Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3

SKU: CF.CPS251

Composed by Patrick Glenn Harper. Set of Score and Parts. 28+8+8+4+8+8+8+4+4+4+4+4+ 4+8+8+8+4+4+6+6+6+4+8+1+4 +2+2+12+2+8 pages. Duration 4 minutes, 27 seconds. Carl Fischer Music #CPS251. Published by Carl Fischer Music (CF.CPS251).

ISBN 9781491159873. UPC: 680160918461.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.

Guitar

SKU: GI.G-9459G

Arranged by Tony Alonso S.J. This edition: Guitar edition. 1) Lent 4 A, Easter 4 A, OT 16 B, OT 28 A, Christ the King A, Sacred Heart C, 2) Pentecost. Tune name: St. Columba. Sacred. Guitar part. With guitar chord names. 4 pages. GIA Publications #9459G. Published by GIA Publications (GI.G-9459G).

UPC: 785147945970. English. Text Source: Text I: Based on Psalm 23, Henry W. Baker, 1821–1877, alt., Text II: Edwin Hatch, 1835–1889. Text by Henry Baker. Scripture: 1. Psalm 23.

By Pink Floyd. Guitar Chord Songbook. Softcover. 72 pages. Published by Hal Leonard

By Marie Barnett. Arranged by Derek K. Hakes. Devotion, Praise and Worship, Ring and Sing, Contemporary, Hymntune and Sacred. Print Music Single (Synth. Part by Mark Kellner). 6 pages. Published by Hope Publishing Company.

Edited by Zoby Perez. Piano/Vocal songbook (Piano/Vocal/Chords. Arrangements for piano and voice with guitar chords). 256 pages. Published by Alfred Publishing.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Oboe 1, Oboe 2, Percussion and more. - Grade 4

SKU: CF.SPS87F

Composed by Jeremy Martin. Sws. Sps. Full score. 24 pages. Duration 6 minutes, 28 seconds. Carl Fischer Music #SPS87F. Published by Carl Fischer Music (CF.SPS87F).

ISBN 9781491156452. UPC: 680160914999. 9 x 12 inches.

About the Work In the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty. Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring. Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost organ-like); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes.
About the WorkIn the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty.Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring.Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost “organ-like”) ; be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, String Bass, Trombone 1, Trombone 2, Trombone 3, Trumpet 1 and more. - Grade 4

SKU: CF.SPS87

Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+4+2+2+2+8+8+4+2+4+4+2+2 +2+2+3+3+3+4+4+4+4+3+3+3+ 6+4+4+2+2+1+1+1+1+4+24 pages. Duration 6 minutes, 28 seconds. Carl Fischer Music #SPS87. Published by Carl Fischer Music (CF.SPS87).

ISBN 9781491156445. UPC: 680160914982. 9 x 12 inches.

About the Work In the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty. Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring. Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost organ-like); be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes.
About the WorkIn the spring of 2008 a large number of wildfires plagued the west coast, including the area where my wife and I lived in northern California. Firefighters all along the West Coast worked overtime in what seemed like an endless battle to protect residents and their homes. After hearing of a number of firefighters who had lost their lives in the struggle, I composed this work as a dedication to them, in honor of their sacrifice. It is not dedicated to any one person or group, or even just to the west-coast firefighters who battled those horrible wildfires; instead, to all firefighters who have given their lives in the line of duty.Although designed as a standalone work, I highly recommend following this composition with one of the many fine band settings of Amazing Grace, as it is commonly performed at firefighter memorials. The one by Frank Ticheli is superb, and if you have access to a good piper there is an excellent version by Jay Dawson which features a solo verse for bagpipe; both are quite stirring.Performance Notes The sustained slower tempo may prove a challenge for some groups; as always, emphasize subdivision. Cues should be used only if necessary due to limited instrumentation. The clarinet and cup-muted trumpets at m. 39 should be very sostenuto (almost “organ-like”) ; be careful to stagger breathe. The tempo change at m. 55 should not be much of a challenge, but many groups may tend to slow back down to the original tempo by m. 59; the timpani player can greatly assist in avoiding this problem. The coda at m. 82 may be taken more slowly than the indicated tempo if your solo flutist can manage the lengthy sustained notes.

