Band Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, Euphonium, Flute, Horn, Oboe, Percussion, Piano, Timpani, Trombone, Trumpet, Tuba, alto Saxophone, baritone Saxophone, soprano Saxophone, tenor Saxophone

SKU: PR.415411350

For Piano and Wind Symphony. Composed by Carter Pann. Full score. With Standard notation. Composed 2008. Duration 22 minutes. Theodore Presser Company #415-41135. Published by Theodore Presser Company (PR.415411350).

ISBN 9781598062137. UPC: 680160576012. 9.5 x 13 inches.

Carter Pann's Concerto Logic was commissioned by a consortium of 21 leading college bands throughout the country, in conjunction with the College Band Directors' National Association. Drawing its inspiration from games of chance, logic, and strategy, this work contains four movements and totals about 20 minutes. For advanced or university ensembles. Performance materials available on rental.

SATB vocal soli, SATB choir, recorder, oboe I/oboe d'amore, oboe II-III, bassoon, 3 trumpets, timpani, 2 violins, viola, basso continuo

SKU: CA.3106962

Cantata for 12th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Klaus Hofmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Violin 2. Sacred vocal music, Cantatas, Trinity. Single Part, Violin 2. BWV BWV 69a. 8 pages. Duration 25 minutes. Carus Verlag #CV 31.069/62. Published by Carus Verlag (CA.3106962).

ISBN 9790007206703. Text language: German/English.

Bach's Cantata BWV 69a of 1723, which has remained largely unknown to the present day, is now available for the first time in a practical edition with this Carus publication. It has been unjustly neglected as it was overshadowed by the Cantata BWV 69 of the same name, a piece which Bach reworked to celebrate the inauguration of Leipzig Town Council in 1748. On that occasion Bach re-used the parts from 1723 for simplicity, and adapted them for the new use by means of cuts, alterations, and additions - something which certainly did not mean that he rejected the 1723 version. This version can readily be recovered from the parts of 1723, if we explore beyond the alterations of 1748. With its rich wind instruments and great opening chorus, the 1723 cantata is in no way inferior to the later festive music in terms of musical splendor. The text takes the Gospel reading about the healing of the deaf and dumb man as a reason for praise and thanks for God's good deeds. In contrast to the later version, in which God is thanked for the wisdom of the Leipzig authorities, the original version of 1723 is free of such contemporary references, and is suitable for use in worship and concerts in many different ways. Score and part available separately - see item CA.3106900.

(Full Score). By Andrew Balent. Concert Band. For Flute, Oboe, Flute II, Clarinet I, Clarinet II, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn, Tenor, Euphonium, Bassoon, Tuba, Bells, Timpani, Snare Drum, Bass Drum, Suspended Cymbal. Carl Fischer First Plus Performance Series. Grade 1.5. Full Score. Standard notation. 12 pages. Published by Carl Fischer

Composed by David Maslanka. Score and parts. With Standard notation. Carl Fischer #J000764. Published by Carl Fischer (CF.J764).

Wind Quintet

SKU: HL.14030715

Composed by Richard Rodney Bennett. Music Sales America. Post-1900. Book [Softcover]. Music Sales #NOV361101. Published by Music Sales (HL.14030715).

MusicWorks Grade 2. Majestic, Concert, Graduation. Score and parts. Published by Hal Leonard

SSATB voice soli, bassoon, violone (cello), 2 clarino/trumpet, 2 violin, 2 viola (2 trombone), basso continuo - Level 2

SKU: CA.3602916

Composed by Anonymous and Dietrich Buxtehude. Edited by Traugott Fedtke. This edition: urtext. Stuttgart Urtext Edition: Buxtehude. Man Singet Mit Freuden Vom Sieg Anh 2. Sacred vocal music, Cantatas, Psalms, German, Easter and Eastertide. Single Part, basso continuo. BuxWV Anh. 2. 4 pages. Duration 6 minutes. Carus Verlag #CV 36.029/16. Published by Carus Verlag (CA.3602916).

