Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.

Composed by Robert Jager (1939-). Bandworks. Score and set of parts. Published by Neil A. Kjos Music Company (KJ.WB172).

The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

By Ed Huckeby. Holiday. Concert Band. Holiday Treasures. Level: Grade 3.5. Score and set of parts. Composed 1998. Duration 0:03:05. Published by C.L. Barnhouse.

Choral (SATB)

SKU: HL.1248096

Composed by Joseph M. Martin. Shawnee Sacred. All Saints Day, General Worship, Memorial, Sacred. Octavo. Duration 160 seconds. Published by Shawnee Press (HL.1248096).

UPC: 196288153238. 6.75x10.5x0.029 inches. Hebrews 13:14, Philippians 3:20-21, Revelation 22:1.

Written with an early American flair, this anthem of optimism is a wonderfully fresh idea for All Saint's services or moments of remembrance. Easy to learn, with carefully crafted vocals and an accompaniment that provides energy and spirit, this song of praise will find a home in many choir lofts.

(Musical Settings of the Poems of Emily Dickinson). Composed by Gwyneth W. Walker (1947-). For soprano voice solo, piano. Secular, 21st century. Medium. Collection. Published by E.C. Schirmer Publishing

Composed by Gwyneth W. Walker (1947-). Vocal Solo. Secular, 21st Century. Collection. 31 pages. Published by E.C. Schirmer Publishing (EC.8460).

String Orchestra standard string orchestra (88555) with opt. 3rd Violin/Viola TC (3) and piano - Grade 1

SKU: KN.8141

(The Spirit Of The Winter Wind). Composed by Jeffrey Frizzi. Accent String Orchestra. Score and parts. Duration 1 minute, 50 seconds. Kendor Music Inc #8141. Published by Kendor Music Inc (KN.8141).

UPC: 822795081411.

Subti tled, The Spirit Of The Winter Wind, this grade 1 piece written in E Dorian is ideal for beginning string players. Using the familiar notes of the D major scale, this is a perfect piece for a first concert, festivals or contests. Students will delight in getting the opportunity to create the wind sound as they tell the story. Each set includes three copies of the 3rd Violin/Viola T.C. part and an optional part for piano. Duration 1:50. Available in SmartMusic.

SKU: GI.G-CD-988

Composed by Liam Lawton. Sacred. CD. GIA Publications #988. Published by GIA Publications (GI.G-CD-988).

UPC: 785147098829.

I am delighted to share with you these songs that are part of my own liturgical and musical journey.    � � Â Â Â Â Â Â   —Liam Lawton This compilation album from platinum recording artist Liam Lawton contains all of his most inspirational titles composed over the course of the last twenty years. These songs, sung in worship throughout the world, have touched the lives and hearts of so many—providing healing, solace, and hope. Each title is infused with Celtic spirit and illustrates the Liam's sincerity of faith. May the grace and spirit of The Best of Liam Lawton embrace and bless you with peace.

By Various. Arranged by Joan Frey Boytim. Vocal Collection. Size 9x12 inches. 144 pages. Published by G. Schirmer, Inc.

By Michael Burkhardt. For organ. Organ Music. Level: Medium/Medium-Difficult. Published by MorningStar Music Publishers.

By Larry Shackley. For SATB / 2-part mixed Choir and Piano. Sacred Anthem: General, Pentecost, Transfiguration. Octavo. 12 pages. Published by Lorenz Publishing Company

By David Shaffer. (Score and Parts). Band Music Press Concert Band. Score and full set of parts. Published by Band Music Press.

Composed by Daniel DiMarino. For string orchestra. Original Concert Work. Grade 4. Score and set of parts. Duration 4:06. Published by Wingert- Jones Publications

Composed by Gwyneth W. Walker (1947-). Year B Christmas1. Christmas, 21st Century. Octavo. Duration 3 minutes, 10 seconds. E.C. Schirmer Publishing #8515. Published by E.C. Schirmer Publishing

Grade 3

SKU: CL.012-3397-01

Overture for Band. Composed by Hillis. Concert Band. Command Series. Audio recording available separately (item CL.WFR335). Extra full score. Composed 2005. Duration 5 minutes, 37 seconds. Opus III Wind Orchestra Publications #012-3397-01. Published by Opus III Wind Orchestra Publications (CL.012-3397-01).

Featuring themes that evoke the spirit of the settlers moving westward, this delightful Greg Hillis composition is an exceptional choice for any mid-level band concert or contest performance. The adagio section begins with short solos for flute, clarinet, horn, bells and baritone (all are cued elsewhere) before building into a lush and powerful tutti. Full of appeal for audiences and players alike, this dynamic piece is sure to make your band sound like a million bucks!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Band concert band - Grade 2

SKU: KJ.WB172F

Composed by Robert Jager. Bandworks. Score. Neil A. Kjos Music Company #WB172F. Published by Neil A. Kjos Music Company (KJ.WB172F).

