Clarinet Quintet - Grade 3

SKU: HL.44006661

For Clarinet Quintet. Composed by Henry Clay Work. Arranged by Takao Shirakawa. De Haske Ensemble. Concert. Softcover. Composed 2006. De Haske Publications #1064066. Published by De Haske Publications (HL.44006661).

ISBN 9789043124539. UPC: 884088135508. 9x12 inches. English-German-French-Dut ch.

In the 1870s, visiting American composer Henry Clay Work (1832-1884), from Connecticut, happened to stay at the George Hotel, in Piercebridge, in the North of England, and was told the story of the Jenkins brothers and the old clock. He was fascinated by the story, and using it as inspiration, composed a song which he published in 1878 after his return to the States. This song - My Grandfather?s Clock - is reputedly his own interpretation of the Piercebridge clock story, and became very famous, selling over a million copies. Japanese arranger Takao Shirikawa has produced this theme and variations, based on the famous melody, for four clarinets.

In Piercebridge, Engeland, ligt het George Hotel, dat in de negentiende eeuw werd gerund door twee broers met de naam Jenkins. In de hal stond een staande klok, die perfect gelijk liep. Na de dood van een van de gebroeders begon deklok achter te lopen. Nadat de tweede heer Jenkins overleed, gaf de oude klok er voorgoed de brui aan. Toen de Amerikaanse componist Henry Clay Work in het George Hotel verbleef, kreeg hij het verhaal over de klok te horen. Hijschreef daarop de bekende song My Grandfather's Clock - die Takao Shirakawa gebruikte voor deze Grandfather's Clock Variation.

Hen ry Clay Work komponierte dieses Stuck im 18. Jahrhundert, inspiriert von der Legende uber eine alte Standuhr in einem Hotel in England, die zum Todeszeitpunkt ihres Besitzers fur immer stehen geblieben war. Das Stuck wurde sehr beruhmt und uber eine Million Mal verkauft. Der Japaner Takao Shirakawa bearbeitete es fur Klarinettenquintett.

En 1878, le compositeur americain Henry Clay Work (1832-1884) compose la chanson My Grandfather's Clock (L'horloge de mon grand-pere) qui fera le tour du monde et se vendra a plus d'un million d'exemplaires.Henry Clay Work ne pouvait imaginer que le titre de sa composition allait donner naissance a un nouveau modele d'horloge dont la notoriete depasserait celle de la chanson. La desormais celebre horloge de parquet dite horloge grand-pere etait nee.

Herny Clay Work compose questo brano nel XVIII secolo, ispirato dalla leggenda di un orologio appeso alla parete di un albergo che cesso di contare le ore alla morte del proprietario. Il brano divenne molto famoso e fu venduto in oltre un milione di volte. Il giapponese Takao Shirikawa ha arrangiato il brano per quintetto di clarinetti.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS109F

Composed by James Meredith. First-Plus String Orchestra (FAS). Full score. With Standard notation. 8 pages. Duration 3 minutes, 18 seconds. Carl Fischer Music #FAS109F. Published by Carl Fischer Music (CF.FAS109F).

ISBN 9781491151778. UPC: 680160909278. 9 x 12 inches.

The warmth of a grandfather's embrace as he stares in awe of a cherished baby grandchild is the inspiration for this heartfelt composition. In Grandfather's Arms is a work for developing orchestras that emphasizes expression, phrasing, and dynamics. Lower strings will also have the opportunity to be featured as they carry the key melody making this piece a wonderful teaching tool.
Good music played well inspires the imagination. Whether it is a grandfather, grandmother, mom, dad, aunt or uncle, everyone has had someone they cuddled with before bedtime. The warmth of their body, their arms protectively around you, their soothing voice, and the faint thumping heartbeat rumbling from their chest, all created a trusting and warm place for you to drift off to slumber land. In their arms you were adored, you were special, you were loved, and you always knew that there was a tomorrow.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS109

Composed by James Meredith. First-Plus String Orchestra (FAS). Set of Score and Parts. With Standard notation. 2+5+8+5+8+5+2+8 pages. Duration 3 minutes, 18 seconds. Carl Fischer Music #FAS109. Published by Carl Fischer Music (CF.FAS109).

ISBN 9781491151402. UPC: 680160908905. 9 x 12 inches. Key: G major.

