SKU: HL.1311464

UPC: 196288177388. 6.75x10.5x0.036 inches.

According to world-renowned composer and arranger Cedric Dent, his version of “Mary Had a Little Lamb” was originally conceived as a piece for a vocal quartet where vocal jazz meets the traditional choral style (think of the Manhattan Transfer singing an anthem in the traditional choral style). It has since been performed primarily by traditional choral ensembles. The title of the piece, from a familiar nursery rhyme song, ties in with the message of the Advent season: a celebration of the birth of the Messiah - the Lamb of God! Cedric Dent's choral writing is truly impressive, and your choirs will enjoy learning and performing this incredible work.

SKU: CF.CM9700

ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk.

In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).
In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).­­.

SKU: KN.10315

UPC: 822795103151.

Designed for a first contest or recital performance, this grade 1-2 collections contain 14 pieces that have been carefully edited by baritone specialist Donald Sherman, and edited by Carl Strommen. The free downloadable piano accompaniment MP3s will be an invaluable tool for students. Piano accompaniment book sold separately (#10316). Available in SmartMusic.

Contents:
Chester (Billings); The Dancing Master (Turk); Minuet (Telemann); Wedding Madrigal (Sullivan); The Nightingale's Secret (Grieg); Ah, Leave Me Not To Pine (Sullivan); Remember Provence (Verdi); The Thief's Regret (traditional Catalan folk song); Danse Du Roy (Susato); In The Steppes Of Central Asia (Borodin); Sunlight On The Ganges (Scarlatti); March Of The Priests (Mozart); Neapolitan Serenade (Meglio); Plaisir D'Amour (Martini).

SKU: HL.1197753

UPC: 196288134831. 6.75x10.5x0.029 inches.

“Death, thou art welcome to my arms attended by a thousand charms...” a text that dates back as far as 1818 speaks to the human desire for a peaceful end to life. This new setting by Richard Burchard provides your tenor-bass choir with an exciting and contemporary approach to this rich traditional hymn melody. In typical Burchard fashion, he has beautifully crafted phrases that combine the hymn text, touches of Latin, and a folk-style solo designed to draw attention to the rhythm, melody, and message of the hymn. Looking for that perfect piece with a special soulful appeal? Look no further; accompanied by cello and percussion, here's the ideal candidate, sure to become a choir and audience favorite.

SKU: HL.347321

ISBN 9781705153505. UPC: 840126926927. 6.75x10.5x0.268 inches. Timothy Michael Powell/Tim Sharp.

This work grew out of the co-creator's love for the tunes and texts coming out of the Appalachian Mountains and the shape-note and early Moravian singing tradition. In the words of Tim Sharp, “We took the image of bands of angels singing and playing at the Nativity as reported in the second chapter of Luke's gospel, transported that image to Appalachia, and Angel Band is the result.” Containing 8 carols (mostly familiar), a processional and recessional, Angel Band is a fusion of ideas ranging from medieval tunes to contemporary bluegrass.

SKU: OU.9780193356658

ISBN 9780193356658. 12 x 8 inches.

For chamber ensemble (2 clarinets in B flat, percussion (marimba, bodhran), piano, viola, and cello) On Claudy Banks is a quiet response to the musical and lyrical content of a traditional folk song of the same name about a woman mourning the supposed loss of her lover at war with the Spanish. Hymn-like outer sections are balanced by a somewhat sinister, brooding central section but the overriding mood of the piece is one of peaceful melancholy.

SKU: FH.WC1

ISBN 978-1-55440-577-0.

This new series offers a sequenced approach to the study of clarinet from the beginner to advanced levels. With a progressive collection of Repertoire, Etudes, Recordings, Orchestral Excerpts, and Technique, the Clarinet Series, 2014 Edition provides complete support for teachers and students at every level of study. Nine progressive volumes of Repertoire expose students to a wealth of music from the earliest works for clarinet to accompanied and unaccompanied contemporary compositions. Students will explore some of the most definitive solo pieces written for clarinet, along with popular folk tunes, Klezmer melodies, Classical solos, and contemporary compositions that incorporate traditional and extended techniques.
Technical Repertoire:
Branch Line - Colin Cowles
Space-age Sonatina - Paul Harris
Skip - Errollyn Wallen
Peacherine Rag - Scott Joplin, arr. Forrest Kinney
Hornpipe - Henry Purcell, arr. Christine Donkin
Gavotte, HWV 491 - George Frideric Handel, arr. Christine Donkin
Ghoulish - Paul Harris
Major-General's Song - Arthur Sullivan, arr. Martin van de Ven
Lyrical Repertoire:
All the Pretty Little Horses - American lullaby, arr. Jason Gray
Swanee River - Stephen Foster, arr. Christopher Norton
Che faro senza Euridice? (What Shall I Do Without Euridice?) from Orfeo ed Euridice - Christoph Willibald Gluck, arr. Jason Noble
Sentimental Serenade - Alan Bullard
Entr'acte, from Carmen - Georges Bizet, arr. Christine Donkin
The Wish - Mr. Tuke, arr. Paul Harris
Largo, from The Four Seasons - Antonio Vivaldi, arr. Jason Gray
Hava Nagila - Israeli folk song, arr. Martin van de Ven and Forrest Kinney
Minuet, BWV Anh. 132 - attr. Johann Sebastian Bach, arr. Jason Gray.

SKU: HL.49017958

ISBN 9790001170017. UPC: 884088520014. 0.066 inches. Latvian.

