SKU: CY.CC2993

ISBN 9790530058121.

Tcha ikovsky composed Souvenir d'un lieu cher Op. 42 in 1878 for Violin and Piano. Melodie is the third of three movements of this lovely work. Later, in 1884 the movements were published separately and eventually Glazunov arranged the three movements for Violin and orchestra.
The music is poetic, expressive, joyous and refreshing with a wink or two. Professor Mixdorf has beautifully arranged this 3-minute work for advanced performers.

SKU: HL.4008509

UPC: 196288176275.

Omagg io was commissioned by Steven Mead in celebration of his 60th birthday and in memory of his father, Rex. He gave the premiere of the brass band version in Rome in March 2022, accompanied by the Italian Brass Band conducted by Filippo Cangiamilla. The concertband premiere took place on 6th July that year as part of the 2022 Spanish International Tuba Euphonium Conference, accompanied by the Banda municipal de música de Málaga. The concerto is set in 3 continuous movements, which are united by a recurring syncopated interval of a fifth. The first movement, FANTASIA, opens with this motive accompanying an extended monologue for the soloist. This is followed by a lengthy bridge passage by the piano, which is eventually joined by the soloist, who guides the music back to the opening soliloquy, leading to an energetic central section. This develops until the opening material again returns to introduce the second movement, BALLAD, which revolves around an expressive melody for the soloist, interspersed by accompanied cadenzas. The thirdmovement, THE KING TRIUMPHANT, pays homage to Steven’s late father, Rex, and its title alludes both to Rex's name ('Rex' being Latinfor 'king') as well as his love of Eric Ball’s Salvationist masterpiece, The Kingdom Triumphant. The finale is an energetic tour-de-force featuring an acrobatic 6/8 melody, which is interrupted twice by the magnificent hymn tune, Helmsley, which Ball uses so effectively in The Kingdom Triumphant. A galloping coda brings the work to a close.

SKU: P2.80160

The idea for these duets came from programming a duet recital with my colleague and dear friend, Dr. Joanna Hersey, Associate Professor of Low Brass at the University of North Carolina at Pembroke. She had several new arrangements for us to perform, and she had set them specifically to be rehearsed and performed by her students. She suggested I write something jazzy for us to play that her students could also work on in lessons. What started out as a quick dose of pseudo-dixieland turned into something quite different. Tango is built on a straight-eighth-note groove. It's meant to be danceable without being too fast or too loud. Players should have fun with the style while being very strict about time and rhythm. Bolero challenges players to provide a steady, rhythmic bass line in the often unwieldy lower registers of the horn, and long, lyrical melodies in the upper register. Jam is all about having fun. It is built around basic harmonic and rhythmic patterns, and is meant to be played aggressively. My hope is that players build necessary skills while preparing these duets, and get a hefty round of applause for their efforts at the performance. Thanks go to Walter Sear (1930-2010), whose books of tuba duets form a cornerstone of low brass chamber repertoire. Thanks also to my colleagues in The President's Own, Chris Tiedeman and Paul Mergen, who often reminded me of how much fun duets can be every time they pulled out their well-loved, dog-eared copy of the Sear book. This work is dedicated to Dr. Joanna Hersey and her studio at the University of North Carolina at Pembroke for their inspiration, dedication, and spirit. My sincere thanks to all of you for making this project a reality.

SKU: KN.60751S

UPC: 822795607512.

Given the widespread popularity and accessibility of his funk charts, you'll love this Jeff Jarvis original for developing groups. A solid introduction sets up the tuneful melody, and the funk groove is coupled with a rich chord progression that provides plenty of audience appeal. Solo sheets for Eb, Bb, C and Bass Clef instruments are offered for the open solo section, and each set also includes a guitar chord chart by Jim Greeson. Rhythm section parts are notated with chords cued. Duration 4:20. Available in SmartMusic.

SKU: CY.CC2660

This work is the third from a collection of five short pieces Beethoven wrote for Flotenuhr or mechanical clock, discovered a number of years after his death. Their true origin was discovered by Professor Albert Kopfermann, a German musician/librarian, who solved the mystery about their instrumentation. This delightful Allegro movement has been transposed into the key of F from G and arranged for moderately advanced performers by Ralph Sauer. Your audience will love this little gem as the clock slows down and stops before the final cadence. It will make a great encore piece.

SKU: AP.48280

UPC: 038081551036. English.