By Various. Piano/Vocal/Guitar Songbook. Softcover. 194 pages. Published by Hal Leonard

Piano

SKU: M7.DUX-610

Edited by Susi Weiss. Sheet music. 68 pages. Edition Dux Verlag #DUX 610. Published by Edition Dux Verlag (M7.DUX-610).

ISBN 9783934958340.

For Male or Female Voice. Performed by Various Artists. Fast Track Music Instruction. Softcover with CD. Size 9x12 inches. 24 pages. Published by Hal Leonard.

(Easy Reproducible Hymn Medleys for Prayer and Rejoicing). By Douglas E. Wagner. For handbells (2-3 octaves) / handchimes (2-3 octaves). Handbell collection. Level 1. Collection. Published by Lorenz Publishing Company

(Guitar TAB). For Guitar. Book; Guitar Mixed Folio; Guitar TAB. Rock. 144 pages. Published by Alfred Music Publishing

Composed by Robert Jackson. Arranged by Anna Laura Page. For 3-5 octave handbell choir. Pentecost, General. Level 1. Handbell score. 7 pages. Published by Chorister's Guild

Composed by Robert Jackson. Arranged by Anna Laura Page. For 2-3 octave handbell choir. Pentecost, General. Level 1. Handbell score. 7 pages. Published by Chorister's Guild

By Margaret R Tucker. For handbells (2-5 octaves) / handchimes (2-5 octaves). Advent, Christmas, Lent, Holy Week, Holy Communion, Thanksgiving, Palm Sunday, Eastertide, Pentecost, Epiphany, Sacred. Level: Level 1. Handbell collection. Published by Chorister's Guild.

(Grades 0-1). By Pam Wedgwood. For Piano. Book; Duet or Duo; Piano Duet (1 Piano, 4 Hands); Piano Supplemental. Faber Edition: Up-Grade! Series. Blues; Jazz. Early Elementary; Elementary. Published by Faber Music

Choral (ChoirTrax CD)

SKU: HL.280083

Arranged by John Leavitt. Sacred Choral. A Cappella, Easter, General Worship, Lent, Sacred. CD. Duration 195 seconds. Published by Hal Leonard (HL.280083).

UPC: 888680780494. 5.0x5.0x0.184 inches. Exodus 33:22, Hebrews 10:19-21, Isaiah 40:31, Psalm 31, Zechariah 1:3.

A well-known spiritual breathes with beauty in this stellar new adaptation. Expressive harmonies characterized by a distinctive falling bass line give the song a smooth sonic ambience so that the richness of the choir can be fully explored. Tone painting on oo supports a solo moment and introduces a compelling new texture. A true tapestry of praise! Score and Parts (vn 1-2, va, vc) available as a digital download.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Sleigh Bells, Snare Drum, Suspended Cymbal, Timpani and more. - Grade 1.5

SKU: CF.FPS161

Composed by Joseph Benjamin Earp. Fps. Set of Score and Parts. 16+2+8+8+4+4+10+4+4+4+4+6 +6+6+4+6+1+2+1+2+2+1+16 pages. Duration 2 minutes, 4 seconds. Carl Fischer Music #FPS161. Published by Carl Fischer Music (CF.FPS161).

ISBN 9781491161425. UPC: 680160920013.

PROGR AM NOTES Santa's Majesty is inspired by the promise and grandeur presented by Santa Claus. Many of us place our faith in legendary figures hoping for good to be shared with those around us in our lives. The intention of this work is to capture the majesty surrounding our beloved Saint Nicholas. NOTES TO CONDUCTOR The duration of the composition is two minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work. The entire work should be felt in two even though it is marked in common time. Be sure not to breathe after any crescendo throughout the work. Measure 73 through measure 75 should give focus to the tenor voices. The last three quarter notes of the piece should be emphasized a little heavier with some space.
PROGRAM NOTESSanta’s Majesty is inspired by the promise and grandeur presented by Santa Claus. Many of us place our faith in legendary figures hoping for good to be shared with those around us in our lives. The intention of this work is to capture the majesty surrounding our beloved Saint Nicholas.NOTES TO CONDUCTORThe duration of the composition is two minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work.The entire work should be felt in two even though it is marked in common time.Be sure not to breathe after any crescendo throughout the work.Measure 73 through measure 75 should give focus to the tenor voices.The last three quarter notes of the piece should be emphasized a little heavier with some space.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Sleigh Bells, Snare Drum, Suspended Cymbal, Timpani and more. - Grade 1.5

SKU: CF.FPS161F

Composed by Joseph Benjamin Earp. Fps. Full score. 16 pages. Duration 2 minutes, 4 seconds. Carl Fischer Music #FPS161F. Published by Carl Fischer Music (CF.FPS161F).

