Hawkes Pocket Scores HPS 27-String Quartet (Study Score). Bartok B

Commissioned by the Williamsburg Consort Symphonic Band - Sally Craig Founder and Director An exquisite 18th century American musical quilt! So many stirring melodies artfully stitched into a rich mélange of earlyAmericana: anthems of the revolution songs of political protest and so much more. Those who are familiar with Mr. Hosay’sprevious works will be eager to examine this exciting new score. Every player in the band will enjoy interpreting this remarkablenew concert band offering. Sing We Liberty is a great centerpiece for any patriotic venue and works wonderfully asan opener as well. There are also plenty of opportunities for cross-curricular teaching with thispiece. Innovative!

Hamisha Asar are the Ladino words (the Spanish Hebrew language spoken by the Sephardic Jews) for Tu Be'Shevat the Jewish holiday in the spring that celebrates the time when sap begins flowing in the tress. SS/A . Page N

Creation Mass- Creation Mass in B-flat major Hob.XXII:13 The Creation Mass was composed and first performed during the last decade of Haydn's life in September 1801 at the Bergkirche at the Esterhazy estate in Eisenstadt on the occasion of the nameday of Princess Maria Hermenegild. The nickname 'Creation' stems from Haydn's incorporating into the Gloria movement (at the words 'Qui tollis peccata mundi') a quotation from Adam and Eve's duet in his oratorio The Creation. - Full score (BA4656-01) performance material (BA4656) and vocal score (BA4656-90) available for sale - Urtext from Joseph Haydn Werke G. Henle Verlag

Edward Fairlie 's Storm And Urge is a significant work for Wind Band and portrays a journey of emotional turbulence. The title comes from the German “Sturm und Drang ” a literary and musical movement of the late 1700s which focused on extremes of emotion. Opening with a simple and reflective theme we are then taken through a range of emotional settings from uncertainty to resistance and then calm resolve and self-knowledge. With a variety of textures and vivid imagery this is a masterful work for the contemporary ensemble. Instrumentation: Piccolo Flute I Flute II Oboe Eb Clarinet Bb Clarinet I Bb clarinet II Bb clarinet III Bassclarinet Contrabass Clarinet Bassoon Soprano Saxophone Alto Saxophone I Alto Saxophone II Tenor Saxophone Baritone Saxophone Trumpet I Trumpet II.

Big Note Piano- Harry Potter & The Half-Blood Prince is the sixth installment in the blockbuster Harry Potter series. This theme has been heard throughout the film series.

SATB chorus and piano (Noël provençal)

The Total Jazz Bassist is a complete jazz method giving equal treatment to both electric and double bass. Covering styles like bebop Latin funk and fusion this book provides examples and lessons that will help you become a well-rounded bassist. The Total Jazz Bassist also covers theory technique tunes solos jazz styles and includes great advice for practicing and doing business. You'll learn to develop walking bass lines how to solo bass lines and solo patterns for blues changes and major and minor 'two-five-one' progressions dominant 7th chord scales approaches for playing 'Rhythm Changes ' and much much more! This is the one place to get everything youneed to make you not only a great jazz bassist but an asset to any band. A CD demonstrating the examples in the book is included.

Hob.XX:2- The Seven Last Words of our Saviour on the Cross (Die Sieben letzten Worte unseres Erlosers am Kreuze) (Hob.XX:2) Oratorio (Vocal Version) The original orchestral version of 'The Seven Last Words' (Hob.XX:1A) probably composed in 1785/86 was later arranged by Haydn into an oratorio probably in 1795/96. It is scored for SATB soloists mixed chorus (SATB) and orchestra. Urtext from the Haydn Complete Edition Vocal score (BA4655-90) available for sale Full score & parts (BA4655) available for hire

Two for Band was written to introduce beginner players to ensemble playing as early as possible. Thanks to the low grade of difficulty of this piece this it is possible to play in a ‘real band’ after only a few lessons. Because of the four-part instrumentation Two for Bandis suitable for smaller strengths taking into account that it is important to divide parts evenly among the players. Also includes an ad-lib keyboard/piano part to support the ensemble.

Bring American history to life on your concert band stage this year with Timothy Johnson’s delightful new Suite Of Colonial Dances . Authentic colonial period melodies are now available for your Grade 21/2 band. The three contrasting songs are masterfully interpreted in this enjoyable and accessible arrangement. “Successful Campaign ” “Congress Minuet ” and the delightful hoe-down style “Miss Moore’s Rant” (including fun with stomping and clapping) all make this a memorable musical expression for your band. Dandy!

or Trombone- The titles in Great Winners have been arranged as unaccompanied solos but the addition of the easy Piano accompaniments offers an even greater opportunity to explore the wide variety of styles found in the collection and the chance to enjoy the experience of ensemble playing. These 27 simple Piano accompaniments have been specially arranged to play with the pieces in Great Winners For Trumpet And Trombone.

