Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Tom-tom, Trombone, Trumpet, Tuba, alto Saxophone, baritone Saxophone and more. - Grade 1

SKU: CF.BPS130F

Composed by R. Alan Carter. Sws. Bps. Full score. 12 pages. Duration 1:45. Carl Fischer Music #BPS130F. Published by Carl Fischer Music (CF.BPS130F).

ISBN 9781491156278. UPC: 680160914814. 9 x 12 inches.

The Kolomoki Mounds is one of the largest and earliest Woodland Period earthwork mound complexes in the Southeastern United States and the largest in Georgia. These mounds were constructed between 350-600 A.D. The eight mounds include a Great Temple Mound, a ceremonial mound, several burial mounds and a large plaza in the center where some 1,500 residents lived in a large village of thatched houses. Kolomoki celebrates the Swift Creek and Weeden Island Indian cultures. Using the first six notes for young band, the piece begins with a rhythmic statement from the brass and percussion. A simple melody is introduced by the woodwinds and later found in the trumpet part. The middle section features smaller sections. The piece ends with restatement of the main theme with a woodwind counter melody. This piece is designed to make your beginners sound great.
The “Kolomoki Mounds” is one of the largest and earliest Woodland Period earthwork mound complexes in the Southeastern United States and the largest in Georgia. These mounds were constructed between 350–600 A.D. The eight mounds include a Great Temple Mound, a ceremonial mound, several burial mounds and a large plaza in the center where some 1,500 residents lived in a large village of thatched houses.Kolomoki celebrates the Swift Creek and Weeden Island Indian cultures. Using the first six notes for young band, the piece begins with a rhythmic statement from the brass and percussion. A simple melody is introduced by the woodwinds and later found in the trumpet part. The middle section features smaller sections. The piece ends with restatement of the main theme with a woodwind counter melody. This piece is designed to make your beginners sound great.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Tom-tom, Trombone, Trumpet, Tuba, alto Saxophone, baritone Saxophone and more. - Grade 1

SKU: CF.BPS130

Composed by R. Alan Carter. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+6+2+3+1 +1+2+1+12 pages. Duration 1:45. Carl Fischer Music #BPS130. Published by Carl Fischer Music (CF.BPS130).

ISBN 9781491156261. UPC: 680160914807. 9 x 12 inches.

The Kolomoki Mounds is one of the largest and earliest Woodland Period earthwork mound complexes in the Southeastern United States and the largest in Georgia. These mounds were constructed between 350-600 A.D. The eight mounds include a Great Temple Mound, a ceremonial mound, several burial mounds and a large plaza in the center where some 1,500 residents lived in a large village of thatched houses. Kolomoki celebrates the Swift Creek and Weeden Island Indian cultures. Using the first six notes for young band, the piece begins with a rhythmic statement from the brass and percussion. A simple melody is introduced by the woodwinds and later found in the trumpet part. The middle section features smaller sections. The piece ends with restatement of the main theme with a woodwind counter melody. This piece is designed to make your beginners sound great.
The “Kolomoki Mounds” is one of the largest and earliest Woodland Period earthwork mound complexes in the Southeastern United States and the largest in Georgia. These mounds were constructed between 350–600 A.D. The eight mounds include a Great Temple Mound, a ceremonial mound, several burial mounds and a large plaza in the center where some 1,500 residents lived in a large village of thatched houses.Kolomoki celebrates the Swift Creek and Weeden Island Indian cultures. Using the first six notes for young band, the piece begins with a rhythmic statement from the brass and percussion. A simple melody is introduced by the woodwinds and later found in the trumpet part. The middle section features smaller sections. The piece ends with restatement of the main theme with a woodwind counter melody. This piece is designed to make your beginners sound great.

By Wolfgang Amadeus Mozart (1756-1791). Edited by Christopher Hogwood. For violin, viola, cello, pianoforte. Full score and parts. 45 2x12 8 24(xvii) pages. Duration 25 minutes. Published by Edition HH Music Publishers

Mixed choir (SATB) - easy

SKU: HL.49026732

3. Kalamajko tanzt!. Composed by Fischbach. Sheet music. Schott Chorblattreihe (Choral Music). Choral Score. 4 pages. Schott Music #CHBL 425. Published by Schott Music (HL.49026732).