ISBN 9790007053758. Key: C major. Language: German.

Further textual sources: Von der Auferstehung Christi (Schade); Ehre sei dem Vater allezeit (Erfurter Enchiridion, 1524). Score and part available separately - see item CA.3602900.

Woodwind Quintet

SKU: SU.50021140

For Woodwind Quintet. Composed by Ron Mazurek. Woodwinds, Woodwind Ensemble, Chamber Music, Woodwind Quartet/Quintet. Performance Score. Seesaw Music Corp #50021140. Published by Seesaw Music Corp (SU.50021140).

All players perform from score.Copyright 2003.Published by: Seesaw Music.

(March). By John Philip Sousa (1854-1932). Arranged by Andrew Balent. Concert Band. For Flute I, Flute II, Oboe, Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Bassoon, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Trumpet III, Horn I, Horn II, Tenor I, Tenor II, Baritone (Bass Clef),. Carl Fischer Concert Performance Series. Classical. Grade 3-3.5. Full Score. Standard notation. 20 pages. Published by Carl Fischer

SATB vocal soli, SSATTB choir, flute, 2 oboes, bassoon, trumpet, 2 violins, 2 violas, cello/contrabass, organ

SKU: CA.4066115

Kyrie und Gloria. Composed by Antonio Lotti. Arranged by Wolfgang Horn. German title: Missa Sapientiae (Kyrie + Gloria). Sacred vocal music, Mass sections, Mass settings, incomplete (also Missa brevis). Single Part, Cello/Double Bass. 12 pages. Duration 32 minutes. Carus Verlag #CV 40.661/15. Published by Carus Verlag (CA.4066115).

ISBN 9790007076313. Language: Latin.

Antonio Lotti's Kyrie in G minor and Gloria in G major are found together under the title Missa Sapientiae in a score which belonged to the Dresden church musician Jan Dismas Zelenka. Please note: Carus 40.661/06 only contains the score of the four purely solo movements. To perform the complete mass, the soloists also need the chorus score (Carus 40.661/05). Score and part available separately - see item CA.4066100.

Composed by Zack Stachowski. Ordinary Time 12 C, Ordinary Time 15 C. Celebration Series. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #9482. Published by GIA Publications (GI.G-9482).

(Conductor Score and Parts). By Henry Fillmore (1881-1958). Concert Band. For Piccolo (in Db), Flute, Piccolo, Clarinet, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Bassoon, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Bass Saxophone, Cornet I, Cornet II, Corne. Fillmore Quickstep Size Marches. Score and Set of Parts. Standard notation. 5 pages

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine and more. - Grade 2

SKU: CF.YPS187F

Composed by Peter Terry. SWS. Carl Fischer Young Performance Series. Full score. With Standard notation. 20 pages. Duration 3 minutes. Carl Fischer Music #YPS187F. Published by Carl Fischer Music (CF.YPS187F).

ISBN 9781491148099. UPC: 680160905591. 9 x 12 inches.

In the Odyssey, dreams come into the world through one of two gates. If they come through the gates of ivory they are false dreams. However, if they come into the world through the gates of horn they are true dreams that tell the user of things to be, or illuminate truth. The Gates of Horn is a dramatic piece for band that alternates a syncopated fanfare with a bold, yet lyrical theme. These contrasting ideas chase each other throughout the piece.

Orchestra (2.2.0.1/2.0.0.0,str)

SKU: TM.08665SET

Composed by Franz Joseph Haydn. Set Type: D. Set of parts. Lucks Music Library #A1550. Published by Lucks Music Library (TM.08665SET).

4 tpts = 2 tpts, 2 pistons. 2 bassoon are optional. Vocal Score I = English, Vocal Score II = German/Italian.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3

SKU: CF.CPS234F

Composed by Travis Weller. Sws. Cps. Full score. 32 pages. Duration 3 minutes, 10 seconds. Carl Fischer Music #CPS234F. Published by Carl Fischer Music (CF.CPS234F).

ISBN 9781491156353. UPC: 680160914890. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!