The warmth of a grandfather's embrace as he stares in awe of a cherished baby grandchild is the inspiration for this heartfelt composition. In Grandfather's Arms is a work for developing orchestras that emphasizes expression, phrasing, and dynamics. Lower strings will also have the opportunity to be featured as they carry the key melody making this piece a wonderful teaching tool.
Good music played well inspires the imagination. Whether it is a grandfather, grandmother, mom, dad, aunt or uncle, everyone has had someone they cuddled with before bedtime. The warmth of their body, their arms protectively around you, their soothing voice, and the faint thumping heartbeat rumbling from their chest, all created a trusting and warm place for you to drift off to slumber land. In their arms you were adored, you were special, you were loved, and you always knew that there was a tomorrow.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba and more. - Grade 1.5

SKU: CF.FPS143

Composed by James Meredith. SWS FS. First Plus Performance Series. Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6 +3+2+3+2+1+2+1+16 pages. Duration 3 minutes, 19 seconds. Carl Fischer Music #FPS143. Published by Carl Fischer Music (CF.FPS143).

ISBN 9781491147276. UPC: 680160904778. 9 x 12 inches.

The warmth of a grandfather's embrace as he stares in awe of a cherished baby grandchild is the inspiration for this heartfelt composition. In Grandfather's Arms is a work for developing bands that emphasizes expression, phrasing, and dynamics. Low voices will also have the opportunity to be featured as they carry the key melody making this piece a wonderful teaching tool.

Band - Grade 1.5

SKU: CF.FPS143F

Composed by James Meredith. SWS. First Plus Performance Series. Full score. With Standard notation. 16 pages. Duration 3 minutes, 19 seconds. Carl Fischer Music #FPS143F. Published by Carl Fischer Music (CF.FPS143F).

ISBN 9781491147979. UPC: 680160905478. 9 x 12 inches.

The warmth of a grandfather's embrace as he stares in awe of a cherished baby grandchild is the inspiration for this heartfelt composition. In Grandfather's Arms is a work for developing bands that emphasizes expression, phrasing, and dynamics. Low voices will also have the opportunity to be featured as they carry the key melody making this piece a wonderful teaching tool.

Arranged by Lloyd Conley. (Score and Parts). Easy Music For Strings. Published by Hal Leonard.

By Henry Clay Work. For Soprano SATB. Standard notation. Published by E. Henry David

Performed by The King's Singers. By Henry Clay Work. Arranged by Philip Lawson. (SATTBB A Cappella). King's Singer's Choral. Size 6.75x10.5 inches. 16 pages. Published by Hal Leonard.

Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.11642143L

Composed by Stacy Garrop. Spiral. Large Score. 68 pages. Duration 20 minutes. Theodore Presser Company #116-42143L. Published by Theodore Presser Company (PR.11642143L).

UPC: 680160693320. 11 x 17 inches.

For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.
For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.

Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Contrabassoon, Double Bass, English Horn, Flute 1, Flute 2, Flute 3, Harp, Horn 1, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.11642143S

Composed by Stacy Garrop. Sws. Score. 68 pages. Duration 20 minutes. Theodore Presser Company #116-42143S. Published by Theodore Presser Company (PR.11642143S).

UPC: 680160693313. 11 x 17 inches.

For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.
For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.

Chamber Music Piano

SKU: PR.140401340

Sketches for Piano. Composed by Harry T. Burleigh. Edited by Lara Downes. 16 pages. Duration 18 minutes. Theodore Presser Company #140-40134. Published by Theodore Presser Company (PR.140401340).

ISBN 9781491134450. UPC: 680160684953.

Best known for his settings of spirituals and influence on Dvorák, Henry T. Burleigh was a celebrated baritone, and a prolific composer of original works. FROM THE SOUTHLAND is a suite of six atmospheric scenes of the American south, inspired by Black musical and cultural traditions. FROM THE SOUTHLAND is within reach of intermediate pianists and artistically suited for professional recitals.
In 1835, Henry T. Burleigh’s maternal grandfather purchased his own release from slavery for the sum of $50, and traveled north out of Maryland to begin a new life as a free man. He established his family in Ithaca, NY, and then moved to the bustling lakefront city of Erie, PA, where three decades later his grandson Henry would be born and raised.For Burleigh, the “Southland” that inspired this collection of piano sketches was a distant place that could not have been more different from the physical world he knew, up there in the northern snowbelt. And yet these southern landscapes and vignettes must have been intensely present in his consciousness, absorbed through the stories and songs he first learned at his grandfather’s knee.The music of the South – the spirituals and work songs he heard as a child –would travel with Burleigh throughout his long and illustrious musical life. Even as he progressed through his early classical training, his career as a baritone soloist in Erie’s churches and synagogue, his move to New York to study at the National Conservatory of Music, and his rise to national prominence as a concert soloist, these ancestral melodies stayed firmly centered in his musical identity.When he wrote From the Southland, his only composition for solo piano, Burleigh was just beginning his career as a composer. The art songs that would establish him as one of America’s best known composers in the genre were still to come. And so were his iconic arrangements of spirituals that would bring the songs of slavery onto concert stages around the world, transformed into timeless and uniquely American music.These little piano sketches bring together all the things that made Burleigh the musician he was – the lush, late-romantic style of his time; a broad vision for American music; and a profound respect for his heritage, a memory of the world his grandfather left behind, and a love of the music he brought with him.

by Mark O'Connor; transcribed and edited by Stacy Phillips. For fiddle. Bluegrass and country, fiddle tunes. Level: Intermediate-Advanced. Book. Solos. Size 8.75x11.75. 200 pages. Published by Mel Bay Pub., Inc.

