Choral (SSA Choir)

SKU: HL.1312734

Composed by Ruth Morris Gray. Shawnee Press. Concert. Octavo. 12 pages. Duration 180 seconds. Published by Shawnee Press (HL.1312734).

ISBN 9798350109511. UPC: 196288177654. 6.75x10.5x0.029 inches.

“The Starry Night” by Vincent Van Gogh is the composer's inspiration for this choral, which is filled imagery from the painting. The text is created from a quote by Van Gogh, “For my part, I know nothing with any certainly, but the sight of the stars makes me dream.” The composer has included discussion points about the painting and choral that can be used in rehearsal or classroom. Incredible teaching opportunities abound!

Choral (SAB Choir)

SKU: HL.1312733

Composed by Ruth Morris Gray. Shawnee Press. Concert. Octavo. 12 pages. Duration 180 seconds. Published by Shawnee Press (HL.1312733).

ISBN 9798350109504. UPC: 196288177647. 6.75x10.5x0.029 inches.

“The Starry Night” by Vincent Van Gogh is the composer's inspiration for this choral, which is filled imagery from the painting. The text is created from a quote by Van Gogh, “For my part, I know nothing with any certainly, but the sight of the stars makes me dream.” The composer has included discussion points about the painting and choral that can be used in rehearsal or classroom. Incredible teaching opportunities abound!

Choral (SATB)

SKU: HL.1312732

Composed by Ruth Morris Gray. Shawnee Press. Concert. Octavo. 12 pages. Duration 180 seconds. Published by Shawnee Press (HL.1312732).

ISBN 9798350109498. UPC: 196288177630. 6.75x10.5x0.036 inches.

“The Starry Night” by Vincent Van Gogh is the composer's inspiration for this choral, which is filled imagery from the painting. The text is created from a quote by Van Gogh, “For my part, I know nothing with any certainly, but the sight of the stars makes me dream.” The composer has included discussion points about the painting and choral that can be used in rehearsal or classroom. Incredible teaching opportunities abound!

(A Christmas Festival of Praise for Blended Worship). Composed by Bradley Knight and Dale Mathews. Arranged by Bradley Knight. For SATB choir, piano. Musical. Blended Worship, Christmas. Difficulty: moderate. Choral score. Duration ca. 47 minutes. Published by Word Music

The Washington Winds, Edward S. Petersen, conductor Young musicians enjoy hearing the music they perform and there is no better musical model than The Washington Winds. The music is technically less difficult but these selections are rich in harmony and filled with wonderful melodies. Should be in the library of every young musician and their band director. Stargazer, Shaffer Of Courage and Valor, Huckeby Bravura!, Neeck Atop A Scotish Highland, Neeck Now The Winters Come To Stay, Shaffer The Secrets of McDougal's Cave, Huckeby Bluin' The Blues, Arr. A. Clark Aspen Overture, Earl El Toro Rojo Grande, Orcino Panther In The Sky, Swearingen Fanfare For A New World, Neeck Let Freedom Ring!, Huckeby Ancient Echoes, Huckeby Surprises, Parish An Angelic Christmas, Rowe Away In A Manger, Arr. Huckeby Discover America March, Harris A Visit From St.Nicholas, Orcino A Crazy Mixed Up Christmas Concert, Shaffer Song of the Telegraph, Shaffer And To All A Good Night!, A.Clark Spring Fever, Shaffer SuperMom Symphony, Huckeby Jerusalem, Parry-Arr. Glover

By Bob Cerulli. Orchestra. Full Orchestra. Belwin Intermediate Full Orchestra. Contemporary; Light Concert. Grade 3. Conductor Score and Parts. 240 pages

(for the Young Beginner). For piano. Faber Piano Adventures®. Written for ages 5 and 6, My First Piano Adventure captures the child's playful spirit. Fun-filled songs, rhythm games and technique activities develop beginning keyboard skills. Instructional and Method. Young Beginner - Pre-Reading. Instructional book. Accompaniment CD. 88 pages. Faber Music #FF1619. Published by Faber Music

By Catherine Mcmichael. Baritone Sax and Piano. Chamber Music. Set of parts. Published by C. Alan Publications.

Composed by Matt Schinske. Sacred, Christmas. Lorenz Publishing Company #70/2125L. Published by Lorenz Publishing Company

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.

SKU: GI.G-7362

Composed by Carol Browning. Sacred. Collection. GIA Publications #7362. Published by GIA Publications (GI.G-7362).

UPC: 785147736233. English, Latin, Spanish.

