesse, situe a l'extremite nord du lac dans un decor de falaises impressionnant. Un vent tourbillonnant, une pluietorrentielle et des eclairs aveuglants s'abattaient sur lui, quand soudain, la meme voix se fit encore entendre. C'etait la voix de Kai, l'esprit du lac. Presque aussitot, le vent cessa de souffler et la pluie s'arreta de tomber. Le sinistre chateau de Jesse se detachait des rochers.Chaque jour, la princesse captive chantait sa tristesse. Plusieurs fois, elle avait tente de fuir, mais en vain, elle fut aussitot reprise. Innove penetra dans le chateau en compagnie de Kai. Commencait alors un terrible combat contre Jesse et ses serviteurs. Desemparee, Eugemaille regardait Innove se battre desesperement. Kai ordonna a la tempete de se lever. Un vent tourbillonnant, une pluie torrentielle et des eclairs aveuglants se dechainerent sur le chateau. Jesse et ses serviteurs furent engloutis par la tempete furieuse. Ils disparurent a jamais. La tempete se calma. Extenue par la lutte, Innove se coucha. Eugemaille et Kai etaient a ses cotes. La princesse tomba eperdument amoureuse de celui qui avait si vaillamment combattu Jesse pour la delivrer. Kai s'eprit aussi d'Innove, mais l'esprit du lac doit veiller sur le lac et proteger le bonheur des gens. Kai ne peut aimer Innove. Inconsolable, elle retourna au lac.Au lever du jour, Eugemaille et Innove se reveillerent. Le lac scintillait de mille eclats de lumiere dans le soleil du matin. La voix de Kai.

String Orchestra string orchestra (88555) with opt. 3rd Violin/Viola TC 3 and piano - Grade 2

SKU: KN.09144S

(Theme from Symphony #94, 2nd Mvt.). Composed by Franz Joseph Haydn. Arranged by John Caponegro. Solo or Ensemble. Voyager String Orchestra. Kendor Music Inc #09144S. Published by Kendor Music Inc (KN.09144S).

UPC: 822795091441.

Haydn 's works often contained musical jokes, and the Surprise Symphony (#94) includes the most famous of all -- a sudden loud chord in the theme of the second movement after a tranquil opening. The music then returns to its original quiet dynamic, as if nothing had happened, and the ensuing variations do not repeat the joke. As the story goes, this surprise was meant to wake up anyone in the audience who had started to doze off. This version gives students with a great opportunity to listen for pitch accuracy on their F and C naturals. Duration 2:50.

Band concert band - Grade 1.5

SKU: KJ.WB288

Composed by Michael Oare. Standard of Excellence in Concert. Score and set of parts. Neil A. Kjos Music Company #WB288. Published by Neil A. Kjos Music Company (KJ.WB288).

UPC: 8402700378.

A brilliant overture portraying our country's new found patriotic spirit since the infamous day of September 11, 2001. A great contest/festival choice!

About Standard of Excellence in Concert

Th e Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.

Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz.

Band concert band - Grade 1.5

SKU: KJ.WB288F

Composed by Michael Oare. Standard of Excellence in Concert. Score. Neil A. Kjos Music Company #WB288F. Published by Neil A. Kjos Music Company (KJ.WB288F).

A brilliant overture portraying our country's new found patriotic spirit since the infamous day of September 11, 2001. A great contest/festival choice!

About Standard of Excellence in Concert

Th e Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.

Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz.

Composed by Britton Theurer. Full score. With Standard notation. 44 pages. Carl Fischer #BQ99. Published by Carl Fischer

3-5 octave handbells and organ or optional 3 octave handchimes - Grade 3-

SKU: BP.HB527C

Arranged by Jane McFadden. Handbell choir music. Full score (handbells and handchimes). Beckenhorst Press #HB527C. Published by Beckenhorst Press (BP.HB527C).

UPC: 748769375273.

Full score for the handbell and handchime version. Jane McFadden brings us this dignified and stately arrangement of the chorale tune Wachet Auf. With organ and handbells playing off one another, it is a wonderful exercise in contrast, balance, and musicality. In the absence of organ, a separate part for handchime choir is available.

Tone Poem - Urtext based on the Complete Edition Jean Sibelius Works (JSW). Composed by Jean Sibelius (1865-1957). Edited by Timo Virtanen. Full score. Breitkopf and Haertel #PB- 5658. Published by Breitkopf and Haertel

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Gong, Horn, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal and more. - Grade 2

SKU: CF.YPS134F

Composed by Bill Calhoun. Young Band. Full score. 24 pages. Duration 2 minutes, 37 seconds. Carl Fischer Music #YPS134F. Published by Carl Fischer Music (CF.YPS134F).

ISBN 9780825896262. UPC: 798408096267. 9 x 12 inches.

This piece cooks up images of ghoulish things that go bump in the night. It is a serious piece, but one that can also be used for Halloween concerts. Bill Calhoun's compositions include rhythmic drive, interesting harmonic perspective, and quirky melodic figures.

3-5 octave handbells and organ or optional 3 octave handchimes - Grade 3-

SKU: BP.HB527

Arranged by Jane McFadden. Handbell choir music. Full score (handbell and organ). Beckenhorst Press #HB527. Published by Beckenhorst Press (BP.HB527).

UPC: 748769305270.