Peteris Vasks' strong attachment to his Latvian home country shows particularly in his choral music. Nature, customs and traditions as well as the idea of freedom are the central themes of the texts he sets to music, while carefully using modern techniques of choral singing as well. Alternating with traditional, even archaic singing, the music creates a multi-faceted, immediately effective sound image in the listener's mind.These three songs for female choir centre on the themes of man, nature and transience, and home in aphoristic brevity. Vasks wrote music on these folk poems which contains rewarding tasks for the choir and opens up a fascinating world of sound to the listener.

SKU: BT.DHP-1135498-215

9x12 inches. English-German-French-Dutch.

Welcome to Ireland, the country where the traditional music is as varied as the landscape! Marc Jeanbourquin’s Irish Fantasy starts in a carefree and lively fashion from County Galway, then strolls through the moorlands of Kerry in a slower, lyrical movement with room for a solo, and comes to rest in Cork, with high-spirited and up-tempo folk tunes, and an accompaniment reminiscent of the bagpipes.

Ierland heeft - naast een veelvoud aan prachtige landschappen - een rijke muzikale traditie. In dit werk verwerkte de componist beide elementen en steekt van wal met een indruk van het opgewekte County Galway om dan door de venen van Kerry te wandelen, begeleid door een langzame optionele solo voor trombone en trompet. In Cork mag de doedelzak natuurlijk niet ontbreken en breekt een heus dansfeest los met de typische Ierse folkmuziek!

Willkommen in Irland, dem Land, in dem die traditionelle Musik so vielfältig ist wie seine Landschaften_x001C_! Marc Jeanbourquins Irische Fantasie“ beginnt in einem unbeschwerten, lebhaften Stil im County Galway, streift dann die Moorlandschaften von Kerry in einem langsameren, liedhaften Satz, der Raum für ein Solo bietet, und endet in Cork, wo übermütige, schwungvolle irische Folk-Melodien mit an Dudelsack erinnernden Begleitungen angesagt sind.

Bienvenue en Irlande ! Le pays où la musique traditionnelle est aussi riche et variée que ses paysages. Avec le premier mouvement de Irish Fantasy, Marc Jeanbourquin propose de commencer la visite par le comté de Galway, dans un style léger et dansant. Le voyage se poursuit par le comté de Kerry avec ses landes et ses lagunes, illustré dans le deuxième mouvement par une berceuse lente et cantabile, qui laisse au chef d’orchestre la possibilité de mettre en avant un soliste de l’ensemble. Mais déj , le périple se termine par le comté de Cork. On retrouve ici des mélodies sautillantes et entraînantes. Bon voyage musical avec Irish Fantasy.

L’Irlanda vanta una ricca tradizione di musica e canti tradizionali. Con il primo movimento, Marc Jeanbourquin propone di iniziare la visita alla contea di Galway in uno spirito leggero e danzante. Il viaggio prosegue nella contea di Kerry, con le sue lande e lagune, descritte in musica nel secondo movimento da una ninna-nanna lenta e cantabile, che d spazio a un assolo. Il viaggio _x001E_nisce nella contea di Cork dove ritroviamo melodie vivaci e coinvolgenti.

SKU: BT.DHP-1115037-010

9x12 inches. English-German-French-Dutch.

Satoshi Yagisawa is well known for his dramatic symphonic band compositions. Even though he has written relatively few marches, they are also very popular: March Willing and Able is based on a chorale while March Bou Shu is based on a Japanese folk song. The Memory of Our Native Place is a rather unusual piece for Yagisawa, as it actually closely resembles a traditional march. The piece opens with a lively fanfare and is contrasted by the following theme. The trio features a chorale-like melody.

Satoshi Yagisawa is vooral bekend van zijn dramatische orkestwerken. Marsen schreef hij nog maar weinig. Die paar die hij schreef, zijn inmiddels allemaal wel erg geliefd en populair; March Willing and Able is gebaseerd op koraalmuziek en in March Bou Shu is een Japanse volksmelodie verwerkt. Deze nieuwe mars, The Memory of Our Native Place, begint met een stralende fanfare. Daarna klinkt een innig thema. In het triodeel komt een koraalachtige melodie naar voren. Kortom: hieraan houdt uw publiek zeker een mooie herinnering!

Satoshi Yagisawa ist bekannt für seine dramatischen Blasorchesterwerke - Märsche hat er bisher nur sehr wenige, dafür aber sehr beliebte geschrieben. Zwei davon sind March Willing and Able und March Bou Shu - der eine auf choraler Musik, der andere auf einem japanischen Volkslied basierend. The Memory of Our Native Place beginnt mit einer strahlenden Fanfare, bevor ein inniges Thema erklingt. Im Trio tritt eine choralartige Melodie hervor.

The Memory of our Native Place n’est pas une marche conventionnelle, mais contient néanmoins quelques éléments standard. Elle s’ouvre avec une fanfare brillante, suivie par un thème pétillant de fraîcheur marqué par une joyeuse alternance de réponses entre bois, cuivres et cuivres graves. La mélodie chantante du trio mène fi nale haut en couleurs faisant de The Memory of our Native Place une incontournable marche de concert.

Satoshi Yagisawa ha composto oltre cento brani per fi ati, ma solamente quattro marce, tra le quali ricordiamo le acclamate March Willing and Able e March Bou Shu, la prima basata su musica corale, la seconda su una canzone folk giapponese. Con The Memory of our Native Place, Yagisawa si allontana dal suo stile poco convenzionale, componendo una marcia che si avvicina agli schemi standard. L’inizio vede protagonista una fanfara brillante, seguita da un tema più intimo. Il trio espone una melodia simile a un corale.