ISBN 9790001020046.

Violin and Piano - easy

SKU: BT.EMBZ6311

By Lenkei Gabriella. EMB Music for Beginners. Educational Tool. Book Only. Composed 1970. 52 pages. Editio Musica Budapest #EMBZ6311. Published by Editio Musica Budapest (BT.EMBZ6311).

English-German-Hungari an.

The volumes of the series 'Music for Beginners' cover the entire music literature from the earliest centurties to our days. The material of the individual volumes containing short, easy pieces to be played in the first three-four years of studying the instrument has been compiled by accomplished music teachers. The majority of the contemporary works included in the voluumes have been published in this series for the first time.

(for two violins) Composed by Bela Bartok (1881-1945). For violin duet. Format: instrumental duet book. With standard notation. 20th Century and Hungarian. 51 pages. 8.5x11 inches. Published by Boosey and Hawkes.

Piano Trio

SKU: BR.MR-2297

Composed by Franz Xaver Kleinheinz. Chamber music; stapled. Musica Rara.

Edition in cooperation with Leopold Mozart Competition, Augsburg

Classical period. Score. 56 pages. Breitkopf and Haertel #MR 2297. Published by Breitkopf and Haertel (BR.MR-2297).

ISBN 9790004488645. 9 x 12 inches.

Music in the homes of Vienna's aristocratsFranz Xaver Kleinheinz was employed at the court of Prince Elector Karl Theodor in Munich until 1799, when he left for Vienna after the Prince's death. There he met Beethoven, who was five years younger than Kleinheinz and who also very much admired him, so much so that Beethoven entrusted the young musician with arrangements of his own works. Moreover, Kleinheinz most likely owed it to Beethoven's recommendations that he obtained access to the most prestigious noble homes of the city, where he acquired an outstanding reputation as a piano teacher. This is when he composed the Piano Trio op. 13, which is now being presented in a modern edition. The title page of the sole surviving source - an alternative clarinet part that is unfortunately no longer extant - refers to an edition published in Vienna in 1802.

Edition in cooperation with Leopold Mozart Competition, Augsburg.

By Mary Ann Harbar. For Fiddle. Solos. All Styles. Level: Intermediate. Book/CD Set. Size 8.75x11.75. 112 pages. Published by Mel Bay Publications, Inc.

Flute, viola (2), violoncello - Moderately difficult - difficult

SKU: HF.FH-3295

Composed by Johann Matthias Sperger. Edited by Kalinowski. Arranged by Kalinowski. Sheet music. Friedrich Hofmeister Musikverlag #FH 3295. Published by Friedrich Hofmeister Musikverlag (HF.FH-3295).

ISBN 9790203432951. 9 x 12 inches.

Concert Band - Grade 5

SKU: HL.4003158

Composed by Samuel R. Hazo. MusicWorks Grade 5. Hymn, Sacred. 16 pages. Published by Hal Leonard (HL.4003158).

UPC: 884088651343. 10.5x14 inches.

Commissione d by the award-winning Kalamazoo (MI) Concert Band, Alleluia is a convergence of hauntingly emotive themes that culminate in breath-taking builds. The Kalamazoo Gazette described it as the “pinnacle of the concert” in which it was premiered, adding that Hazo's master composition takes the listener from “...bells and chimes to full Hosannas. The result was transfiguring! It first fades like a sunset, then explodes in white light, bringing the audience to their feet.” Written for mature ensembles, this work will have a powerful impact on the performers as well as all who hear it. Duration: 7:55.