Arran ged for 3-5 octave handbell choir and organ or with optional 3 octaves of handchimes. Level 3. WACHET AUF by Phillip Nicolai. Jane McFadden brings us this dignified and stately arrangement of the chorale tune Wachet Auf. With organ and handbells playing off one another, it is a wonderful exercise in contrast, balance, and musicality. In the absence of organ, a separate part for handchime choir is available.

Grade 3

SKU: CL.026-4932-01

Arranged by P. Clark. Concert Band. Extra full score. C.L. Barnhouse #026-4932-01. Published by C.L. Barnhouse (CL.026-4932-01).

If your holiday audiences seem to have settled down for a long winter's nap, you can wake them up with this exciting arrangement of a seasonal classic! Fresh harmonies and driving rhythms combine to give this holiday chestnut new life. A guaranteed energizer for your holiday concerts!

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Newspaper, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba and more. - Grade 2.5

SKU: CF.YPS203F

Composed by James Meredith. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS203F. Published by Carl Fischer Music (CF.YPS203F).

ISBN 9781491152911. UPC: 680160910410.

Imagi ne Bach trying to compose in his studio while being pestered by a spider! Arachnophobia and Fugue exposes students to the Baroque style of music using dramatic contrasts, light articulation, chorale-style sections, and multiple references to Bach's works. The spider is represented by the xylophone and/or marimba supported by the flutes. As a humorous bonus, auxiliary percussion includes rolled-up newspapers to swat the pesky spider throughout the piece.
Good music played well inspires the imagination. Imagine Bach trying to compose in his studio while being pestered by a spider! First and foremost this is educational music exposing kids to the Baroque style of music. Dramatic dynamic contrasts, light articulation, chorale-style, and multiple references to Bach’s works form the basis for the work. Toccata and Fugue in D Minor, Sleepers Wake, Little Fugue in G Minor, Sheep May Safely Graze, Dies Irae, and Come Sweet Death are the basis for this look into an imaginary situation with the Great Baroque Master. The spider is represented by either a solo xylophone or multiple xylophones and/or marimba (supported by the flutes.) As a humorous bonus auxiliary percussion use rolled up newspapers to swat the pesky spider throughout the piece in rhythm with the music.

Choir and various instruments

SKU: MN.50-5107A

Composed by K. Lee Scott. Full score. MorningStar Music Publishers #50-5107A. Published by MorningStar Music Publishers (MN.50-5107A).

UPC: 688670005244.

Part of the K. Lee Scott Choral Series. Based on a new text by Thomas Troeger, this anthem is an excellent example of the high quality of Lee Scott's appealing writing. Includes an SATB stanza that may be sung a cappella and an effective descant on the last stanza. Reproducible page for congregation included in the Full Score. Based on the tune Wakefield.

Full Score and Instrumental Parts available separately.

Choir and various instruments - Intermediate

SKU: MN.50-5107B

Composed by K. Lee Scott. Instrument parts. MorningStar Music Publishers #50-5107B. Published by MorningStar Music Publishers (MN.50-5107B).

UPC: 688670510724.

Part of the K. Lee Scott Choral Series. Based on a new text by Thomas Troeger, this anthem is an excellent example of the high quality of Lee Scott's appealing writing. Includes an SATB stanza that may be sung a cappella and an effective descant on the last stanza. Reproducible page for congregation included in the Full Score. Based on the tune Wakefield.

Full Score and Instrumental Parts available separately.

SKU: GI.G-9591INST

Concertato on LASST UNS ERFREUEN. Arranged by Robert J. Powell. Tune Name: Lasst Uns Erfreuen. Sacred. Full score and parts. GIA Publications #9591INST. Published by GIA Publications (GI.G-9591INST).

UPC: 785147959199. English. Text Source: Text I: Herman G. Stuempfle Jr., 1923–2007, Text II: Hymnum canamus gloriae, Venerable Bede, 673–735, tr. Benjamin Webb, 1819–1885, alt.; Translation: Benjamin Webb. Text by Herman G. Stuempfle, Jr.

SATB choir, soprano voice solo, alto voice solo, tenor voice solo, Bass voice solo, keyboard accompaniment, flute with b footjoint, bassoon

SKU: GI.G-9283INST

Et in terra pax. Composed by Roger Ames. Christmastide. Evoking Sound. Music Education. Full score and parts. 36 pages. GIA Publications #9283INST. Published by GIA Publications (GI.G-9283INST).

UPC: 785147928393. English. Text Source: The Second Shepherds' Play, freely adapt. from The Wakefield Master by RA.

The keyboard accompaniment is printed in the full score.

Orchestra

SKU: AP.12-0571539793

Composed by Anders Hillborg. Full Orchestra (Full Score); Masterworks; Performance Music Ensemble; Single Titles. Faber Edition. Form: Concerto. 20th Century; Masterwork. Score. Faber Music #12-0571539793. Published by Faber Music (AP.12-0571539793).

ISBN 9780571539796. English.

Hillborg's first violin concerto, composed in the early nineties, is a pivotal work in his oeuvre. Composed in the wake of his highly experimental Clang & Fury and Celestial Mechanics---both of which employ complex and unconventional tuning systems---the concerto displays a more pragmatic approach, though the drama it sets up is far from conventional, with a very fluid soloist-orchestra relationship. Esteemed conductor and composer Esa-Pekka Salonen, who has recorded the concerto in 2002, has described it as one Hillborg's best pieces.