PianoTrax 12 CD contains accompaniment tracks for the following choral publications: Are You Proud of Me? * The Bicycle * Carnival of the Animals: Choral Set I * Clap Your Hands! * The Cloud * Dandelion Child * Desperta Ferro! * Dixit Dominus * Dona Nobis Pacem * Enter with Song! * Follow the Drinking Gourd * Friendship Canon * Gaudeamus Hodie * Gloria in Excelsis Deo * Grow Your Garden * Hava Nagila (Let Us Rejoice) * Hodie * I Lift My Lamp * In the Bleak Midwinter * Lovely Rainbow * Marvelous, Magical World * Music Is . . . * O Wind * One Can Hear the Falling Snow * Out of the Silence * The Road Not Taken * Ständchen * Tuba Mirum * The Turtle Dove * Twilight * Un Poquito Cantas * Vanitas Canon * Words of Wisdom.

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

SKU: HP.PP143B

UPC: 763628143084. Colossians 3:16, Ephesians 5:19, Psalms 95:1, Revelation 19:4.

Beloved hymn tune This powerful presentation breathes new life into this classic hymn of praise, complete with a majestic orchestral accompaniment. The addition of a second hymn tune, LASST UNS ERFREUEN, gives sparkle and an element of surprise to this compelling musical offering. The orchestration by Brant Adams includes parts for conductor's score, 2 flutes, oboe, 2 clarinets in B-flat, bassoon, 2 horns in F, 3 trumpets in B-flat, 2 trombones, bass trombone or tuba, timpani, percussion, harp, 2 violins, viola, cello, and double bass.

SKU: BP.2142B

Full score and parts for piccolo; flute 1 and 2; oboe 1 and 2; clarinet in B-flat 1 and 2; bassoon 1 and 2; horn in F 1, 2, 3 and 4; trumpet in C 1 and 2; trumpet in C 3 and 4 (optional); trombone 1, 2 and 3; tuba; timpani; bass drum; suspended cymbal; crash cymbal; harp; optional organ; violin 1 and 2; viola; cello; double bass.

SKU: CY.CC2728

Symphony No. 4, also known by the composer himself as the Romantic was written in 1874, but revised several times and premiered in 1881 in Vienna. The subtitle actually does not refer to romantic love, but a medieval romance such as some of Wagner's operas. The movement titled Scherzo is full of adventure and vitality with a relaxed middle section. Bruckner himself hinted that the Scherzo movement was a Jadthema or hunting theme and Volkfest or people's festival. The hunting horns are calling, the brass are blowing their fanfares and it is a good day to be hunting. The main feeling from this movement is a strong feeling of the great outdoors. Mr. Johns has arranged this work for 14-part brass ensemble including optional Timpani. The instrumentation is: 4 Trumpets (including piccolo, C, B-flat and Flugelhorn), 4 Horns, 4 Trombones, Euphonium and Tuba (optional Timpani).
This work is suitable for advanced performers and is about 5 minutes in length.

SKU: CF.PPS52F

ISBN 9781491152645. UPC: 680160910144.

Balle t of the Dinosaur Hatchlings is an imaginative and fun selection for a beginning band with less than one year of instruction. Wind parts use only five pitches and only the percussion parts use eighth notes. Two sound effects are required in the piece. First, the hatching eggs are portrayed by a ratchet, and second, the snapping dinosaurs jaws are represented by  a slapstick. Ballet of the Dinosaur Hatchlings is an intriguing piece that beginning students are sure to love.
Ballet of the Dinosaur Hatchlings is a descriptive novelty selection for a beginning band with less than one year of instruction. Wind parts use only five pitches. Only percussion parts use eighth notes. Two sound effects are required. First, the hatching eggs are portrayed by the ratchet beginning at m. 2, and second, the snapping dinosaurs jaws, which are first heard at m. 14, are represented by an accented note augmented by a slapstick. Directors are encouraged to use more elaborate sound effects if they are inclined to do so. The story described by the music is as follows:• Dinosaur eggs begin to hatch (the ratchet, mm. 1-8).• The parent dinosaurs guard the nest (Low Brass and Woodwinds mm. 9-12).• The hatchlings begin walking (m. 13).• The hatchlings snap their jaws as they learn to eat (m. 14, Xylophone and Slapstick).• Thunder (Timpani, m. 29).• The parent dinosaurs seek shelter for all (m. 33, Low Brass and Woodwinds).• The hatchlings follow while they continue snapping their jaws (m. 41).• More thunder (mm. 53-54).• All the dinosaurs roar loudly at the clouds (m. 55) as the thunder becomes louder.

SKU: CF.PPS52

ISBN 9781491151969. UPC: 680160909469.

