((Angelina the Baker)). Arranged by Robert Longfield. For Concert Band (Score and Parts). MusicWorks Grade 2. Grade 2. Published by Hal Leonard

Jewish Music for Weddings. Transcontinental Music Folios. Size 8.5x10.75 inches. 172 pages. Published by Transcontinental Music Publications.

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

Composed by Almicare Ponchielli. Anacrouse. Transcription pour piano 4 mains + Biographie + Notes sur l'oeuvre. Score. Editions Bourges #EBR-A088. Published by Editions Bourges

Organ (Organ)

SKU: HL.48182450

Composed by Olivier Messiaen. Leduc. Classical. CD. 72 pages. Alphonse Leduc #AL23673. Published by Alphonse Leduc (HL.48182450).

UPC: 888680833015. 8.0x11.5x0.249 inches.

In this edition written in German, The Technique Of My Musical Language by Olivier Messiaen explains the full theory behind Messiaen?s compositions. Enabling a better understanding, this book will help advanced students and professionals for the interpretation of his work, and is a must-have for all composers. This book includes the scales of limited transpositions, well-known in Jazz, the rhythmic permutations, as well as other techniques. Olivier Messiaen (1908-1992) was a French organist and composer passionate about Ornithology and one of the most important composer of his century. Inspired by Japanese music, he had a very special way of composing and his work can be identified by its complexity, its diatonic aspect, its harmony with limited transposition, its colour and its additive rhythms. He composed many works related to ornithology and birdsong, including the ''Bird Catalogue'' in 7 volumes and the ''Treatise on rhythm, colour and ornithology'' in 7 volumes..

10 Essential Arias with Plot Notes, IPA, Recorded Diction Lessons and Recorded Accompaniments. Composed by Various. Vocal Collection. Softcover Audio Online. 88 pages. Published by G. Schirmer

By Guilmant, Alexandre (1837-1911). Trombone and piano. Published by International Music Co.

Orchestra; Score

SKU: HL.49007881

Score. Composed by Hans Werner Henze. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Study Score. Composed 1992-1993. 138 pages. Duration 25'. Schott Music #ED 8276. Published by Schott Music (HL.49007881).

ISBN 9790001084383. UPC: 073999761092. 8.25x11.75x0.355 inches.

Study score.

By Jack Murphy, Frank Wildhorn. Arranged by Will Rapp, Jay Bocook. Esprit (Marching Band). Published by Cherry Lane Music.

By Carl Philipp Emanuel Bach. Edited by Balla, Gyorgy. For Viola. Nagels Musik-Archiv. Single Part. Wq 31. Published by Nagels Musik-Archiv (German import). (NMA253 79)

Guitar solo - Intermediate

SKU: DZ.DZ-1134

Composed by David Solomons. Score. Les Productions d'OZ #DZ 1134. Published by Les Productions d'OZ (DZ.DZ-1134).

ISBN 9782896550333.

By George L.O. Strid, Mary Donnelly. For Choir. Choral Octavo. Choral Designs. Christmas. CD. Published by Alfred Publishing.

Jazz-Style Arrangements with a "Variation". Arranged by Carl Strommen. George Gershwin. For Piano Acc. Instrumental Series. Jazz. Book. 56 pages. Published by Alfred Publishing.
Level: Intermediate.

By Almon C. Bock II. Orchestra. Score; String Orchestra. Highland String Orchestra. Grade 3.5. 16 pages. Published by Alfred Music

(SSAA Choir)

SKU: HL.1140048

SSAA. Composed by Britta Bystrom. Choral. Octavo. Edition Wilhelm Hansen #WH33257. Published by Edition Wilhelm Hansen (HL.1140048).

ISBN 9788759842515. UPC: 196288115250.

Tva sanger om livet efter detta (2019) composed by Britta Bystrom.

3 recorders (SSA), percussion and piano

SKU: HL.49029591

Composed by Freda Dinn. Edited by Freda Dinn. Sheet music. Edition Schott. Individual part. Schott Music #ED 10720-01. Published by Schott Music (HL.49029591).

ISBN 9790220128417.

SKU: HL.49026062

Composed by Harald Genzmer. Schott Chorverlag (Choral Music). Score. 3 pages. Schott Music #C 46571-99. Published by Schott Music (HL.49026062).