(The Biggest Hits * The Greatest Artists (Piano/Vocal/Guitar)). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar; Deluxe Annual. Book; P/V/C Mixed Folio; Piano/Vocal/Chords. Greatest Hits. Pop; Rock. 224 pages. Published by Hal Leonard

Compiled by Richard Walters. For tenor voice and piano. Format: piano/vocal songbook. With vocal melody, piano accompaniment and lyrics. Broadway and vocal standards. 224 pages. 9x12 inches. Published by Hal Leonard.

Tenor Accompaniment CDs. By Various Composers. (Tenor). Vocal Collection. CD only. Size 9x12 inches. 8 pages. Published by Hal Leonard.

Edited by Richard Walters. Vocal Collection. Piece for the NFMC Vocal event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Instruction, Classical. Softcover Audio Online. 224 pages. Published by Hal Leonard

E-Z Play Today (Easy big-note right-hand-only arrangements for piano, organ, and electronic keyboard). Size 9x12 inches. 112 pages. Published by Hal Leonard.

By Vanessa Carlton. Piano/Vocal/Guitar Artist Songbook. Folk, Pop. Softcover. Published by Hal Leonard

The Big Book of Childrens Songs for Little Guitar Pickers composed by Tony Santorella. For guitar and voice. This edition: Paperback. Collection. Little Picker series. Childrens. Book. Text Language: English; Tablature, chords and lyrics. 180 pages. Published by Santorella Publications

Chamber Music Bassoon, Flute, Violoncello

SKU: PR.114408750

Composed by Samuel Adler. Set of Score and Parts. With Standard notation. Composed 1995. 40+14+15+15 pages. Duration 20 minutes. Theodore Presser Company #114-40875. Published by Theodore Presser Company (PR.114408750).

UPC: 680160013289. 8.5 x 11 inches.

This work was commissioned by the Friends of the Phoenix Public Library for the dedication of the new Music Room and made possible in part through the funds from the Arizona Commission on the Arts, and Meet the Composer-Arizona. Diary of a Journey was composed between July and September 1995 for the group Arpeggio. During the early summer of 1995, my wife and I took a vacation to Prague and Budapest. It was the first trip for both of us to these former Iron Curtain capitals. The train ride through the beautiful country-side, the dilapidated small villages and towns, the magnificent architecture and the feeling of grandeur in the two major cities left an indelible impression on me. I longed to write some kind of an essay about it. Diary of a Journey is the result of some of these thoughts, which were sketched (musically) as we visited each place. There are four 'snapshots' or movements which do not portray a specific scene, but rather try to capture the impressions I gathered from the people we observed and met, and the many awe-inspiring experiences we had. Throughout the journey, I felt that people were clinging to a tenacious hope for a better future, no matter how long it will take to realize it. In the first movement each player portrays a struggle against all odds, and with great energy and even wit tries to overcome the obstacles, ending on one serene high note as a resting point after all the conflict. The second 'snapshot' tries to capture the deep faith of a newly regained religiosity. It is chant-like, and uses as its basic melodic material a famous Czech hymn, penned by the great religious reformer John Huss. This movement is played very freely, without bar-lines and with the hymn shining through the fervent chanting. The third movement is a kind of 'demonic' scherzo. Fast and furious, the three instruments vie with one another in a true perpetual motion frenzy, which is at times relieved by short, more pastoral melodic fragments. A rather wild ending should leave everyone breathless. Finally, in the fourth 'snapshot' the instruments play a bit more as a team, meaning that is that there is more melody with accompaniment, and more imitative music giving the impression of a group effort. The energy is still at a high level but long lyrical lines abound, accompanied and interrupted at times by undulating fast notes still depicting the struggle against the blight which any visitor notices all around these countries, yet also showing the determination of the people to conquer adversity. --Samuel Adler.

Composed by Joel Raney. Arranged by Joel Raney. Lent, Holy Week, General Worship, Sacred. Octavo. 12 pages. Hope Publishing Company #C6045. Published by Hope Publishing Company (HP.C6045).

