Paperback Lyrics. By Various. Paperback Lyrics. Softcover. 256 pages. Published by Hal Leonard.

26 Songs of Faith, Hope and Love. By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. 162 pages. Published by Hal Leonard.

By Kelly Clarkson. For Piano/Keyboard. Easy Piano Personality. Softcover. 106 pages. Published by Hal Leonard

By Kelly Clarkson. For Piano/Vocal/Guitar. Piano/Vocal/Guitar Artist Songbook. Softcover. 112 pages. Published by Hal Leonard

Songs to Soothe the Soul, Open the Heart and Rekindle the Spirit. By Various. Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Softcover. Size 9x12 inches. 237 pages. Published by Hal Leonard.

By Kelly Clarkson. Strum and Sing. Softcover. 56 pages. Published by Hal Leonard

SKU: CL.991-2013-01

Compact Disc. Listening CD. Composed 2013. C.L. Barnhouse #991-2013-01. Published by C.L. Barnhouse (CL.991-2013-01).

A Moment Like This (Neeck)
The Answer Is In The Blues! (Gress)
Believe (P. Clark)
For Your Ears Only (Neeck)
Full Swing Ahead! (Neeck)
Gotta 'Bone To Pick With You (Sherburne)
Just Fine! (Rowe)
Let's Keep A Good Thing Goin' (P. Clark)
Mucho Macho (P. Clark)
The Perfect Storm (Barton)
Trombones Under The Tree (P. Clark)
West Coast Shuffle (Strommen).

(2+1.2+1.2+1.2/4.0.3.1,ti mp,perc,hp,str)

SKU: TM.05252SET

Composed by Alexander Glazounow. Set Type: D. Set of parts. Lucks Music Library #A1463. Published by Lucks Music Library (TM.05252SET).

Ed. by Solc. Organ in set.

By Larry Neeck. For jazz ensemble. Grade 3. Score and set of parts. Duration 4 minutes, 4 seconds. Published by C.L. Barnhouse

For SATB choir a cappella (SATB). Choral. Shawnee Press. Supports: Matthew 28:18-20, Luke 23:23. Sacred, General, evangelism, revival, life of Christ. 8 pages. Shawnee Press #A8854. Published by Shawnee Press

Concert Band - Grade 2.5

SKU: AP.50782S

Composed by Neil Hannon, Paul King, and Simon Farnaby. Arranged by Michael Story. Concert Band; Performance Music Ensemble; Single Titles. Pop Young Band. Movie; Pop. Score. Duration 2:30. Alfred Music #00-50782S. Published by Alfred Music (AP.50782S).

ISBN 9781470669317. UPC: 038081588131. English.

This showstopper from the movie Wonka is sure to be a crowd-pleaser! This terrific arrangement has many teachable moments, including swinging eighth notes, dynamic shifts, rhythmic interplay, independence, and more. Full of energy and excitement, this expertly scored arrangement of You've Never Had Chocolate Like This by Michael Story is the perfect choice for your next concert. (2:30).

Concert Band - Grade 2.5

SKU: AP.50782

Composed by Neil Hannon, Paul King, and Simon Farnaby. Arranged by Michael Story. Concert Band; Performance Music Ensemble; Single Titles. Pop Young Band. Movie; Pop. Score and Part(s). Duration 2:30. Alfred Music #00-50782. Published by Alfred Music (AP.50782).

ISBN 9781470669300. UPC: 038081588124. English.

This showstopper from the movie Wonka is sure to be a crowd-pleaser! This terrific arrangement has many teachable moments, including swinging eighth notes, dynamic shifts, rhythmic interplay, independence, and more. Full of energy and excitement, this expertly scored arrangement of You've Never Had Chocolate Like This by Michael Story is the perfect choice for your next concert. (2:30).

C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Standards. Softcover. 802 pages. Published by Hal Leonard

Bb Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 864 pages. Published by Hal Leonard.

By Johann Cruger. Arranged by Lynn S. Lund. Text: Catherine Winkworth. For SATB Choir. Level: Medium / Medium-Difficult (accompaniment). Duration 2:00. Published by Jackman Music Corporation.

C Edition. Fake Book (Includes melody line and chords). Size 6x9 inches. 864 pages. Published by Hal Leonard.

Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.

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.

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