(Cello). Arranged by Various. For Cello. Book; CD; Play-Along; String Series. Easy Instrumental Solos. Grade 1. 48 pages. Published by Alfred Music

(Flute). Arranged by Various. For Flute. Book; CD; Instrumental Series; Play-Along. Easy Instrumental Solos. Grade 1. 48 pages. Published by Alfred Music

(Hymns and Songs for Flexible Ensemble). For flute 1, flute 2 or oboe, clarinet 1 and clarinet 2 in Bb, alto saxophone, bassoon, horn in F, trumpet in Bb, trombone, tuba, percussion/drums, voice and guitar, piano, violins 1 and 2, viola, cello, double bass.

Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard

(Clarinet). Arranged by Various. For Clarinet. Book; CD; Instrumental Series; Play-Along. Easy Instrumental Solos. Grade 1. 48 pages. Published by Alfred Music

(Alto Sax). Arranged by Various. For Alto Sax. Book; CD; Instrumental Series; Play-Along. Easy Instrumental Solos. Grade 1. 48 pages. Published by Alfred Music

(Trumpet). For Trumpet. Book; CD; Instrumental Series; Play-Along. Easy Instrumental Solos. Grade 2; Grade 3. 48 pages. Published by Alfred Music

(Tenor Sax). For Tenor Sax. Book; CD; Instrumental Series; Play-Along. Easy Instrumental Solos. Grade 2; Grade 3. 48 pages. Published by Alfred Music

(Trombone). For Trombone. Book; CD; Instrumental Series; Play-Along. Easy Instrumental Solos. Grade 2; Grade 3. 48 pages. Published by Alfred Music

(Viola). Arranged by Various. For Viola. Book; CD; Play-Along; String Series. Easy Instrumental Solos. Grade 1. 48 pages. Published by Alfred Music

(Violin). For Violin. Book; CD; Play-Along; String Series. Easy Instrumental Solos. Grade 2; Grade 3. 48 pages. Published by Alfred Music

By Walter Harrah. Arranged by Lloyd Larson. (SAB or Three-Part). Scripture References: Luke 22:19 1 Corinthians 11:24 1 Corinthians 11:25. Christ's Presence, Commemoration, Communion, Good Friday, Gratefulness, Holy Week, Lamb of God, Lord's Supper, Maundy Thursday, Praise and Worship, Communion, Contemporary and Sacred. Print Music Single (SAB). 8 pages. Published by Hope Publishing Company.

By Allen Pote. (SAB or Three-Part). Scripture Reference: Psalm 92:1-15. Celebration, Festival, General Worship, Praise, Psalms, Worshiping and Sacred. Print Music Single (SAB). 16 pages. Published by Hope Publishing Company.

SKU: HP.9003

Composed by Joseph M. Martin. Piano Accompaniment with Optional Orchestra. Vocal Score. 8 pages. Hope Publishing Company #9003. Published by Hope Publishing Company (HP.9003).

UPC: 763628190033. Joseph M. Martin.

Original anthem Joseph Martin expertly showcases the expectancy of the season in this captivating, original anthem - a perfect opener for your holiday programming. A compelling original tune raises the curtain for the anthem and leads to the middle section featuring a quote from the familiar Advent hymn tune, VENI EMMANUEL, as it builds in intensity. The Orchestration includes a Conductor's Score and parts for: Flute, Trumpet, Horn, Trombone, 2 Violins (opt. Viola), Cello and Bass Guitar.

Vocal ensemble (Vocal Solo (Med. Voice - Key of G))

SKU: HP.8686

Composed by Joseph M. Martin. Piano Accompaniment with Optional Orchestra. Vocal Solo Sheet Music Series. Hymntune, Advent, Sacred. Vocal score. Hope Publishing Company #8686. Published by Hope Publishing Company (HP.8686).

UPC: 763628186869. Key: Key of g. Joseph M. Martin. Isaiah 7:14, Psalms 51:12.

Original anthem Joseph Martin expertly showcases the expectancy of the season in this captivating, original anthem - a perfect opener for your holiday programming. A compelling original tune raises the curtain for the anthem and leads to the middle section featuring a quote from the familiar Advent hymn tune, VENI EMMANUEL, as it builds in intensity. The Orchestration includes a Conductor's Score and parts for: Flute, Trumpet, Horn, Trombone, 2 Violins (opt. Viola), Cello and Bass Guitar.

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

By Joseph M. Martin. For Choral (SATB). Glory Sound. 12 pages. Published by GlorySound

By James Curnow. (Orchestra). PraiseSong Christmas Series. Published by Hal Leonard.

SATB choir with optional brass; orchestra

SKU: HP.C5542O

Composed by Allen Pote. Piano Accompaniment with Optional Orchestra. Celebration, Festival, General Worship, Adoration & Praise, Worship, Sacred. Set of Instrumental Parts. Hope Publishing Company #C5542O. Published by Hope Publishing Company (HP.C5542O).

UPC: 763628255428. Psalms 92:1-15.

