Performed by Sarah McLachlan. For voice, piano and guitar chords. Format: piano/vocal/chords single. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Pop rock, pop vocal and adult contemporary. C Minor. 8 pages. 9x12 inches. Published by Hal Leonard.

Score and Parts Concert Band (Score & Parts) - Grade 4.5

SKU: HL.4008202

Three Swedish Dances. Composed by Jan Van der Roost. De Haske Concert Band. Concert. Softcover. Duration 760 seconds. De Haske Publications #033213. Published by De Haske Publications (HL.4008202).

UPC: 196288138884. 9.0x12.0 inches.

In this varied suite, named after the Swedish region Medelpad, folk dances in a Swedish fashion take stage in diverse tempi, styles and atmospheres. For Medelpadia, Van der Roost used a combination of an existing theme and newly composed music with a folk-like feel. Fascinating folk music in a well-composed framework!

Violin, Soprano Saxophone and Piano Mixed Ensemble; Piano; Soprano Saxophone; Violin (Score & Parts)

SKU: HL.14042169

Score and Parts. Composed by John Harle. Music Sales America. Classical, Contemporary. Softcover. Chester Music #CH81070. Published by Chester Music (HL.14042169).

ISBN 9781783051007.

ARCA DIA is written for and dedicated to the memory of John Craxton RA (1922 - 2009). For violin, soprano saxophone and piano.

Composed by Adrienne Albert. Set of Score and Parts. 12 4 pages. Duration 6 minutes. Theodore Presser Company #114- 42266. Published by Theodore Presser Company

Baritone voice & Piano

SKU: ST.Y329

Composed by Rhian Samuel. Five songs for baritone and piano to texts by Charles Hamilton Sorley. Vocal Score. Stainer & Bell Ltd. #Y329. Published by Stainer & Bell Ltd. (ST.Y329).

ISBN 9790220224553.

In her song-set for baritone and piano A Swift Radiant Morning, Rhian Samuel, a noted contemporary composer of English song, has created a portrait in words and music of the young poet Charles Hamilton Sorley (1895-1915). Robert Graves described Sorley's death - at the Battle of Loos - as among the three most significant amongst poets in the First World War (the others being Wilfred Owen and Isaac Rosenberg). The five songs are 'Rooks', 'The Sounds of War', 'The Signpost', 'In Memoriam', and 'Earth's King'. The composer offers in the last song a celebration of Sorley's life, and a testament to his enduring legacy. A Swift Radiant Morning was commissioned by the Three Choirs Festival, Hereford, 2015, for a first performance by Roderick Williams, baritone, and Susie Allan, piano, at Holy Trinity Church, Hereford, on 25 July 2015.

CONTENTS
1 Rooks
2 The Sounds of War
3 The Signpost
4 In Memoriam
5 Earth's King.

Flute

SKU: GI.G-3882INST

Concertato on RADIANT CHRIST. Composed by David Cherwien. This edition: Instrument edition. Tune Name: Radiant Christ. Sacred. Instrumental part(s). 1 pages. GIA Publications #3882INST. Published by GIA Publications (GI.G-3882INST).

Composed by Bruce Ballinger. Sacred Anthem. Octavo. Radiant Music #ES362B. Published by Radiant Music (LO.ES362B).

Composed by Kenneth E. Bryars. Arranged by Dave Willamson. Sacred Anthem. Octavo. Radiant Music #10/2108RA. Published by Radiant Music (LO.10-2108RA).

Composed by Jay Richards. For SSA choir (with optional piano). Sacred Anthem. Octavo. Radiant Music #WKS9801. Published by Radiant Music

By John Philip Sousa (1854-1932). Arranged by Andrew Converse. For Trombone Quartet. 20th Century Americana. Advanced. Score and parts. Published by Cherry Classics

Orchestra - Grade 2.5

SKU: AP.44839

Composed by Andrew H. Dabczynski. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score and Part(s). 124 pages. Duration 3:30. Highland/Etling #00-44839. Published by Highland/Etling (AP.44839).

UPC: 038081518367. English.

This work sensitively conveys the rising sun as it first greets America each morning on Cadillac Mountain at Acadia National Park. Written by Andrew H. Dabczynski in celebration of that park's centennial, this enchanting piece provides an opportunity for young string players to musically express the magic of dawn on the mountain, of light sparkling on the ocean, of swelling seas as a squall approaches, and of the returning calm as the light recedes. Acadia First Light will transport players and audiences alike to Acadia, that treasured national gem. (3:30).