Orequesta sinfonica, Orquesta camara, voces y coro (Symphony Orchestra, Chamber Orchestra, Solo Voices and Choir)

SKU: BO.B.3472

A la memoria de Salvador Espriu. Composed by Xavier Benguerel. Vocal Music. Choir. Duration 85:00. Published by Editorial de Musica Boileau (BO.B.3472).

ISBN 9788480208130.

Engl ish comments: The Requiem in memory of Salvador Espriu by Xavier Benguerel was commissioned by the Torroella de Montgri International Music Festival for a double commemoration: on the one hand, to celebrate the tenth anniversary of the Festival, and on the other, in remembrance of Catalan poet Salvador Espriu in the fifth year after his death. This concert, which was held on 5 October, was a brilliant closing gala performance and it was repeated twice on 6 and 7 October at the Palau de la Musica Catalana in Barcelona. It was performed by the Orchestra and Choir of the Gran Teatro del Liceo, with soloists Enriqueta Tarres, soprano; Nelibel Martinez, mezzo soprano; Eduard Gimenez, tenor; and Carlos Chausson, baritone, with the additional collaboration of baritone Lluis Llach, conducted by Romano Gandolfi.

In my opinion, this work by Benguerel is a piece that was written with passion and sincerity, with great strength and depth, and it contains some very beautiful passages. It is written in a language through which, without abandoning his current musical thoughts, Benguerel manages to communicate with the audience in a dense work that lasts for an hour and a half. It is interspersed with seven poems by Espriu on the subject of death, some sung and others recited, which gives the Requiem great contrasts from a musical and linguistic point of view -in comparison with the Latin texts normally used in a requiem mass-, but within a successful and coherent unity. The performers certainly proved their worth, but much of the hard work that went into preparing the piece can be attributed not only to the performers, the composer and the poet in tribute to whom the work was written, but also to the conductor Romano Gandolfi, who is largely responsible for the success of the three performances of this Requiem. Benguerel himself says of the work: This Requiem is linked to my previous work, the Llibre Vermell, and it has been written without making any concessions, but with a true wish to communicate with the audience. I've got past the stage of musical experiments and I'm now working on bridging the gap between composer and audience, which I'm sure will be good for both.
--Comments written by Jordi Codina in the December 1990 issue of Nexus magazine

Comentario s del Espanol: El Requiem a la memoria de Salvador Espriu de Xavier Benguerel ha sido compuesto por encargo del Festival Internacional de Musica de Torroella de Montgri para una doble conmemoracion: por una parte, el decimo aniversario del Festival; por otra, el recuerdo de la figura del poeta catalan Salvador Espriu en el quinto ano de su fallecimiento. Este concierto, celebrado el dia 5 de octubre, constituyo una sesion de gala y de clausura brillante y tuvo una doble repeticion los dias 6 y 7en el Palau de la Musica Catalana de Barcelona. Fueron sus interpretes la Orquesta y el Coro del Gran Teatro del Liceo, con los solistas vocales Enriqueta Tarres, soprano; Nelibel Martinez, mezzo; Eduard Gimenez, tenor; y Carlos Chausson, baritono, con la colaboracion del tambien baritono Lluis Llach. Todos bajo la direccion de Romano Gandolfi.

A mi entender, la obra de Benguerel es una partitura escrita con pasion y sinceridad, posee una gran solidez, es profunda y contiene pasajes de una gran belleza. Esta escrita en un lenguaje con el que Benguerel, sin renunciar a su actual pensamiento musical, alcanza la comunicacion con el publico en una obra densa que dura una hora y media. La intercalacion de siete poemas de Espriu relacionados con el tema de la muerte, en una interpretacion cantada o recitada, segun los casos, otorga al Requiem grandes contrastes desde un punto de vista musical y lingŸistico Ð en contraposicion con los textos latinos propios de una misa de requiem Ð, pero dentro de una unidad conseguida y coherente. La labor de los interpretes demostro su categoria y el trabajo exhaustivo en la preparacion de la obra, que, ademas de los interpretes, el compositor y el poeta homenajeado, tuvo otro gran protagonista en la persona del director Romano Gandolfi, a quien se debe una gran parte del exito obtenido en las tres audiciones de este Requiem. El propio Benguerel ha dicho de la obra: Este Requiem entronca con mi obra anterior, el Llibre Vermell, y ha sido escrito sin concesiones, pero con una voluntad real de comunicacion con el publico. La epoca de los experimentos musicales ya se me paso y he entrado en una nueva etapa de acercamiento entre el compositor y el publico que, estoy convencido, beneficiara a ambos.
--Comentario escrito por Jordi Codina en la revista Nexus en diciembre de 1990

