Panther Rising was composed in celebration of a new school whose mascot is the Panther. Skillfully designed for first-year players this driving and energetic piece features an intense attitude with interesting parts for all sections. Dur: 2:10

Here is an emotion-filled arrangement for young players based on the folk tune Down to the River to Pray which is thought to have been composed by an African-American slave. There is an element of sadness in the music but also a glimmer of hope as the slaves dream of freedom and being reunited with family and friends. Dur: 2:45

The source of inspiration for this work is the magical world of gemstones. The special powers of four of these stones appealed to composer Bert Appermonts’ imagination. In this work different distinguishing atmospheres are evoked. The work is composed as a suite containing four movements: Carnelian: The Stone of Perseverance Opal: The Stone of Misfortune Amethyst: The Stone of Wisdom and Amazonite: The Stone of Playfulness . This is a challenging and striking piece of music to inspire your audience in a concert or a jury during a contest.The source of inspiration for this work is the magical world of gemstones. The special powers of four of these stones appealed to composer Bert Appermonts’ imagination. In this work different distinguishing atmospheres are evoked. The work is composed as a suite containing four movements: Carnelian: The Stone of Perseverance Opal: The Stone of Misfortune Amethyst: The Stone of Wisdom and Amazonite: The Stone of Playfulness. This is a challenging and striking piece of music to inspire your audience in a concert or a jury during a contest.

Psalm 92 praises the works of God lyrically and joyfully. As early as pre-Christian times it belonged to the liturgy of Sabbath worship. Japanese composer Matsushita has set this beautiful psalm in motet style and was strongly inspired by the Catholic liturgical Gregorian melody of the antiphon of the same name and a well-known Halleluja on the 8th tone. His hymn of praise therefore begins almost modestly and humbly. Characteristic of this is Matsushita’s omission of the martial-sounding verses of the psalm. Only in the concluding Halleluja does the composition intensify through a dance-like rhythmic figure to fortissimo to then return to the introverted openingmood. Matsushita’s setting treats the text in a humble and sensitive way and is mainly homophonic to match its mood. He writes the vocal lines in ranges which are grateful and rewarding to sing. The vocal lines split in all four parts and there are short solos in tenor and soprano. This tonal work is also well within the capabilities of choirs less experienced in contemporary music and a great addition for liturgical and concert use.

Bring Me Sunshine

Introspective and haunting with a catchy hook this mid-2000s gem from Northern Ireland's Snow Patrol rose to popularity by being featured in the second season finale of Grey's Anatomy. Perfect for a mid-tempo change of pace in your concert the sweeping power-ballad like structure will keep your audiences rapt.

British singer/songwriter Calum Scott has created this power ballad which transfers perfectly to the choral situation. Here is a chance for you and your singers to talk about the meaning of human love and what we will do to keep it.

Featuring a catchy melody and distinctive harmonies this 2018 hit from Zedd Maren Morris and Grey was nominated for a number of Grammy awards including best song and has demonstrated a rare quality of enduring popularity. Paul Murtha perfectly captures the flavor of this upbeat hit.

Featuring two of the most popular movements from Percy Grainger's cornerstone work for band this mini suite of Horkstow Grange and The Lost Lady Found is the perfect introduction to Grainger's music for smaller or incomplete ensembles.

Perfect for a light holiday or winter concert this appealing setting of Meredith Willson’s familiar song is scored for flexible instrumentation in a medium swing style and creatively passes the melody around to all five parts.

Among the Variations on an Original Theme WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition with an extensive preface and commentary section was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from “Variations for Piano II” (HN 1269). Ian Fountain provided the fingerings.Among the Variations on an Original Theme WoO 80 from 1806 constitutes a special case in that Beethoven consciously draws on older practices. A chromatically descending bass line in the theme provides the foundation for the variations its ostinato-like repetition lending the composition the air of a passacaglia. The revised musical text of the Henle Urtext edition with an extensive preface and commentary section was prepared on the basis of the Critical Report in the Beethoven Complete Edition and is published as a stand-alone edition from “Variations for Piano II” (HN 1269). Ian Fountain provided the fingerings.

Arranged here in a funky New Orleans style the full ensemble takes the first statement after the piano intro. The spotlight then moves between the saxes and the brass before a feature solo spot for trombone. A classic and unique take on a familiar standard!

Recorded in 1977 on the album Heavy Weather Palladium is a jazz fusion staple from the ground-breaking group Weather Report. Wayne Shorter's dynamic composition is orchestrated here for full jazz ensemble with some added touches from master arranger Mike Tomaro. The open solo section allows anyone to be featured.

This easy swing tune is a great way to introduce the music of Dizzy Gillespie to your young players. Trumpets take the first chorus followed by the saxes on the second. Skillful scoring for young players is evident throughout complete with some nice dynamic nuances. The short solo section can be played by a trumpet soloist or the entire section.

One of Dave Brubeck's most famous compositions this ballad has been recorded by such luminaries as Miles Davis Sonny Rollins John Coltrane and Wes Montgomery. Arranged here in an easy flowing swing style John Wasson's chart takes full advantage of the many colors of the entire jazz ensemble along with a rich harmonic palette. Solos are included for alto sax and trumpet.

Few holiday songs have the staying power and popularity of this familiar tune known primarily from the recordings by Perry Como in the 1950s but also the Carpenters in 1984. Here is a lush and easy-flowing bossa nova setting sure to get you into the holiday spirit. Solos are included for alto sax and flugelhorn.

Opening with a small group feature (alto tenor trumpet and trombone) this easy arrangement features plenty of scoring variety and a nicely flowing moderate swing style. Also included is a brief sax soli and a written or ad lib. solo for trumpet.

The compositions united here provide a good overview of the diversity of the variation genre in Beethoven’s early piano works – and present such moderate technical demands that even advanced beginners might try their hand at them. Beethoven found the models for these variations in popular song collections (WoO 64 on a Swiss song) contemporary opera performances (WoO 70 on “Nel cor più non mi sento” by Giovanni Paisiello) and his own compositions (WoO 77 on a theme from the finale of Piano Sonata op. 22). The revised musical text of the Henle Urtext edition with its extensive preface and commentary section was prepared on the basis of the Critical Report in the BeethovenComplete Edition and is published as a stand-alone edition from “Variations for Piano I/II” (HN 1267 and 1269). Ian Fountain provided the fingerings. The compositions united here provide a good overview of the diversity of the variation genre in Beethoven’s early piano works – and present such moderate technical demands that even advanced beginners might try their hand at them. Beethoven found the models for these variations in popular song collections (WoO 64 on a Swiss song) contemporary opera performances (WoO 70 on “Nel cor più non mi sento” by Giovanni Paisiello) and his own compositions (WoO 77 on a theme from the finale of Piano Sonata op. 22). The revised musical text of the Henle Urtext edition with its extensive preface and commentary section was prepared on the basis of the Critical Report in the BeethovenComplete Edition and is published as a stand-alone edition from “Variations for Piano I/II” (HN 1267 and 1269). Ian Fountain provided the fingerings.

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