Balle t of the Dinosaur Hatchlings is an imaginative and fun selection for a beginning band with less than one year of instruction. Wind parts use only five pitches and only the percussion parts use eighth notes. Two sound effects are required in the piece. First, the hatching eggs are portrayed by a ratchet, and second, the snapping dinosaurs jaws are represented by  a slapstick. Ballet of the Dinosaur Hatchlings is an intriguing piece that beginning students are sure to love.
Ballet of the Dinosaur Hatchlings is a descriptive novelty selection for a beginning band with less than one year of instruction. Wind parts use only five pitches. Only percussion parts use eighth notes. Two sound effects are required. First, the hatching eggs are portrayed by the ratchet beginning at m. 2, and second, the snapping dinosaurs jaws, which are first heard at m. 14, are represented by an accented note augmented by a slapstick. Directors are encouraged to use more elaborate sound effects if they are inclined to do so. The story described by the music is as follows:• Dinosaur eggs begin to hatch (the ratchet, mm. 1-8).• The parent dinosaurs guard the nest (Low Brass and Woodwinds mm. 9-12).• The hatchlings begin walking (m. 13).• The hatchlings snap their jaws as they learn to eat (m. 14, Xylophone and Slapstick).• Thunder (Timpani, m. 29).• The parent dinosaurs seek shelter for all (m. 33, Low Brass and Woodwinds).• The hatchlings follow while they continue snapping their jaws (m. 41).• More thunder (mm. 53-54).• All the dinosaurs roar loudly at the clouds (m. 55) as the thunder becomes louder.

SKU: CF.YPS222F

ISBN 9781491156636. UPC: 680160915170. 9 x 12 inches.

Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix. Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love! Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can't dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don't cover up the winds. Remember, it's a dance. Have fun! Kiefer.ed@gmail.com Facebook: The Music of Ed Kiefer.
Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix.Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love!Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can’t dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don’t cover up the winds. Remember, it’s a dance. Have fun!Kiefer.ed@gmail.comFa cebook: The Music of Ed Kiefer.

SKU: CF.YPS222

ISBN 9781491156629. UPC: 680160915163. 9 x 12 inches.

Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix. Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love! Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can't dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don't cover up the winds. Remember, it's a dance. Have fun! Kiefer.ed@gmail.com Facebook: The Music of Ed Kiefer.
Written in an upbeat Latin rhythmic form, Chips, and Salsa, Too begins with percussion under a nice rhythmic motif in the winds. A tuneful minor melody in the clarinets, well below the break, continues above this Latin groove after the intro. The tubas (and cross-cued for euphoniums and bass clarinets) and flutes have a melody together beginning in m. 43, and the rest of the band is gradually layered in the mix until everybody is contributing to the mix.Latin rhythms, featured percussion, and lots of nice melodies for the winds makes this a piece your students and audiences will love!Pay careful attention to the articulation because without it you will lose the rhythmic feel. The tempo is marked quarter=152, but you can play it faster if you like. Too slow, and you can’t dance to it! The syncopated rhythms are infectious and you will be surprised at how quickly your band catches on. The ranges are perfect for young players and there are plenty of doublings to assist smaller bands. Use as many percussionists as possible, but insist they groove together and don’t cover up the winds. Remember, it’s a dance. Have fun!Kiefer.ed@gmail.comFa cebook: The Music of Ed Kiefer.

SKU: MH.1-59913-050-5

ISBN 9781599130507.

Char les Dickens certainly would have known the three carols in A CHARLES DICKENS CHRISTMAS. They were among the best-known and best-loved carols of the Victorian Era, and were a staple of the repertoire of roving waits, or carollers, that appear in his novels. Today this music is as familiar as Santa Claus and Tiny Tim. THE FIRST NOWELL was first collected in Christmas Carols, Ancient and Modern by William Sandys in 1833. It is most probably 200 years older than that. The Oxford Book of Carols contains nine verses, which makes it an ideal processional for Christmas or Epiphany (the feast commemorating the coming of the Magi). COVENTRY CAROL, or Lully, Lullay, comes from the medieval tradition of mystery and miracle plays. In 1534 the Pageant of the Shearman and Tailors Guild included a scene in which the mothers of Jewish children sang this haunting lullaby after hearing the horrifying order: Herod the king, In his raging, All young children to slay. The music is anonymous; the text believed to be by Robert Croo. ANGELS WE HAVE HEARD ON HIGH is probably of French origin, but the English long ago adopted it as their own. Besides the French text, Les Anges dans nos compagnes, it is known in several versions and by several titles, including Angels from the Realms of Glory, When the Crimson Sun Had Set, and Westminster Carol. It belongs to a category known as macaronic carols, which mix vernacular verses with Latin refrains - in this instance, Gloria in Excelsis Deo (Glory be to God on High). Ensemble instrumentation: 1 Piccolo, 8 Flute, 2 Oboe, 1 Bassoon 1, 1 Bassoon 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 1 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1, 2 F Horn 2, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (Bass Clef), 2 Euphonium (Treble Clef), 5 Tubas, 1 Timpani, 2 Bells & Chimes, 3 Percussion 1: small triangle, suspended cymbal, crash cymbal, snare drum, bass drum, 2 Percussion 2: large triangle, finger cymbals.