This release by Carol Browning intertwines songs heralding the coming of Christ with songs celebrating our own return to the Lord. Her rich arrangements give depth to her inspiring texts. The selections on this recording are filled with an emotion of longing. Many songs on this recording are perfect for use at funerals and memorial services. Your fall remembrance services will have an air of added tenderness with “We Remember—Reading of Names.” As the pastoral musician in a culturally diverse parish, Carol also brings to this project her experience with not only bilingual but trilingual liturgical music. CONTENTS: Creator of the Stars of Night/ De las Estrellas, Creador (G-7333) - Lead Us to Your Light (G-5323) - Come to the Stable (G-5421) - Deo Gloria! (G-5889) - Child of Joy and Peace (G-5903/) - Lord Jesus Christ (G-5905/) - Come and Receive (G-6255/) - Trilingual Intercession Response (G-5906) - All of Us in Exile (G-7257) - Healer of My Soul (G-5904) - The Lord Is My Light/El Señor Es Mi Luz (G-7256) - Deo Gloria Alleluia—Easter Gospel Acclamation (G-6402) - We Remember (G-7332) - We Remember—Reading of Names (G-7332) - Peace Be with Those (G-6922).

Inspiring new liturgical music from Carol Browning.

By Various. Edited by Paul R. Ladd. Arranged by Various. For Voices: various. Collection Sacred. Level: easy. 90 pages. Published by GIA Publications.

Band concert band - Grade 1.5

SKU: KJ.WB319F

Composed by Robert Crump. Standard of Excellence in Concert. Score. Neil A. Kjos Music Company #WB319F. Published by Neil A. Kjos Music Company (KJ.WB319F).

Picture cowboys riding across the saguaro-filled desert during the day, and at night, bedding down under the star-studded sky. In this descriptive piece, inspired by the Arizona desert, the composer has created a picturesque audience pleaser with a unique opening followed by catchy rhythms, accessible syncopation and rich textures. the percussion section will have fun creating the sound of the 'rattle,' an imitation of the desert diamondback. An advanced snare drum part is available.

About Standard of Excellence in Concert

Th e Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.

Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz.

Electronic Keyboard

SKU: SP.75575

Composed by Robert Moore. This edition: Paperback. Instructional; Method. Method. Book. With Text Language: English. 144 pages. Santorella Publications #75575. Published by Santorella Publications (SP.75575).

ISBN 9781585605088. UPC: 728941755758.

In the front of most stores you will observe the most enticing items, gadgets that lure customers into the store for a look around. It should be no surprise that when entering a music store, this is where the electronic keyboards are located. There is something so tempting about sounding like a one man rock, jazz, polka or salsa band that many get the urge to give it whirl. Electronic keyboards are one of the best values for recreation and can be enjoyed at any level. These fun-filled instruments are sometimes referred to as home keyboards which more accurately describes their purpose. The electronic keyboard is geared towards entertaining in the home and the Complete Electronic Keyboard Method by Robert Moore will have you sharing this activity with family and friends in eight easy lessons. Advanced players should use this guide as a source of reference for all aspects of playing. To follow are examples the information you will discover in this Most Complete Method. Introduction to Electronic Keyboards - Tips and Advice for Better Playing - Fundamentals of Music Reading - Basic Keyboard Technique - Chords, Keys and More - Advanced Keys and Rhythmic Concepts - Over The River And Through The Woods - Ode To Joy - Jeannie With The Light Brown Hair - Michael Row The Boat Ashore - Amazing Grace - Oh! Susanna - Billy Boy - First Bossa Nova - Tom Dooley - All Through The Night - Liza Jane - Jingle Bells - When The Saints Go Marching In - 10 Songs You Really Should Know: America The Beautiful - The Star Spangled Banner - Pomp And Circumstance - Danny Boy - Entertainer - Fur Elise - Deck The Halls - We Wish You A Merry Christmas - For He's A Jolly Good Fellow - Auld Lang Syne - Introduction to MIDI.

El Teclado Electronico De La A a La Z composed by Robert Moore. For electronic keyboard. This edition: Paperback. Instructional. Method. Book. Text Language: Spanish. 144 pages. Published by Santorella Publications

Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For piano. Format: piano solo book. With piano reduction, introductory text, instructional text, lyrics and performance notes. Baroque. 184 pages. 9x12 inches. Published by Schirmer

Composed by Gwyneth W. Walker (1947-). Secular. Published by E.C. Schirmer Publishing (EC.8247).

Percussion

SKU: M7.VOGG-1041

Night (dark). Edited by Voggenreiter. Musical instrument. 5,5 x 3cm filled with beans. Voggenreiter #VOGG 1041. Published by Voggenreiter (M7.VOGG-1041).

Klein, aber oho! Einen Mini-Shaker in jeder Hand - und schon gehen kleine Entdecker auf die lustige Klangreise!Besonders leiser Klang - für die ganz Kleinen!n Start ihrer 'Instrumentalisten-Karrie re' vorbereitet.

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (Study Score)

SKU: HL.49018099

Boy Soprano, Soprano, Tenor, Flugelhorn, Mixed Chorus, and Chamber Orchestra Study Score. Composed by Harald Weiss. This edition: Paperback/Soft Cover. Sheet music. Study Score. Classical. Softcover. Composed 2008/2009. 188 pages. Duration 100'. Schott Music #ED20619. Published by Schott Music (HL.49018099).

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.