Band Concert Band - Grade 2

SKU: CF.YPS200

Composed by Matthew R. Putnam. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+2+2+5+2+2+4+4+6+3+3 +2+1+3+16+4+4+2+2 pages. Duration 2:15. Carl Fischer Music #YPS200. Published by Carl Fischer Music (CF.YPS200).

ISBN 9781491152201. UPC: 680160909704. Key: D minor.

Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.” This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march.
Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.” This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.” It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange!

Band Concert Band - Grade 2

SKU: CF.YPS200F

Composed by Matthew R. Putnam. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS200F. Published by Carl Fischer Music (CF.YPS200F).

ISBN 9781491152881. UPC: 680160910380.

Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.” This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march.
Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.” This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.” It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange!

Chamber Ensemble Solo Piano (solo piano) - medium

SKU: CN.10470

Composed by Nathan Daughtrey. Chamber Music. Solo part. Duration 3:15. Published by C. Alan Publications (CN.10470).

Written on the occasion of the composer's grandfather's 90th birthday, The Old Pond is meant to capture and reflect on the many wonderful memories of fishing with bamboo poles and live worms in the old pond behind his grandparents' house in rural southern Virginia.

Written on the occasion of my grandfather's 90th birthday, The Old Pond is meant to capture and reflect on the many wonderful memories of fishing with my grandfather with bamboo poles and live worms in the old pond behind my grandparents' house in rural southern Virginia.

By Various. For Piano. Written For You. Book. Published by The FJH Music Company, Inc.
Level: Early Elementary/Elementary.

By Kevin Olson. For Piano. FJH Written For You Piano Solos. Sheet Music. Level: Elementary. Solo Sheet. Published by The FJH Music Company Inc.

Trumpet in C and piano - advanced

SKU: CY.CC2871

Composed by Roger T. Petrich. Contemporary. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2871).

Ï»¿Zat ten was commissioned in 2005 by Trumpeter Paul Neebe during the composer's vacation to do ancestral research in the town of Zatten, currently part of Poland.
Roger Petrich writes the following about his Zatten Concerto for Trumpet:
The 'DNA' of this compostion tracks back to my great-grandfather and the tiny Plattdeutsch village where he was born. Zatten, [then] located in the eastern part of Berlin/Brandenburg is in an area of forest and small farms dating back to the 1600's. My grandfather R. T. Petrich, whose initials I bear, was six years old when he, along with his parents, sister, and older brother left Prussia to start a new life in the USA.
My own childhood memories include many visits to the family homestead in Dakota Territory, where I used to play in the barn which hosted many summer dances. The Dakota sky was vast by day, and nights could become magical with the addition of the Northern Lights. Though not a professional musician, my father kept up his trumpet playing all his life. In a special way it was his voice - a sound that deeply imprinted all my growing up years. All of this is mixed together in my Zatten Concerto
The Zatten Concerto is in three movements, the two outer movements faster and the middle is a Largo. This work is appropriate for advanced performers.
The title Zatten (the name of the small village in Germany where his family was located before immigrating to the USA) is spelled out in Morse Code in the very opening eight bars of the work. The Concerto is originally written for Trumpet and String Orchestra, this version using a reduction for Piano.

Clarinet and Piano

SKU: ST.H486

Composed by Edmund Jolliffe. Wind & brass music. Standard: Easy. Score and part. Stainer & Bell Ltd. #H486. Published by Stainer & Bell Ltd. (ST.H486).

ISBN 9790220224478.

CONT ENTS
1. Baby
2. Brother
3. Grandmother
4. Grandfather
5. Mum
6. Dad

The composer has written extensively for film and television, and his gift for musical characterisation illuminates every bar of My Family and Other Animals. Here is a delightful human menagerie, a family circle with its typical variety of awkward and amiable relatives, beautifully portrayed in music of beguiling simplicity by Edmund Jolliffe. Technically, for beginners and early-grade players, there is an important lesson that musical expression is in essence the expression of personality, often from the most basic musical resources. Brother is a cool repeated phrase - a bit detached. Mum is a gentle lullaby, and Grandmother a soothing, dependable tune. Grandfather turns sweet too, but not before a spiky introduction. From his breezy melody Dad seems on his way elsewhere. Perhaps off to wash the car!