(Songs from 13 Shows and Films). Composed by Stephen Sondheim (1930-). For Vocal, Piano/Vocal/Guitar. P/V/G Composer Collection. 144 pages. Published by Rilting Music, Inc.

Small ensemble

SKU: FG.55011-415-9

Composed by Hannu Pohjannoro. Performance score. Fennica Gehrman #55011-415-9. Published by Fennica Gehrman (FG.55011-415-9).

ISBN 9790550114159.

Born in 1963, Hannu Pohjannoro is widely acclaimed as a composer of quiet, restrained music. It has been said of his music that it seems to have been 'sketched with a sounding quill': Pohjannoro is a composer for whom the magic of different pianissimo shades is of the utmost importance. Though Pohjannoro's aesthetic is distinctly modernist, he nonetheless acknowledges the importance for the compositional process of knowing and understanding musicaltradition. A portrait of Beethoven hangs in his study to remind him that the combination of visceral musical expression and structural strength and clarity is still an ideal to which every composer should strive.

Of this work, the composer says: images, hommages is a series of miniature tributes to a number of artists whose works have had a profound effect on me - though, naturally, many other artists could have been included too. I wanted to avoid any form of musical quotation, so from the outset I decided to exclude other composers from the list altogether. As the focus of these miniatures, I therefore selected exponents of abstract art and some of the greatest storytellers of the twentieth century - or, rather, examples of their works.

images, hommages presents musical tributes to artists including Albers, Mondrian, Malevich, Kandinsky, Pollock, Kafka, Harms, Calvino and Borges.

images, hommages was awareded with the second prize at the VIII International Henri Dutilleux Composition Contest in 2017.

Each musician will need their own copy of the performances score.

Choral alto 1, alto 2, solo Voices, soprano 1, soprano 2

SKU: CF.CM9768

Composed by Z. Randall Stroope. Duration 3 minutes, 19 seconds. Carl Fischer Music #CM9768. Published by Carl Fischer Music (CF.CM9768).

ISBN 9781491160343. UPC: 680160923298. Key: G major. English.

About the WorkThe text of this work is most often attributed to Ralph Waldo Emerson, although it doesn't mirror his style, and no research credits an essay, book or letter with its source. Other individuals are occasionally suggested as possible authors, but equally unsubstantiated. Even whether the textis a poem or a quote seems unclear. But there is one thing that is without question: that this beloved text has inspired countless people and contributed toward a view of the world through eyes of hope, resilience, courage, beauty, and joy. Music for this text flowed more easily than about any text I have ever set. It has an emotional connection that is mystical, and after I read it for the first time, I immediately sat down and wrote this work without stop.Rehearsal NotesIn many cases, art is more expressive and reaches a wider range of human emotions when multiple artistic fields are fused together. Such is the case with choral music: the intertwining of literature, music, and very often dance, visual arts, and more. The story in choral music is often quite specific, much like film scoring. At times, the music is the picture frame (score) around the picture (text), while at others the music is the leading dramatic/emotional impetus.In the present case (My Farewell Wish), the text is sincere, innocent, heartfelt, and earnest. By all accounts, the message is altruistic, expressing selfless desire for another's present/future happiness. Capturing this message has a strong reliance on the performers to not only carry the emotional intent of the moment (a phrase of text or a measure), but the the energy and continuance of the message throughout.The use of the [o] vowel functions almost as instrumental interludes or underpinning of strings. The conductor may use the [o] as indicated in the score, or a [u] vowel, a hum (with [o] as the vowel inside the mouth), or all three at different times for different reasons. In an acoustical performance (no mic), the soloist and the ensemble are a reflection of each other's natural sound. And, even gentle, warm solo voices should have no trouble projecting.Two final thoughts: 1) the obbligato or added voice or two on high passages (m. 66) or a single note (final chord) will be best delivered by lyrical, pure voices with demonstrated control; and 2) the metronome marking of 80 bpm (mm. 1–81) was strongly considered and should be followed.About the ComposerZ. Randall Stroope is an American composer and conductor. His composition teachers were Normand Lockwood and Cecil Effinger, both students of the Nadia Boulanger, the famous French teacher (and student of Gabriel Fauré). Randall is the artistic director of two international summer music festivals, is an Honorary Board Member of the NationalAssociation of Italian Choral Directors, and has conducted in 25 countries. He has directed over 40 times at Carnegie Hall, and is a frequent conductor at other prestigious concert venues. Randall has 190 published works, and his music can be heard on Spotify, YouTube and other platforms, including his website (www.zrstroope.com).

