By Kenneth Martinson. Edited by Kenneth Martinson. For 12 violas. This edition: Urtext, Folder with 13 inserts. Classical. Level 5 (of 6). Score and 12 parts. Text Language: English. Composed 1987/99. 52 pages. Duration 6 min. Published by Gems Music Publ

By Alessandro Rolla (1757-1841). Edited by Kenneth Martinson. For 2 violas. This edition: Urtext, Bookstyle Bound. Classical. Level 6 (of 6). Playing score. Text Language: English. BI. 23-32. 49 pages. Published by Gems Music Publications

SAB. By Kinley Lange. (SAB (SATB)). Walton Choral. Size 6.75x10.5 inches. 8 pages. Published by Walton Music.

For 2 Violas. By Pietro Nardini. Schott. Size 8.25x11.75 inches. 16 pages. Published by Schott.

(Score and Parts). Composed by Florian Leopold Gassman. For String Quintet. String. 32 pages. Schott Music #ED20429. Published by Schott Music

Score and Parts. Composed by Gaetano Brunetti. String. Schott Music #ED20426. Published by Schott Music (HL.49017037).

Composed by Wolfgang Amadeus Mozart (1756-1791). Set of performance parts (parts only, score not included) for violin I, violin II, viola I, viola II and cello. With thematic index. 179 pages. Published by C.F. Peters.

By Anonymous. Edited by Kenneth Martinson. For 2 violas. This edition: Urtext, Bookstyle Bound. Classical. Level 4 (of 6). Playing score. Text Language: English. 114 pages. Published by Gems Music Publications

By George Benjamin. For Viola. Duet or Duo; Masterworks; Part(s); String - 2 Violas. Faber Edition. 20th Century; Masterwork. 6 pages. Published by Faber Music

(Score and Parts). Composed by Antonio Capuzzi. For String Quintet (Score and Parts). G Schirmer String Ensemble. Softcover. Schott Music #ED21232. Published by Schott Music

Viola Duet - Grade 2.5

SKU: AP.36-52721562

Composed by Lynne Latham. Ludwig Masters. Book. Latham Music Enterprises #36-52721562. Published by Latham Music Enterprises (AP.36-52721562).

ISBN 9781628760873. UPC: 660355097317. English.

The second volume in this series includes intermediate level duets compatible for violin, viola, cello and bass. Learn dotted rhythms and 6/8 meter, chromatic fingerings, facility with pizzicato, varying types of bow strokes, and double stops as students are introduced to shifting with familiar classic tunes. This volume is a technique builder and works best with the more treble of the two instruments on the top line.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

(from Six Characteristic Duos). By Charles Auguste de Beriot (1802-1870) and Charles Auguste de Beriot. Edited by Jan Kelley. Arranged by Joel Lish. Viola duet. For 2 violas. Duets. De Beriot's Six Characteristic Duos arranged for Two Violas. Classical. D

Composed by Paul Marie Theodore Vincent d'Indy. Chamber music (3-9 instruments). Set of 6 parts. Published by Noten Roehr (NR.65819).

(for Two Violas). By Michael Daugherty (1954-). Peermusic Classical. Softcover. 24 pages. Peermusic #61783-753. Published by Peermusic

Composed by Wilhelm Friedemann Bach (1710-1784). Edited by Kenneth Martinson. For 2 violas. This edition: Urtext, Staple Center Bound with 1 insert. In the keys of G, g, C. Classical. Level 4 (of 6). Playing score. Text Language: English. Composed ca. 1775. F. 60-62. 46 pages. Published by Gems Music Publications

Choral SATB choir, piano

SKU: CF.CM9608

Composed by Jamey Ray. Fold. Performance. 12 pages. Duration 3 minutes, 33 seconds. Carl Fischer Music #CM9608. Published by Carl Fischer Music (CF.CM9608).

ISBN 9781491154304. UPC: 680160912803. 6.875 x 10.5 inches. Key: E major. English. Alfred, Lord Tennyson (1809-1892).

The beauty in Alfred, Lord Tennysons poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 5764, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennysonas poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.A 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word adeepa in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word adarka in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word aembark,a which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57a64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word awhen.a Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson's poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m. 19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word deep in m. 27 gives another instance of text painting. Take advantage of the minor second suspension on the word dark in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word embark, which is to be an ascent to Heaven. The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57-64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word when. Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter. I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it. ~Jamey Ray.
The beauty in Alfred, Lord Tennyson’s poem is reflected by the music with the use of text painting. The piano creates the sound of moving water in m.  19, providing the first instance of text painting. When the men enter, they continue this idea of the ocean tide while the descent into the word “deep” in m. 27 gives another instance of text painting.Take advantage of the minor second suspension on the word “dark” in m. 38 in order to achieve a feeling of suspense. The entrance at m. 41 is full, and while still minor, the text gives us hope for a change. The change comes in m. 45 with the staggered entrances creating a sense of building and ascent until the climax of this moment at m. 47 on the word “embark,” which is to be an ascent to Heaven.The melody moves between voice parts, even as early as m. 14 where the altos have the melody for only a single measure; it is then handed back to the sopranos. From mm. 57–64, the altos trade the melody back and forth with the sopranos. Take note that the alto melody should be brought out, but the line does not actually begin until the word “when.”Lastly, be intentional with syllabic stress (no two eighth notes or quarter notes alike) and to give direction to any note longer than a quarter.I hope you enjoy learning and performing Crossing the Bar as much as I enjoyed writing it.~Jamey Ray.

Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2

SKU: CF.CM9625

Composed by Jimmy Baas. Sws. Performance Score. 16 pages. Duration 3 minutes, 49 seconds. Carl Fischer Music #CM9625. Published by Carl Fischer Music (CF.CM9625).

ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.

The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.
O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.
O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still” provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,” are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still” are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.

2-part mixed voices, keyboard accompaniment - Beginning

SKU: GI.G-9790

Composed by Carlton R. Young. Children. Simple Gifts. Tune Name: Numbers 6:24. Sacred. 4 pages. GIA Publications #9790. Published by GIA Publications (GI.G-9790).

UPC: 785147979005. English. Text Source: Numbers 6:24&ndash,26. Scripture: Numbers 6:24–26.

Through attractive simplicity and a beautiful line, this brief setting of the Aaronic blessing is a great alternative to other, older settings of the text—especially when the total number of tenor-bass singers in your choir is considerably less than that of the sopranos and altos. The two parts sing in octaves mostly, with just a hint of a canon in the final measures.

Jazz Ensemble standard jazz ensemble; altos double on flute - Grade 5

SKU: KN.62060

Composed by Dave Hanson. Jazz Summit. Shuffle. Score and set of parts. Duration 6 minutes, 55 seconds. Kendor Music Inc #62060. Published by Kendor Music Inc (KN.62060).

UPC: 822795620603.

Recen tly recorded by the H2 Big Band on You're It! (Jazzed Media 1053), this driving shuffle for proficient groups is imaginative, skillfully orchestrated, and harmonically unique. Solo space is provided for baritone sax, trumpet and trombone. Duration 6:55.

Choral (Men's Chorus)

SKU: HL.14042319

AATBarBarB a cappella. Composed by Joby Talbot. Arranged by Phillip Lawson. Choral. Classical, Contemporary. Octavo. Composed 2012. 20 pages. Chester Music #CH80113. Published by Chester Music (HL.14042319).

6.75x9.75x0.104 inches.

For 2 altos, tenor, 2 baritones and bass. Piano included for rehearsal only. This arrangement of Leon was commissioned by The King's Singers and Sean Curran Company as part of a collaborative project.

Jazz Ensemble altos double on flute - Grade 5

SKU: KN.62060S

Composed by Dave Hanson. Jazz Summit. Kendor Music Inc #62060S. Published by Kendor Music Inc (KN.62060S).

UPC: 822795620603.

Recen tly recorded by the H2 Big Band on You're It! (Jazzed Media 1053), this driving shuffle for proficient groups is imaginative, skillfully orchestrated, and harmonically unique. Solo space is provided for baritone sax, trumpet and trombone. Duration 6:55.

Coro SSAATBB, 3 Vl, Va, Bc, 2 Ob, 2 Fg, 3 Tr, Timp

SKU: CA.5525813

Composed by George Frideric Handel. Edited by Alon Schab. Single Part, violin 3. Composed 1727. HWV 258. Duration 6 minutes. Carus Verlag #5525813. Published by Carus Verlag (CA.5525813).

ISBN 9790007311018. English.

Music for the ages: the coronation anthems Zadok the priest, Let thy hand be strengthened, The King shall rejoice and My heart is inditing, which Handel composed for the coronation of George II in 1727, are true masterpieces of the choral literature. Zadok the priest was performed for the anointing of the new King and more recently for the coronation of Charles III in 2023.For the Carus edition, available either individually or as a set, musicologist, composer and flutist Alon Schab has returned to the original manuscripts, paying special attention to the specific circumstances that played a role in the creation of the anthems. Befitting such a festive occasion, Handel’s choir in 1727 was a large ensemble composed of singers from two institutions. This six- or seven-voice ensemble had to be carefully balanced to perform the passages for four or five voices. Handel’s autograph score shows how he adapted his composition, originally conceived for a four- or five-voice choir, to the particular circumstances of the premiere: The manuscript is peppered with surprising vocal doublings, insertions, and rests, intended to ensure that, for example, the few tenors were not overpowered by the more numerous altos and basses, the boy sopranos harmonized with the mature voices, and the chorus blended well with the instruments in the rich ambience of Westminster Abbey.This edition traces these ad hoc additions to reveal a score that is startlingly similar to Handel’s familiar and beautifully direct choral style. All editorial decisions are thoroughly documented in the critical report.

Saxophone Sextet

SKU: SU.90920032

Composed by Julius Hemphill. Score & Parts. Subito Music Corporation #90920032. Published by Subito Music Corporation (SU.90920032).

Book 2 contains contains scores and parts to 10 more compositions by jazz master and leader of the World Saxophone Quartet, Julius Hemphill. Newly engraved edition. Edited by Marty Ehrlich.Julius Hemphill formed his Saxophone Sextet in 1989, composing new music for concert performances and his celebrated dance and theatre collaborations. The wide history of African-American music is heard in these pieces, all shaped by Hemphill's rich imagination and compositional acumen. The instrumentation is three altos with soprano doubles, two tenors, and baritone sax. The two volumes presented here mirror each other in the range of musical worlds Hemphill evoked as he explores the rich harmony and counterpoint possible with the six- saxophone choir. Also available: Book 1 (Cat. #90920031) CONTENTS 1. Fat Man 2. Tribute/Closer (from Long Tongues: A Saxophone Opera) 3. Floppy/Blued-UP 4. The Answer 5. Georgia Blue 6. Holy Rockers 7. Mr. Critical 8. The Glide 9. Revue 10. The Hard Blues Saxophone Sextet Composed: 1992 Published by: Subito Music Publishing.