SKU: HL.49015590

Ein Bilderbuch. Composed by Andrea Hoyer. This edition: Hardback/Hard Cover. Book. Edition Schott. Awarded the Deutscher Musikeditionspreis 1998. Classical. 32 pages. Schott Music #ED 8947. Published by Schott Music (HL.49015590).

ISBN 9783795703462. German. Andrea Hoyer.

Little Paul goes to the opera with his grandfather to see Engelbert Humperdinck's fairy-tale 'Hansel and Gretel'. As he is absolutely fascinated by the performance, his grandfather, who used to work there as a stage designer, takes him to the opera again the following day to have a look at what's going on behind the scenes This picture book shows the wide variety of activities at an opera house and how busy things are behind the scenes.Illustrated in four colours.Awarded the Deutscher Musikeditionspreis 1998.

By Walter Noona. For piano. Level: Level 1. Piano method. Published by Heritage Music Press. (40/1001)

Mezzo-Soprano & Piano

SKU: SU.32040040

For Mezzo-Soprano & Piano. Composed by Amy Riebs Mills. Vocal/Choral, Solo Voice. Accompanied by piano. Piano Vocal Score. Subito Music Corporation #32040040. Published by Subito Music Corporation (SU.32040040).

Mezzo-Soprano & Piano Duration: 17' Composed: 2014 Published by: Amy Mills Music, LLC These three art songs can be performed independently or in sequence, at any time of the year. Stuart McAlpine’s profound text explores three men from the Christmas story, Joseph, the Inn-keeper, and Simeon. The creative and beautiful musical settings allow for powerfully dramatic interpretation and performance. To Joseph (who taught me how to look at art) The singer sings to Joseph, …you beheld a work of art, the making of a holy heart… and watching through Joseph’s eyes, when hung at last, its meaning was decreed. (4:40) The Inn-keeper’s Lament McAlpine brilliantly explores the possibility…what if the inn-keeper who turned away Mary & Joseph later became the inn-keeper who accepted the injured man brought in by the Good Samaritan? This powerfully dramatic piece depicts the Bethlehem inn-keeper’s bravado, Caeser’s decree was heaven sent, as guests raised glasses, I raised rent! But as the enormity of his mistake became apparent, in later years he bemoans, …if I’d known then what I know now… and finally declares at the end, I know now! (7:50) Simeon’s Last Prayer Simeon sings of being summoned to the temple where he holds his infant Savior. …then as grandfathers do, rejoiced as if he were my one-and-only too. As he leaves he whispers his final prayer, …dismiss your servant, to find You face-to-face. (4:30) Difficulty Level: Baritone/Mezzo-Soprano 6 (Professional) (Baritone Range: low A (optional low G) to high F# (optional high G,A) (Mezzo Range: low A (optional low G) to high G (optional high A) Piano 6 (Professional)(Same level as Debussy or Ravel) See also the version for Baritone Voice and Piano See composer website for audio sample.

Concert Band/Harmonie/Fanfare Band - Grade 2

SKU: BT.GOB-000170-015

Composed by Jerry B. Bensman. Set (Score & Parts). 354 pages. Gobelin Music Publications #GOB 000170-015. Published by Gobelin Music Publications (BT.GOB-000170-015).

Work and enjoyment go hand in hand in these ten fabulous compositions which provide educational and varied material for youth bands.
The ten practice pieces together in one book, (with comic illustrations) incorporate widely diverse tunes such as Ceremonial Prelude and The Verger's Favourite Song.
The book also includes numbers that require singing, stamping and shouting out (Chirpy Cha Cha and Ramble Bamble Rock).
Pull out all the stops!

Werk en plezier gaan prima samen bij deze tien pareltjes van composities die bestemd zijn als educatief verantwoord en afwisselend materiaal voor jeugdorkesten.
Tien oefenstukken verzameld in één boek, zeer gevarieerde deeltjesmet grappige illustraties:
Ceremonial Prelude, Chirpy Cha Cha, The Vergers Favourite Song, Join the Club of Doodle Dee Duck, Cheeky Chucks Wandering, Marche Catastrophale, Grandfathers Tobacco, Ramble Bamble Rock, Climbing inthe Appletree.
Alles uit de kast!

Jewish-American Wedding Music from the Repertoire of Dave Tarras. By Various Composers. Arranged by Joel Rubin. (Clarinet). Schott. Size 9x12 inches. 47 pages. Published by Schott.

(Mixed Choir)

SKU: HL.14065560

Composed by Williams. Choral. General Merchandise. Duration 240 seconds. Music Sales #JC61304A. Published by Music Sales (HL.14065560).