(Baritone/Bass (40 Songs)). By Stephen Sondheim (1930-). Edited by Richard Walters. For Baritone, Low Voice, Piano Accompaniment (Baritone/Bass). Vocal Collection. 302 pages. Published by Hal Leonard

Conductor's Score & Percussion Parts - Level 3

SKU: HP.2953P

Arranged by Greig Ashurst. Handbell Parts. Hope Publishing Company #2953P. Published by Hope Publishing Company (HP.2953P).

UPC: 763628229535.

Liber ian Folk Song Take time in life. Take time in life. Take time in life 'cause you got far way to go. I was passing by my brother called to me. And he said to me you better take time in life. This work is based on the Liberian folk song and is a celebration of living life to its fullest. It is a musical essay on life and invites the listener to contemplate quiet moments, our labors and our celebrations. The traditional West African drum parts will add an authentic feel and will make this piece the perfect addition to your repertoire any time of year.

Handbells Percussion - Level 3

SKU: HP.2953

Arranged by Greig Ashurst. World Music, Folk Song, Education, Festival, General Worship, Global, Gratefulness, Hope, Adoration & Praise. Handbell score. 12 pages. Hope Publishing Company #2953. Published by Hope Publishing Company (HP.2953).

UPC: 763628129538.

Liber ian Folk Song Take time in life. Take time in life. Take time in life 'cause you got far way to go. I was passing by my brother called to me. And he said to me you better take time in life. This work is based on the Liberian folk song and is a celebration of living life to its fullest. It is a musical essay on life and invites the listener to contemplate quiet moments, our labors and our celebrations. The traditional West African drum parts will add an authentic feel and will make this piece the perfect addition to your repertoire any time of year.

Composed by Various. Arranged by Peter Lavender. Music Sales America. Baroque and Classical Period. Fake book (softcover). With melody line (no accompaniment included) and chord names. 128 pages. Music Sales #AM92350. Published by Music Sales

By Galantis and OneRepublic. Arranged by Jacob Narverud. Shawnee Press. Pop. Octavo. 12 pages. Published by Shawnee Press

By Galantis and OneRepublic. Arranged by Jacob Narverud. Shawnee Press. Pop. Octavo. 24 pages. Published by Shawnee Press

Cello Solo

SKU: IS.VC7501EM

Composed by André De Groote. Strings - Cello. Metropolis Music Publishers #VC7501EM. Published by Metropolis Music Publishers (IS.VC7501EM).

ISBN 9790365075010.

From the composer: After many years writing cadenzas, transcriptions and reductions of orchestral works, I decided to take the plunge and try my hand at writing a piece of my own. It is my privilege to dedicate this first effort to Viviane Spanoghe, my musical partner, muse, and benevolent critic for the past 40 years. Another considerable debt is to the composer Peter Swinnen, whose formidable erudition and expertise helped transform an idea into a musical word. Lastly, I discovered Hildegard von Bingen, whose genius struck me so forcefully through the ages; she gave me the material prima and the will to complete this essay..

Choral (Studiotrax CD)

SKU: HL.293632

By Galantis and OneRepublic. Arranged by Jacob Narverud. Shawnee Press. Pop. CD. Published by Shawnee Press (HL.293632).

ISBN 9781540051554. UPC: 888680937751. 5.0x5.0x0.185 inches.