SKU: HL.35029364

UPC: 884088956233. 5x5 inches.

Uses: Lent, Holy Week, Good Friday, Valentine's Day

Scripture: Song of Solomon 2:1; Ephesians 5:2; Isaiah 35:1

This Shawnee classic is now available in SATB and SAB voicings along with a full orchestration or StudioTrax option. Using “The Rose” as a sacred metaphor, the life of Christ is told with artful poetry and music. This anthem is easily learned but hard to forget. With simple imagery, a winsome melody and singable harmonies, this tender offering touches the heart with a message of divine love. Score & Parts for Flt 1&2, Oboe, Clarinet 1&2, Bassoon, Horn 1&2 (sub. Alto Sax 1&2), Tpt 1, Tpt 2&3, Tbone 1&2, Bass Tbone/Tuba, Timp, Perc 1&2, Harp, Vln 1&2, Viola, Cello, Double Bass.

SKU: CF.YPS199

ISBN 9781491152195. UPC: 680160909698. Key: G minor.

Tum Balalaika is attributed to a number of Eastern European countries, but is best known as a Russian Jewish folk/love/“riddleâ € song. Loosely translated, “tum” means “noise,” and the Balalaika is a Russian stringed instrument with a characteristic triangular, hollow, wooden body and three strings, closely related to the domra and mandolin. Carl Strommen's wonderful setting will help any group sound their best.
Tum Balalaika is attributed to a number of Eastern European countries, but is best known as a Russian Jewish folk/love/“riddleâ € song. Loosely translated, “Tum” means “noise,” and the Balalaika is a Russian stringed instrument with the characteristic triangular wooden hollow body and three strings, closely related to the Domra and Mandolin. Tum Balalaika should be played brightly and in a broad flowing manner. As always, attention should be paid to dynamics and articulations.

SKU: CF.YPS199F

ISBN 9781491152874. UPC: 680160910373.

Tum Balalaika is attributed to a number of Eastern European countries, but is best known as a Russian Jewish folk/love/“riddleâ € song. Loosely translated, “tum” means “noise,” and the Balalaika is a Russian stringed instrument with a characteristic triangular, hollow, wooden body and three strings, closely related to the domra and mandolin. Carl Strommen's wonderful setting will help any group sound their best.
Tum Balalaika is attributed to a number of Eastern European countries, but is best known as a Russian Jewish folk/love/“riddleâ € song. Loosely translated, “Tum” means “noise,” and the Balalaika is a Russian stringed instrument with the characteristic triangular wooden hollow body and three strings, closely related to the Domra and Mandolin. Tum Balalaika should be played brightly and in a broad flowing manner. As always, attention should be paid to dynamics and articulations.

SKU: HP.C6289

UPC: 763628162894.

Origi nal hymn tune Thomas Chisholm's beloved hymn text is given a new melody and dynamic choral treatment by Joel Raney, complete with a powerful orchestral accompaniment, now also available for medium-high voice vocal soloists. . The familiar words of this classic hymn come to life afresh in this compelling new treatment. The orchestration by Brant Adams includes parts for conductor's score, 2 flutes, oboe, 2 clarinets in B-flat, bassoon, 2 horns in F, 3 trumpets in B-flat, 2 trombones, bass trombone or tuba, timpani, percussion 1 and 2, harp, 2 violins, viola, cello, and double bass.

SKU: HP.8967

UPC: 763628189679.

Origi nal hymn tune Thomas Chisholm's beloved hymn text is given a new melody and dynamic choral treatment by Joel Raney, complete with a powerful orchestral accompaniment, now also available for medium-high voice vocal soloists. . The familiar words of this classic hymn come to life afresh in this compelling new treatment. The orchestration by Brant Adams includes parts for conductor's score, 2 flutes, oboe, 2 clarinets in B-flat, bassoon, 2 horns in F, 3 trumpets in B-flat, 2 trombones, bass trombone or tuba, timpani, percussion 1 and 2, harp, 2 violins, viola, cello, and double bass.

SKU: P2.90058

E Lucevan Le Stelle, extracted from the third act of the opera Tosca, is one of the most important arias in the operatic repertoire. The character Mario Cavaradossi, a painter in love with Tosca, sings it as he awaits his execution on the roof of the Castel Sant'Angelo in Rome. Here, it is set for solo tuba and trombone choir.