ISBN 9781491161784. UPC: 680160920471.

PROGR AM NOTES Santa's Majesty is inspired by the promise and grandeur presented by Santa Claus. Many of us place our faith in legendary figures hoping for good to be shared with those around us in our lives. The intention of this work is to capture the majesty surrounding our beloved Saint Nicholas. NOTES TO CONDUCTOR The duration of the composition is two minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work. The entire work should be felt in two even though it is marked in common time. Be sure not to breathe after any crescendo throughout the work. Measure 73 through measure 75 should give focus to the tenor voices. The last three quarter notes of the piece should be emphasized a little heavier with some space.
PROGRAM NOTESSanta’s Majesty is inspired by the promise and grandeur presented by Santa Claus. Many of us place our faith in legendary figures hoping for good to be shared with those around us in our lives. The intention of this work is to capture the majesty surrounding our beloved Saint Nicholas.NOTES TO CONDUCTORThe duration of the composition is two minutes at the marked tempo. Careful attention should be given to articulations, dynamic changes and phrasing throughout the work.The entire work should be felt in two even though it is marked in common time.Be sure not to breathe after any crescendo throughout the work.Measure 73 through measure 75 should give focus to the tenor voices.The last three quarter notes of the piece should be emphasized a little heavier with some space.

Arranged by John Leavitt. Sacred Choral. A Cappella, Sacred. Octavo. 8 pages. Published by Hal Leonard

Solo with Percussion Ensemble Solo with Percussion Ensemble (solo piano, percussion 1 (hi-hat, small bongo, snare drum, bass drum) percussion 2 (marimba, medium log drum, triangle, brake drum) percussion 3 (vibraphone, high tom 2, woodblocks) percussion 4 (ride cymbal 2, toms, bass drum)) - medium difficult

SKU: CN.02301

Piano Feature. Composed by Robert Constable. Score only. Duration 11:50. Published by C. Alan Publications (CN.02301).

This intense piece for solo piano and percussion quartet is a tour-de-force that doesn't give you a chance to breathe. The piano part incorporates polyrhythms between the hands throughout the piece, while the percussionists play ostinati in the background. Great opportunity to bring in a phenomenal pianist as a guest artist with your percussion ensemble.

This intense piece for solo piano and percussion quartet is a tour-de-force that doesn't give you a chance to breathe. The piano part incorporates polyrhythms between the hands throughout the piece, while the percussionists play ostinati in the background. Great opportunity to bring in a phenomenal pianist as a guest artist with your percussion ensemble. You can hear a recording of Crackhead on the University of South Florida's CD 'Premieres Vol. I' (also available from C. Alan).

Composed by Matthew Emery. Galaxy Music Corporation #1.3670. Published by Galaxy Music Corporation

SATB choir, piano

SKU: LO.30-3901L

Composed by Lloyd Larson. Arranged by Ed Hogan. Concert, Festival, General. Instrumental parts. Lorenz Publishing Company #30/3901L. Published by Lorenz Publishing Company (LO.30-3901L).

UPC: 000308159332.

Weâ� ��™re proud to showcase the legendary creativity of Lloyd Larson as he breathes new life into the time-honored hymns of our faith in the worship celebration, A Festival of Hymns. There’s never been a more meaningful time to come together in song, and this is the perfect opportunity for choir and congregation to come together around our shared heritage of hymnody. A Festival of Hymns can be presented as either a seasonal or non-seasonal work, and a number of performance options are available, including an SAB choral version and an optional full orchestration. Many of the hymn arrangements are available individually, as is a collection for four-hand piano duet, A Keyboard Festival of Hymns, Vol. 1, that may be used to accompany these outstanding settings.