So if you're asking me, sayin', Oh, how do you know? I don't just feel it in my heart, I feel it in my bones. Recorded by Galantis featuring OneRepublic, this dance hit is superbly set for mixed voices as well as for men's choirs. The high energy, rock groove and lyric-filled arrangement will be a standout for any pop performance and has a CD or digital download track as well as instrumentation available.

SKU: GI.G-10368

A Document History (1835-1935). Composed by Bryan J. Proksch. Music Education. 346 pages. GIA Publications #10368. Published by GIA Publications (GI.G-10368).

ISBN 9781622776276.

This is a fascinating and important book for everybody even remotely interested in the history of American bands. Bryan Proksch has done some painstakingly thorough research in putting together an amazing assemblage of documents… This is a must-have book! —Jon Ceander Mitchell     The Wind Music Research Quarterly: Mitteilungsblatt der IGEB     (March 2022), 14–15 For the scholar, each entry presents an opportunity for expansion. For the teacher, this work provides source readings for courses on wind band history or for complementing Strunk or Weiss-Taruskin in university music history courses. That said, these documents stand as an enriching and entertaining read in their own right for anyone interested in the subject. —Michael O’Connor     Historic Brass Today 1/2 (Spring 2022), 32 The Golden Age of American Bands is ideally suited for courses on the history and literature of bands in America. Indeed, this volume could suffice as a textbook for adventuresome teachers in that it touches on the major musicians, instruments, ensembles, and functions expected of such a course. . . . Both private and classroom band instructors will find compelling glimpses into the history of their craft. [It is] bursting with opportunities to inspire curiosity in their students while effectively supporting their own curricular goals. —Benjamin D. Lawson and James A. Davis     The Journal of Music History Pedagogy Proksch’s new collection of documents is a most welcome step in the direction of getting [the story of bands] under control. The juxtaposition of documents from so many levels and types of ensembles proves to have a cumulative effect: one begins to see the subtle and long-lasting connections among them despite the big differences. It is easy to envision it as a supplemental text in a course on band history and literature, but the book is also just an absorbing read. There is much to learn here, and much to enjoy. —Ken Kreitner     Notes 79/2 (December 2022): 217-218 This is the story of the American wind band, told chronologically by those who experienced it in real time from 1835 to 1935. How did bands become bands? How did they rise in popularity? Which figures had insights and specific impacts on the development of the genre? Through source documents and articles, Bryan Proksch takes us on an extraordinary journey from the time of the first brass bands in the 1830s, through the Civil War and the golden ages of Gilmore and Sousa, to the cusp of the wind ensemble just before World War II. Hear from a young Frederick Fennell about his efforts to create the first band at Eastman. Read the outline of Allessandro Liberati’s unpublished trumpet method book. Eavesdrop on Karl L. King as he muses on the fate of bands after the death of Sousa. See Patrick Conway’s first undergraduate music education curriculum. Gawk as trombonist Fredrick Neil Innes embarrasses “world’s greatest cornetist” Jules Levy at Coney Island. Explore as Alan Dodworth revolutionizes bands. Retreat with a military band in the middle of a Civil War battle. Find out what it felt like to sit in a Sousa Band rehearsal. Ask Herbert L. Clarke why he thinks you should be playing a cornet instead of a trumpet. Find out how P. S. Gilmore managed to pull off the biggest concert events in American history. The book includes numerous rare and unknown illustrations to show you the places where band history happened. The documents include rare periodical excerpts, handwritten letters, and other writings taken from archives throughout the United States. These first-person accounts are certain to further refine and deepen our understanding and appreciation of American band history on a grand scale. Contents: Beginnings (1835–1859) The Civil War (1860–1865) The Jubilees (1866–1879) The Gilded Age (1880–1896) The Band Age (1897–1914) World War I (1915–1919) Transition and Decline (1920–1935)   Click here to download a FREE addenda. Bryan Proksch is a distinguished faculty lecturer and associate professor of music history and literature at Lamar University in Beaumont, Texas. This is his third book. His A Sousa Reader: Essays, Interviews, and Clippings (GIA Publications, 2016) explores the documents relating to the life and career of John Philip Sousa.