(for Chamber Orchestra). By Michael Daugherty (1954-). Score. Peermusic Classical. 48 pages. Peermusic #61935-851. Published by Peermusic

Arranged by Belisario Errante. Music Sales America. Games/Activities. Game. Composed 2005. Music Sales #HL14033253. Published by Music Sales

2 Pianos

SKU: SU.32030200

For 2 Pianos. Composed by David Lipten. Keyboard, Piano 4-hands/2+ Pianos. Score. Subito Music Corporation #32030200. Published by Subito Music Corporation (SU.32030200).

Written as a response to my Snap for solo piano from Show of Hands.2 Pianos Duration: 3' Composed: 2020 Published by: Distributed Composer.

By Robert Schultz. For Piano. Robert Schultz Piano Library. Contents include: Blues Over Easy; Fast Lane; Goin' Down to Monty's; Just the Facts; Knuckle Down; Lucky Day; Round About; Shortcut Alley; Snap Street; Soft Shoe; Stop on a Dime; Sun Shadow; Sweet Talk. Jazz & Blues. Level: Early Intermediate. Book. Published by The FJH Music Company Inc.

For Band. By Andrew Balent Joseph Compello. Concert band/stage band. This edition: complete set. Sounds Spectacular - A Carl Fischer Series for Young Bands - Grade 1. Classical. Level: Super Easy. Score and parts. 27 pages. Published by Carl Fischer.

Full Score. By Andrew Balent Joseph Compello. Concert band/stage band. Sounds Spectacular - Grade 1. Full Score - Large. 27 pages. Published by Carl Fischer.

Concert Band Concert Band - Grade 1

SKU: FJ.B1703S

Score Only. Composed by Mekel Rogers. Concert Band. FJH Beginning Band. Light Concert; Novelty. Score. Duration 1:45. The FJH Music Company Inc #98-B1703S. Published by The FJH Music Company Inc (FJ.B1703S).

English.

Teach students about swing with this fun original work based on the 12-bar blues. Orchestrated to work with bands of all sizes, this clever chart features snapping and clapping by all musicians in the band. Guaranteed to be a student favorite!

About FJH Beginning Band

Appro priate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1.

Composed by Mark Hayes. For 2-part choir, piano, finger snaps. Secular Christmas. Octavo. Heritage Music Press #15/3275H. Published by Heritage Music Press

Composed by Carole Searle and Denise Hollingworth. For Choral (REPRO COLLECT UNIS BOOK/CD). Musicals. 64 pages. Published by Shawnee Press

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Ratchet, Slap Stick, Snare Drum, Timpani, Tom-tom, Trombone, Trumpet, Tuba and more. - Grade 0.5

SKU: CF.PPS52F

A Fantasy for Band. Composed by Joseph Compello. Primer Band (PPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #PPS52F. Published by Carl Fischer Music (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.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Ratchet, Slap Stick, Snare Drum, Timpani, Tom-tom, Trombone, Trumpet, Tuba and more. - Grade 0.5

SKU: CF.PPS52

A Fantasy for Band. Composed by Joseph Compello. Primer Band (PPS). Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+2+3+2+6+3 +1+1+4+4+16+2 pages. Duration 2 minutes, 46 seconds. Carl Fischer Music #PPS52. Published by Carl Fischer Music (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.

Musical Snapshots, Book 1. (10 Original Solos for the Elementary Pianist Portraying Musical Visits Around the World). By Martha Mier. For Piano. Piano Collection; Piano Supplemental. Musical Snapshots. Multicultural; World. Elementary; Late Elementary. Book. 24 pages. Published by Alfred Music Publishing

Ensemble (Study Score)

SKU: HL.49043961

For large ensemble. Composed by Mark-Anthony Turnage. This edition: Saddle stitching. Sheet music. Study Score. Softcover. Composed 2002. 12 pages. Duration 3'. Schott Music #ED13675. Published by Schott Music (HL.49043961).

ISBN 9790220134579. UPC: 888680023881. 8.25x12.0x0.112 inches.

One of the movements in Scorched (arrangements of seventeen tunes by John Scofield for jazz trio and orchestra) has a coda, which repeats a dense, two-bar tag which sounded like it could be developed. Snapshots starts off by revealing bits of each of the two bars (with episodes placed in-between). The full two bars of music are then revealed at the end of the piece. Snapshots is a tribute to Olly [Oliver Knussen] on his 50th birthday. Mark-Anthony Turnage.

Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2

SKU: CF.CM9634

Composed by Traditional Christmas Spiritual. Arranged by Ken Berg. Sws. Performance Score. 16 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9634. Published by Carl Fischer Music (CF.CM9634).

ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.

Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Piccolo and more.

SKU: PR.115402040

For Piccolo and Band. Composed by Daniel Dorff. This edition: Band. Premiere: Walfrid Kujala piccolo, Mitchell Fennell conducting the California State University - Fullerton wind ensemble, at 2010 NFA convention. Contemporary. Set of Score and Parts. With Standard notation. Composed 8-Oct. 60+12+12+4+4+4+16+16+16+4 +3+3+3+8+8+8+4+6+6+6+3+3+ 3+3+6+6+6+6+3+27+3+8 pages. Duration 6:30. Theodore Presser Company #115-40204. Published by Theodore Presser Company (PR.115402040).

UPC: 680160591220. 9.5 x 13 inches. Key: G major.

Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Piccolo, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.11640385L

For Piccolo and Orchestra. Composed by Daniel Dorff. Large Score. 60 pages. Duration 6:30. Theodore Presser Company #116-40385L. Published by Theodore Presser Company (PR.11640385L).

UPC: 680160682904. Key: G major.

By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

Band 2 Bassoons, 2 Bb Clarinets, 2 Eb Alto Saxophones, 2 Flutes, 2 Oboes, 2 Trombones, 3 Bb Trumpets, 3 Percussion, 4 F Horns, Bass Trombone, Bb Bass Clarinet, Bb Tenor Saxophone, Contrabassoon, Eb Baritone Saxophone, Eb Clarinet, Euphonium, Solo Piccolo, Tuba

SKU: PR.11540204F

For Piccolo and Band. Composed by Daniel Dorff. This edition: Band. Contemporary. Full score. With Standard notation. Composed 8-Oct. 60 pages. Duration 6:30. Theodore Presser Company #115-40204F. Published by Theodore Presser Company (PR.11540204F).

UPC: 680160591237. Key: G major.

Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Piccolo, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.11640385S

For Piccolo and Orchestra. Composed by Daniel Dorff. Full score. 60 pages. Duration 6:30. Theodore Presser Company #116-40385S. Published by Theodore Presser Company (PR.11640385S).

UPC: 680160682898. Key: G major.

By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.

Gingersnaps by James Kazik. Score and Parts. Easy Music For Strings. Grade 2. Published by Hal Leonard

Chamber Music Piano

SKU: PR.UE021773

Piano accompaniment. Composed by James Rae. Score. Universal Edition #UE021773. Published by Universal Edition (PR.UE021773).

UPC: 803452073017.

Note: This is the piano accompaniment insert for the clarinet and CD title City Snapshots (UE021743 - Book and CD - $18.95).

By Old Dominion. For Piano/Vocal/Guitar. Piano Vocal. Softcover. Published by Hal Leonard

Woodwinds Piano

SKU: PR.UE021772

Composed by James Rae. Part. 29 pages. Universal Edition #UE021772. Published by Universal Edition (PR.UE021772).

ISBN 9783702476281. UPC: 803452073390.

Every major city in the world has its own sound. Rae proves this, by crafting elementary pieces, each of which immediately evokes the city it represents. New York, London, Paris, or Prague, each piece is written in a comfortable range, with either piano or CD accompaniment to enhance the performance. This is the optional piano score for City Snapshots for 2 Flutes (UE021742).

By Robert Schultz. For Piano. Robert Schultz Piano Library. Contents include: Blue Silk; End of the Line; Hourglass; In the Blue; Jade Cat; Loretta B.; Off Broadway; Outside In; Snapdragon Alley; Square One; Swing it Back; To the Max; Zigzag. Jazz & Blues. Level: Intermediate. Book. Published by The FJH Music Company Inc.

Jazz ensemble - Grade 2

SKU: CL.032-4431-01

Composed by Neeck. Jazz Ensemble. Audio recording available separately (item CL.991-2016-01). Extra full score. Composed 2016. Duration 3 minutes, 21 seconds. C.L. Barnhouse #032-4431-01. Published by C.L. Barnhouse (CL.032-4431-01).

The saxes take the lead in this upbeat, bluesy swing/shuffle. Great riffs, reasonable ranges, and solid ensemble scoring, make this an easy, yet fun chart for your band to rehearse and perform. An optional solo section includes written solos, and the chart even sounds exceptional with a limited instrumentation. Ending with a shout chorus that starts with a whisper, and builds to a roar, Make It Snappy! will be a hit with audiences and students alike.