Original anthem Allen Pote's adaptation of Psalm 92 is a joyous, uplifting celebration of the Psalmist's command to give thanks for God's goodness and to sing, rejoice and be glad. One of the all-time top-sellers in the Hope choral catalog, this classic Allen Pote original is now available in a new SAB setting with a brand new, full orchestration by Paul Thompson. For 'Church Music Sunday' or any service centered on worship & music, this is an ideal anthem. The brass parts are for Trumpets 1 & 2 and Trombones 1 & 2. The Orchestration by Paul Thompson consists of a Conductor's Score and parts for: Flute 1 & 2, Oboe 1 & 2, Clarinet in B-flat 1 & 2, Horns in F 1 & 2, Trumpets in B-flat 1 & 2, Trombones 1 & 2, Tuba, Timpani, Percussion 1 & 2, Harp, Piano, Violin 1 & 2, Viola and Cello.

Composed by Wolfgang Amadeus Mozart (1756-1791). Edited by Siegbert Rampe. For violin (flute), cello and piano. This edition: Paperbound. Stuttgart Urtext Edition. German title: Sechs Sonaten fur Vl (Fl), Vc und Pfte. Full score. 80 pages. Published by Carus Verlag

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (CF.YAS13F).

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Choral Cello, Flute, Harp, Oboe, Percussion, Piano, Viola, Violin 1, Violin 2, alto voice, bass voice, soprano voice, tenor voice

SKU: PR.31241902S

From Terra Nostra. Composed by Stacy Garrop. Full score. Duration 3:15. Theodore Presser Company #312-41902S. Published by Theodore Presser Company (PR.31241902S).

UPC: 680160690589. English.

Commission ed by the San Francisco Choral Society and the Piedmont East Bay Children’s Choir, Terra Nostra is a 70-minute oratorio on the relationship between our planet and humankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. Part I: Creation of the World explores various creation myths from different cultures, culminating in a joyous celebration of the beauty of our planet. Part II: The Rise of Humanity examines human achievements, particularly since the dawn of our Industrial Age, and how these achievements have impacted the planet. Part III: Searching for Balance questions how to create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. In addition to the complete oratorio, stand-alone movements for mixed chorus, and for solo voice with piano, are also available separately.
Terra Nostra focuses on the relationship between our planet and mankind, how this relationship has shifted over time, and how we can re-establish a harmonious balance. The oratorio is divided into three parts:Part I: Creation of the World celebrates the birth and beauty of our planet. The oratorio begins with creation myths from India, North America, and Egypt that are integrated into the opening lines of Genesis from the Old Testament. The music surges forth from these creation stories into “God’s World” by Edna St. Vincent Millay, which describes the world in exuberant and vivid detail. Percy Bysshe Shelley’s “On thine own child” praises Mother Earth for her role bringing forth all life, while Walt Whitman sings a love song to the planet in “Smile O voluptuous cool-breathed earth!” Part I ends with “A Blade of Grass” in which Whitman muses how our planet has been spinning in the heavens for a very long time.Part II: The Rise of Humanity examines the achievements of mankind, particularly since the dawn of the Industrial Age. Lord Alfred Tennyson’s “Locksley Hall” sets an auspicious tone that mankind is on the verge of great discoveries. This is followed in short order by Charles Mackay’s “Railways 1846,” William Ernest Henley’s “A Song of Speed,” and John Gillespie Magee, Jr.’s “High Flight,” each of which celebrates a new milestone in technological achievement. In “Binsey Poplars,” Gerard Manley Hopkins takes note of the effect that these advances are having on the planet, with trees being brought down and landscapes forever changed. Percy Bysshe Shelley’s “A Dirge” concludes Part II with a warning that the planet is beginning to sound a grave alarm.Part III: Searching for Balance questions how we can create more awareness for our planet’s plight, re-establish a deeper connection to it, and find a balance for living within our planet’s resources. Three texts continue the earth’s plea that ended the previous section: Lord Byron’s “Darkness” speaks of a natural disaster (a volcano) that has blotted out the sun from humanity and the panic that ensues; contemporary poet Esther Iverem’s “Earth Screaming” gives voice to the modern issues of our changing climate; and William Wordsworth’s “The World Is Too Much With Us” warns us that we are almost out of time to change our course. Contemporary/agrarian poet Wendell Berry’s “The Want of Peace” speaks to us at the climax of the oratorio, reminding us that we can find harmony with the planet if we choose to live more simply, and to recall that we ourselves came from the earth. Two Walt Whitman texts (“A Child said, What is the grass?” and “There was a child went forth every day”) echo Berry’s thoughts, reminding us that we are of the earth, as is everything that we see on our planet. The oratorio concludes with a reprise of Whitman’s “A Blade of Grass” from Part I, this time interspersed with an additional Whitman text that sublimely states, “I bequeath myself to the dirt to grow from the grass I love…”My hope in writing this oratorio is to invite audience members to consider how we interact with our planet, and what we can each personally do to keep the planet going for future generations. We are the only stewards Earth has; what can we each do to leave her in better shape than we found her?