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500103F

Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F).

ISBN 9781491131763. UPC: 680160680290.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Orchestra - Grade 2.5

SKU: AP.44839S

Composed by Andrew H. Dabczynski. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Score. 16 pages. Duration 3:30. Highland/Etling #00-44839S. Published by Highland/Etling (AP.44839S).

UPC: 038081518374. English.

This work sensitively conveys the rising sun as it first greets America each morning on Cadillac Mountain at Acadia National Park. Written by Andrew H. Dabczynski in celebration of that park's centennial, this enchanting piece provides an opportunity for young string players to musically express the magic of dawn on the mountain, of light sparkling on the ocean, of swelling seas as a squall approaches, and of the returning calm as the light recedes. Acadia First Light will transport players and audiences alike to Acadia, that treasured national gem. (3:30).

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

SATB choir, assembly, piano accompaniment, C instrument - Intermediate

SKU: GI.G-10681

Composed by Edward Eicker. Trinity Sunday. Choral. Sacred. Octavo. 12 pages. GIA Publications #10681. Published by GIA Publications (GI.G-10681).

English. Text Source: 'O Radiant Light,' Phos Hilaron, ca. 200, tr. William G. Storey, 1923-2014, 'Hymn to the Trinity,' from Oxyrhynchus Papyri, 3rd or 4th c., adapt. Alan J. Hommerding; Translation: William G. Storey. Text by William G. Storey.

By Nate Carter. For SATB Choir. Sacred Anthem. Octavo. Published by Radiant Music

By Jeoffrey Benward; Jeff Silvey. SATB divisi. Sacred. Octavo. Published by Radiant Music.

By Steve Jd Phifer; J Daniel Smith. For SATB choir. Sacred. Sacred Anthem. Published by Radiant Music.

By Nate Carter. Arranged by Beth Boykin. For SATB Choir. Sacred Anthem. Octavo. Published by Radiant Music

Composed by Bill McCuin. Arranged by Vernon M. Whaley. For SATB choir. Sacred Anthem. Octavo. Published by Radiant Music

Orchestra - Grade 4

SKU: AP.51055S

Composed by Brian Balmages. MakeMusic Cloud; Performance Music Ensemble; Single Titles; String Orchestra. MakeMusic Symphony Strings. Fiddle. Score. 20 pages. Duration 3:50. Alfred Music #00-51055S. Published by Alfred Music (AP.51055S).

ISBN 9781470668150. UPC: 038081587035. English.

A musical celebration of the human spirit, Radiant Joy is uplifting from the very first note. Brian Balmages includes subtle elements of fiddle music throughout as the work develops, moving through various styles with several twists and turns along the way. Inspiring! (3:50).

Orchestra Bassoon I, Clarinet I, Crash Cymbals, Flute I. II, Horn I - IV, II, Oboe I, Oboe II / Cor anglais, Perc I (Glockenspiel, Perc II (Small Tria, Piccolo, Suspended Cymbal), Triangle (small), Trombone I - III, Trumpet I-III, Tuba, Tubular Bells, Xylophone

SKU: CF.CY4010F

Composed by Andrew Kinney. Contemporary. Full score. With Standard notation. 50 pages. Carl Fischer Music #CY4010F. Published by Carl Fischer Music (CF.CY4010F).

ISBN 9781491146170. UPC: 680160903672. 11 x 17 inches.

Wisconsin-b orn Kinney, approaching his 50th birthday himself, was one of five composers commissioned by the Wisconsin Youth Symphony Orchestras to work with an ensemble and then compose a piece for that group, in honor of their 50th Anniversary. A Radiant Spirit was premiered at the 50th Anniversary Gala Concert on February 20th, 2016.

By Wayne Haun. For SAB choir. Christmas, Sacred. Cantata. Published by Radiant Music. (65/1940RA)

By Jerry R Kirk. For SATB Choir. Sacred Anthem. Octavo. Published by Radiant Music

By Richard Cook. Arranged by J Daniel Smith. For SATB choir (with optional full orchestra). Sacred Anthem. Octavo. Published by Radiant Music

Composed by Paul Ferrin. For full orchestra. Sacred Anthem. Orchestration. Published by Radiant Music