Percussion solo

SKU: BR.EB-9380

Seismic Construction in 3 Parts. Composed by Johannes Maria Staud. Solo instruments; stapled. Edition Breitkopf. World premiere: Vienna, October 17, 2020 Commissioned by KolnMusik GmbH as a part of the Non Beethoven project of the Kolner Philharmonie for 2020, Wiener Konzerthaus and Martin Grubinger / Percussive Planet. New music (post-2000); Music post-1945. Score. Composed 2019/20. 52 pages. Duration 16'. Breitkopf and Haertel #EB 9380. Published by Breitkopf and Haertel (BR.EB-9380).

ISBN 9790004188507. 10.5 x 14 inches.

,,Trau er nur dem holzernen Freund nicht. Er ist manchmal ein lederner (aus den Beethoven-Konversationshe ften) Dieses Schlagzeugtrio, das in enger Zusammenarbeit mit den Widmungstragern entstanden ist, besteht aus drei Teilen. Es wird durch die schiere Freude am dramaturgisch gebundelten Konstruieren entlang seismischer Bruchlinien gepragt. Die drei Percussion-Spieler wechseln wahrend des Werkes zwischen drei Setups an verschiedenen Spielpositionen - vom Buhnenhintergrund, uber die Mitte der Buhne bis vorne an der Buhnenrampe. Dabei wird jeweils ein anderes Klangmaterial, im ersten Teil (Part I) das Fell, im zweiten Teil (Part II) das Metall und im dritten Teil (Part III) das Holz in den Mittelpunkt gestellt. Part I (5'30'') ist mit drei O-Daikos besetzt, die mit Fingern, Handen, Fausten, Superballs und Holzstaben gespielt werden. Part II (6'00'') ist um drei Glockenspiele, drei Vibraphone und drei Sixxen gruppiert und integriert auch Metallinstrumente wie Chinese Opera Gongs, Mini-Tam-Tams und Metalltonnen, die mit Fussmaschine gespielt werden. In Part III (4'00'') spielen alle drei Musiker mit Rundstaben, Handen und Rohrenglockenhammern das mit sieben massiven Balken aus Eschenholz besetzte baskische Nationalinstrument Txalaparta, das auch seine ganz eigene Geschichte im Widerstand gegen die Franco-Diktatur hat. Reizvoll war fur mich sowohl, dass man zu dritt auf diesem archaischen Instrument wirklich aberwitzig schnelle Rhythmen spielen kann, als auch, dass dieses Instrument auf Konzertpodien klanglich wie optisch noch vollig neu ist - und dies, trotz aller Schlichtheit, bei einem unglaublichen Reichtum an Klangmoglichkeiten. Kleine rhythmische Zellen, die sich immer wieder zu vielfaltigen neuen Texturen - bis zur klanglichen Entfesselung - zusammenballen und eine feine Differenzierung und Dynamisierung der Anschlagsmoglichkeiten bestimmen dieses Werk. Auch, wenn nur Part II durch den Einsatz bestimmter Tonhohen gepragt ist (durch die Verwendung der von Yannis Xenakis erfundenen Sixxen durchaus mikrotonal), so gibt es doch unuberhorbar abschnittsubergreifende Kontinuitaten in Rhythmik und Motivik, die das ganze Werk bestimmen und es dabei wie feine seismische Adern durchziehen. (Johannes Maria Staud, 2020)

World premiere: Vienna, October 17, 2020 Commissioned by KolnMusik GmbH as a part of the Non Beethoven project of the Kolner Philharmonie for 2020, Wiener Konzerthaus and Martin Grubinger / Percussive Planet.

(Early Intermediate Level). By Glenda Austin. Willis. Early Intermediate. Softcover. 56 pages

By John G. Mortimer. For 3 Euphoniums. Swiss import. Level: Grade 2 . Published by Editions Marc Reift. (EMR 4186)

Composed by Krasimir Tsvetanov Kiurkchiiski. For female choir. Choral music. Score. Language: Bulgarian/English. Published by Noten Roehr

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.

For Bassoon, Piano Accompaniment. Classical. Sheet Music. 50 pages. Published by Chester Music.