Colin Matthews' Waltz for Piano Trio. As well as many large-scale orchestral works and much chamber music Colin Matthews has written a number of works for children to play most notably Machines And Dreams a 'toy symphony' for young players and the London Symphony Orchestra (1990). The March Waltz and Nocturne were composed specifically for the Schubert Ensemble’s Chamber Music 2000 project in 1999. - Colin Matthews

Antonio Vivaldi’s Magnificat in G minor has come down to us in two conflicting versions. The earlier one probably the original version (RV 610) is dominated by impressive but largely straightforward choral passages set against a few brief vocal ensembles manageable by soloists from the choir. In the later version (RV 611) the solo parts and one chorus are replaced by demanding virtuoso arias. Andreas Köhs arrangement for soloists chorus and organ allows performers to choose between these two versions and is equally suitable for use in church and concert hall. Standard repertoire work easy to perform Independent version for soloists (RV 610: SSAT;RV 611: SA) chorus (SATB) and organ Clear and well presented organ part Suitable for use in church and concert hall Duration: ca. 15 minutes (RV 610) or 20 minutes (RV 611) The Bärenreiter Choir & Organ Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed. The original orchestral parts have been transcribed into easy-to-play organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ versions by the composer were used. The organ parts are presented on three staves. The choir and solo parts always remain true to the original. You need only one edition for soloists singers and organist alike.

Concert Solos with Piano Accompaniment-Twelve very first solos — long enough to make worthwhile concert items but carefully graded for both range and stamina. Twelve very first solos - long enough to make worthwhile concert items but carefully graded for both range and stamina. For Trombone in treble clef.

The Concerto for Clarinet and Orchestra was written in October 1791 about two months before Mozart's death and destined for Anton Stadler the famous clarinettist. The first movement exists in a sketch in G major for Basset Horn and Orchestra composed towards the end of 1789.The edition is part of the ABRSM syllabus (grade 6 8) The Concerto for Clarinet and Orchestra was written in October 1791 about two months before Mozart's death and destined for Anton Stadler the famous clarinettist. The first movement exists in a sketch in G major for Basset Horn and Orchestra composed towards the end of 1789. This edition has been published in two versions: in the original in A for Clarinet in A and in a transposed version in B-Flat for Clarinet in B-Flat in order to comply with the popular request for that instrument. Available here is the version for Clarinet in B-Flat as arranged by Ernest Roth and revised by Frederick J. Thurston.

Mozart's Horn Concerti display the pinnacle of classical elegance with delightfully playful melodies and musical interaction. This arrangement is for solo Horn with a Piano reduction of the original orchestral material by W. Salomon.

Here's a medley that couldn't be happier. It includes a swinging classic ('Forget your troubles and just get happy...') and a gospel standard ('Oh happy day...when all my sins were washed away...'). Put the two together and it's a recipe for a smile. The lyrics make it appropriate for all age groups and the songs are ideal for any concert.

The 32 tunes in this volume consist of familiar pieces that musicians love to play. All the songs have been arranged in easy keys for wind instruments. The professional quality accompaniment CD can be used for practice and performance. There is also a separate piano accompaniment volume available for live performances. Titles include Abide With Me; Now Thank We All Our God; Swing Low Sweet Chariot; Were You There? and many others. A collection of 32 'fun to play' familiar melodies for the beginning instrumentalist.

Fantasien und Fugen/Einzelwerke - mit CD-ROM- Although the fantasia was already considered as old-fashioned around 1700 this genre exerted a particular fascination on the very young Bach - he had since relocated to Kothen - and the experienced composer as well.Volume 3 the latest installment in the Complete Organ Works gathers together all transmitted organ fantasias by Bach the fragments of the fugues belonging to them and all individual fugues as well. They include for instance the Fantasia in C BWV 570 undoubtedly the master's oldest free organ work.The most notable works in this edition are the celebrated Fantasia in g minor BWV 542/1 and the Fuga in g BWV 542/2. DidBach actually intend a combination of the two pieces as a joint composition? This and other intriguing questions concerning versions sources and genre history are examined by editor Pieter Dirksen in the introduction and comments which contain a synopsis and a wealth of transposed and ornamented versions of the works which supplement the edition on the enclosed CD-ROM.