Old Time Spirit, a delightfully upbeat composition loosely based on the hymn, Old Time Religion, is also the fight song melody for Henderson State University in Arkansas. Compelling and spirited, the work features soloistic writing, soaring tutti horn lines, and exuberant tutti sections contrasting with a lyrical, reflective, slower section. The work concludes with a restatement of the lively and spirited opening material.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1 and more. - Grade 5

SKU: CF.SPS85

Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+28+28+14+14+4+14+14+7+2 4+28+28+8+4+8+8+14+8+9+12 +12+8+8+8+8+12+12+9+12+8+ 16+4+3+2+6+6+6+7+44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85. Published by Carl Fischer Music (CF.SPS85).

ISBN 9781491156421. UPC: 680160914968. 9 x 12 inches.

Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.
Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece” to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms” into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Crash Cymbals, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Harp, Horn 1, Horn 2, Horn 3 and more. - Grade 5

SKU: CF.SPS85F

Composed by Jeremy Martin. Sws. Sps. Full score. 44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85F. Published by Carl Fischer Music (CF.SPS85F).

ISBN 9781491156438. UPC: 680160914975. 9 x 12 inches.

Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.
Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece” to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms” into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.

SATB choir

SKU: ST.EM13

Composed by Thomas Weelkes. Edited by Edmund H Fellowes. Library Volumes. Edited Edmund Fellowes. Revised Thurston Dart. Paperback. Madrigals. Collection. Stainer & Bell Ltd. #EM13. Published by Stainer & Bell Ltd. (ST.EM13).

ISBN 9790220218019.

CONT ENTS
Alas! tarry but one half hour (SST )
As deadly serpents lurking (SA (or S) T )
As Vesta was descending (SSATTB )
Ay me, alas, hey ho (SST )
Come lets begin to revel At out (SSA (or T) )
Come sirrah, Jack ho (SSA (or T) )
Death hath deprived me (SS (or A) T (or A) TBB )
Donna il vostro bel viso (SSA (or T) )
Fa la. Now weep and sing (SA (or S) T (or B) )
Four arms, two necks, one wreathing (SSA )
Ha ha! this world doth pass (SST (or A) )
I bei ligustri e rose (SSA )
Jockey thine horn-pipeAs dull (SSA (or T) )
Late in my rash accounting (SSA (or T) )
Lord when I think (SSA (or T) )
No, though I shrink still (SSA )
Say, wanton, will you love me? (SSA (or T) )
Since Robin Hood (SA (or S) T )
Some men desire spouses (SSA )
Strike it up, Tabor (SST )
Tan ta ra cries Mars (SSA (or T) )
The Ape, the Monkey and Baboon (SSA )
The gods have heard my vows (SSA )
The nightingale, the organ of delight (SSA (or T) )
Though my carriage be but careless (SSA )
Tomorrow is the marriage day (SSA (or T) )
Upon a hill the bonny boy (SSA ).

Grade 3

SKU: CL.012-2787-00

Concert March. Composed by Huckeby. Concert Band. Classics Series. Audio recording available separately (item CL.WFR199). March. Score and set of parts. Composed 1996. Duration 3 minutes, 3 seconds. Opus III Wind Orchestra Publications #012-2787-00. Published by Opus III Wind Orchestra Publications (CL.012-2787-00).

A distinctive new concert march with a delightfully fresh sound from the pen of popular composer Ed Huckeby. Perfect for contest or concert use, it's full of the compositional trademarks that have made Huckeby's music so popular around the world. Delightful!

About C.L. Barnhouse Classics Series

Und er the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time!

Grade 3

SKU: CL.012-2787-01

Concert March. Composed by Huckeby. Concert Band. Classics Series. Audio recording available separately (item CL.WFR199). Extra full score. Composed 1996. Duration 3 minutes, 3 seconds. Opus III Wind Orchestra Publications #012-2787-01. Published by Opus III Wind Orchestra Publications (CL.012-2787-01).

A distinctive new concert march with a delightfully fresh sound from the pen of popular composer Ed Huckeby. Perfect for contest or concert use, it's full of the compositional trademarks that have made Huckeby's music so popular around the world. Delightful!

About C.L. Barnhouse Classics Series

Und er the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time!

by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.

For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, lyrics, piano accompaniment, chord names and leadsheet notation. Hymn. Series: Hal Leonard Fake Books. 494 pages. 9x12 inches. Published by Hal Leonard.