Orchestra 2 Bassoons, 2 Flutes, 2 Horns in F, 2 Oboes, 2 Trumpets in C, Bass Clarinet, Clarinet in Bb, Drum Set, Harp, Percussion (1 player):, Snare Drum, Strings, Tambourine, Timpani, Wood Block

SKU: PR.416415290

For Orchestra. Composed by Victoria Bond. Chamber version: premiered by Fontana Chamber Arts, Kalamazoo, MI. Contemporary. Full score. With Standard notation. Composed 2006. 79 pages. Duration 14 minutes. Theodore Presser Company #416-41529. Published by Theodore Presser Company (PR.416415290).

UPC: 680160625895. 8.5x11 inches.

Composed by Antonin Dvorak (1841-1904). Arranged by Kalinowska, Bella / Kalinowsky, and Semjon. Stapled. Performance score , Part(s). Opus 75. Baerenreiter Verlag #BA10437. Published by Baerenreiter Verlag

Arranged by Jack Bullock. For Rhythm Section. Jazz Ensemble Collection. Jazz. Book. 32 pages. Published by Alfred Publishing.

The Ukulele Decade Series. Composed by Various. Ukulele. Pop, Rock. Softcover. 184 pages. Published by Hal Leonard

By Harry Warren. Arranged by George Roumanis. For 1st E-Flat Alto Sax. Jazz Ensemble Collection. Jazz. Book. 24 pages. Published by Alfred Publishing.

Composed by Christian Mason. World premiere: Paris, Cite de la musique, January 14, 2020. Breitkopf and Haertel #EB 9377. Published by Breitkopf and Haertel

By John G. Mortimer. Brass Ensemble. For 2 trumpets, trombone and piano (keyboard). Swiss import. Play Along. Level: 2 . Sheet music and accompaniment CD. Published by Editions Marc Reift. (EMR 2277)

Arranged by Warren Barker. Arr. Warren Barker. For Concert Band. Concert Band. Symphonic Band. Level: 4 (Medium) (grade 4). Conductor Score and Parts. 296 pages. Published by Alfred Publishing.

Percussion - Mallet Instrument Collection. Classic Festival Solos. Book. 40 pages. Published by Alfred Publishing.

By John G. Mortimer. For 3 saxophones (aat) and piano (keyboard). Swiss import. Play Along. Level: 2 . Sheet music and accompaniment CD. Published by Editions Marc Reift. (EMR 2271)

Continuo realization (1(picc).2.0.1. - 2.2.0.0. - str - bc)

SKU: BR.OB-4371-12

Former name Concerto grosso No. 25 - Urtext. Composed by George Frideric Handel. Edited by Wilhelm Pfannkuch. Arranged by W. (Cont.-Auss.) Pfannkuch. Stapled. Orchester-Bibliothek (Orchestral Library).

Handel composed his Water Music for none other than King George I who requested a concert for guests invited to his pleasure cruise on the Thames.

Concerto grosso; Baroque. Part. 28 pages. Duration 45'. Breitkopf and Haertel #OB 4371-12. Published by Breitkopf and Haertel (BR.OB-4371-12).

ISBN 9790004306338. 10 x 12.5 inches.

According to the Daily Courant, the premiere took place as follows: On Wednesday Evening, at about 8, the King took to Water at Whitehall in an open Barge, wherein were Dutchess of Bolton, The Dutchess of New Castle, the Countess of Godolphin, Madam Kilmaseck, and the Earl of Orkney. And went up the River towards Chelsea. Many other of Barges with Person of Quality attended, and so the great Number of Boats, that the whole River in a manner was couver'd; a City Company's Barge was employ'd for the Musick, wherein were 50 Instruments of all sorts, Who play'd all the way from Lambeth (while the Barges drove with the Tide without Rowing, as far as Chelsea) the finest Symphonies, compos'd express for this Occasion, by Mr Hendel: which his Majesty liked so well, that he caus'd it to be play'd over three times in going and returning. At Eleven his Majesty came again into Barge, and return'd the same Way, the Musick continuing to play till he landed.

Handel composed his Water Music for none other than King George I who requested a concert for guests invited to his pleasure cruise on the Thames.