Appassionata Sonata * Complete Original * with Performance CD composed by Ludwig van Beethoven (1770-1827). For piano solo. This edition: Paperback. Solo. Classical. Book and CD. Text Language: English. 64 pages. Published by Santorella Publications

Composed by George Frideric Handel (1685-1759). Arranged by Virginia Speiden Carper. This edition: 2 copies included. Masterworks; Piano Quartet (2 Pianos, 8 Hands); Quartet; Solo Small Ensembles. Keyboard Ensemble Series. Late Intermediate level piece for the Piano Quartet event with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Baroque; Masterwork Arrangement. Sheet. 24 pages. Belwin Music #00-PA02187A. Published by Belwin Music

Composed by Ogden Nash and Eric Whitacre (1970-). Eric Whitacre Choral. Christmas Secular, Concert, Festival. Octavo. 64 pages. Published by Shadow Water Music

2-Part Bass; Choral; Drums; Guitar; Synthesizer; Tenor Sax; Trombone; Trumpet 1; Trumpet 2 (2-Part)

SKU: HL.1168687

From Pete's Dragon. Composed by Al Kasha and Joel Hirschhorn. Arranged by Mac Huff. Disney Choral. Concert, Disney, Light Concert, Movies, Pop, Show Choir. Octavo. 8 pages. Duration 180 seconds. Published by Hal Leonard (HL.1168687).

UPC: 196288124306. 6.75x10.5x0.019 inches.

Now available for 2-Part! The 1977 live-action/animated Disney classic Pete's Dragon was introduced to a new generation of moviegoers in the form of a 2016 remake. Both versions feature a wonderful story and this beautiful and timeless song. This setting features legato vocal lines that build into an expansive concert work with full harmonies and dynamic range.

For SATB choir with piano accompaniment (SATB). Choral. Shawnee Press. Supports: Matthew 14:22-33. Sacred, General, youth choir. 12 pages

Tuba Solo with Piano Accompaniment - 1-2

SKU: KN.KEN10317

Composed by Various. Edited by Carl Strommen. Arranged by Michael Salzman. Solo. Tuba Solo. Solo part only. Kendor Music Inc #KEN10317. Published by Kendor Music Inc (KN.KEN10317).

UPC: 822795103175.

Desig ned for a first contest or recital performance, this grade 1-2 collections contain 14 pieces that have been carefully edited by tubist Michael Salzman, and edited by Carl Strommen. The free downloadable piano accompaniment MP3s will be an invaluable tool for students. Piano book sold separately (#10318). Available in SmartMusic

Content s:
The Water Is Wide (traditional); Scotland The Brave (traditional); Chester (Billings); Arirang (Korean folk song); 'O Sole Mio (Capua); Stephen Foster Medley (Foster); Haydn's Surprise (Haydn); At The Fireplace (Warshawsky); O Canada (Lavallee); Largo (Dvorak); Tambourin (Rameau): Hatikvah (traditional); Themes From March Slav (Tschaikowsky); Adagio (Beethoven).

SATB choir, assembly, keyboard accompaniment, flute, B-flat clarinet, trumpet 1 in B-flat: trumpet 1 in C, trumpet 2 in B-flat, trumpet 2 in C, horn in f, trombone 1, trombone 2, double bass, bass guitar, guitar, 3 or 5 octaves handbells - Early intermediate

SKU: GI.G-8700

Arranged by Rob Glover. Choral. Choral. Sacred. Octavo. With guitar chord names. 16 pages. GIA Publications #8700. Published by GIA Publications (GI.G-8700).

UPC: 785147870005. English. Text Source: African American spiritual, Vv. Rob Glover. Text by Rob Glover.

Bring new life to your congregation’s sung prayer with this bluesy arrangement of the cherished spiritual. “Wade in the Water” will provide a new, energetic option for the sprinkling rite at Sunday Mass. Flexibly written for cantor and assembly or full choir (accompanied or a cappella). The Double Bass/Bass Guitar parts are optional.

By George Frideric Handel. Arranged by Conley. For 3 trumpets with piano. Trumpet Quartet. Level: Grade 4. Published by Kendor Music Inc.

Best Of Sacred * Piano Vocal with CD composed by Various. Arranged by Craig Stevens. For piano, voice. This edition: Paperback. Collection. Sacred. Book and CD. Text Language: English. 128 pages. Published by Santorella Publications

Best Of Sacred * All Organ Edition with CD composed by Various. Arranged by Craig Stevens. For organ, voice. This edition: Paperback. Collection. Sacred. Book and CD. Text Language: English. 128 pages. Published by Santorella Publications

Air from Water Music Suite * Easy Favorite composed by George Frideric Handel (1685-1759). For easy piano solo. Solo. Easy Favorite series. Classical. Easy. Sheet Music. Text Language: English. 2 pages. Published by Santorella Publications

For flute, horn and piano. Composed by Gary Schocker. Score and part(s). With Standard notation. 15 2x4 pages. Falls House Press #CW-GS40. Published by Falls House Press (PR.FH0389).

By Eric Whitacre. (SATB Double Choir). Eric Whitacre Choral. Size 6.75x10.5 inches. 28 pages. Published by Shadow Water Music.

Composed by Eric Whitacre (1970-). Eric Whitacre Choral. Concert, Festival, Inspirational. Octavo. 8 pages. Published by Shadow Water Music

Arranged by Joanna Forbes L'Estrange. Choir Sacred. For with Piano (SAB). Choral Octavo. Faber Choral Singles. Sacred; Spiritual. Published by Faber Music

Beginner Guitar Lessons - Level 1. (iPlayMusic Book/DVD Pack). For guitar. Education. Softcover with DVD. 64 pages. IPlay Music #IP10036. Published by iPlay Music

Best of Wedding for Organ and Vocal with CD composed by Various. Arranged by Craig Stevens. For organ, voice. This edition: Paperback. Collection. Wedding. Book and CD. Text Language: English. 128 pages. Published by Santorella Publications

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Flute 1, Flute 2, Oboe 1, Oboe 2, Piccolo, alto Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.165001000

Hymns for Wind Ensemble. Composed by Dan Welcher. Folio. Set of Score and Parts. 4+24+24+16+8+4+4+24+12+12 +8+4+4+4+4+8+8+8+8+4+4+4+ 4+8+8+8+8+8+8+8+8+4+16+4+ 8+4+8+8+4+4+4+48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100. Published by Theodore Presser Company (PR.165001000).

ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more.

SKU: PR.16500100F

Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F).

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissione d for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”cons tantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

Elegant Wedding Classics for Piano composed by Various. Arranged by Tina Tomlins. For piano. This edition: Paperback. Collection. Wedding. Book. Text Language: English. 48 pages. Published by Santorella Publications

Best Of Wedding * Piano/Vocal/Guitar with CD composed by Various. Arranged by Craig Stevens. For piano, voice. This edition: Paperback. Collection. Wedding. Book and CD. Text Language: English. 128 pages. Published by Santorella Publications