It All Adds Up

By Ludwig van Beethoven (1770-1827). For Piano. The "Easy Classic Composer Series" published for Piano by East Coast Books, previously known as Karamar Publications, is exclusively distributed by Santorella Publications. This assorted "easy piano" composer collection is a standard stock item for many music retailers across the United States and into Canada. Each edition has been transcribed, edited and arranged by Erika Feuchtner Macris and graded for the early beginner or young adult. The cover artwork and pencil throughout the text adds some fun, making this series the one of choice by countless piano teachers and students alike. To follow are the easy piano arrangements you will find in this edition featuring the works of "Ludwig van Beethoven".

By Michael Davis. Composed by Michael Davis. Tenor trombone and bass trombone with CD accompaniment. For tenor trombone and bass trombone with CD accompaniment. Adds wonderful contrast to the standard concert/recital. Published by Hip-Bone Music. (52) Level: intermediate.

A special melody illuminates this favorite poem by Irish poet William Butler Yeats. The flute obbligato adds to the beauty of the piece.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 2

SKU: CF.YAS190

Composed by Sean O'Loughlin. Young String Orchestra. Set of Score and Parts. With Standard notation. 16+16+4+10+10+10+3+12 pages. Duration 3 minutes, 38 seconds. Carl Fischer Music #YAS190. Published by Carl Fischer Music (CF.YAS190).

ISBN 9781491151556. UPC: 680160909056. 9 x 12 inches. Key: E minor.

As part of a collaboration between students and composer, Sean O'Loughlin, Dark Dreams is a dark and mysterious piece that utilizes techniques such as tremolo and pizzicato. Following a slow and mysterious opening which illustrates the tapestry of sound for the composition, the work develops the musical material into various vivid, intense, and gripping musical moments.

Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.

The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

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Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, A vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.

The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to aplaya the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

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Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, A vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.

The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to aplaya the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

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Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer.

The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

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Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious, vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to play the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.
Dark Dreams was commissioned by the Westport, Connecticut Public Schools for the Bedford Middle School 7th Grade Orchestra, Michele Anderson, director. It is a piece influenced by many ideas from the students including such descriptive words as dark, mysterious,  vivid, intense and gripping. The collaboration process on commissions like this are very rewarding for both the students and composer. The students were looking to include techniques like tremolo and pizzicato, so the opening includes both of these to set the tapestry of sound for the composition. The slow and mysterious opening gives way to an intense fast section at m. 19. Trading off between upper and lower strings adds to the tension before the upper strings take hold of the melody at m. 31. This melody is derived from the slow opening material. The lower strings get their chance on the melody at m. 47 in an augmented form. This builds to a dramatic slow section at m. 57. The opening material returns at m. 66 to transition back to the fast material. Make sure to “play” the silence at m. 88 for maximum effect and really lean into the final note even though it is on beat 3 of the measure.

About Carl Fischer Young String Orchestra Series

This 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

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

SKU: CF.CPS239

Composed by Richard Summers. Folio. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+2+1+4+4+24+4 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CPS239. Published by Carl Fischer Music (CF.CPS239).

ISBN 9781491157855. UPC: 680160916450. 9 x 12 inches.

The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter. Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition. Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend. This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform. The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal. The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated.
The energy and drive of this piece uses simple time signatures of 4/4 and 3/4 and mixes groups of three notes and syncopation to the rhythm and the melody. There is also a use of a musical term called hemiola, when groups of two beats are replaced by groups of three beats, creating a shift between duple and triple meter.  Syncopation adds a modern, jazzy, popular feel to this exciting concert band composition.Along with syncopation and popular influences are countermelodies to the main theme that are as important as the melody for balance and blend.  This adds a feeling of baroque or renaissance style to the texture. Yet the melodies, chords, and structure are recognizable and enjoyable to listen to and perform.  The middle 3/4 section is slightly slower featuring brass and saxophones and played legato. Then at the key change, it becomes more articulate and contrapuntal.  The a tempo at m. 88 returns to the original thematic material, differing slightly from the beginning, and the coda has some added technical and challenging woodwind passages. The cymbal/triangle part has a lot of directions on choking, hi-hat sound, etc., that will add nice color to the piece if performed as indicated.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cello, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Keyboard, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, String Bass, Suspended Cymbal, Timpani, Trombone and more.

SKU: CF.XPS15F

Composed by Mykola Leontovich. Arranged by Carol Brittin Chambers. Full score. 16 pages. Carl Fischer Music #XPS15F. Published by Carl Fischer Music (CF.XPS15F).

ISBN 9781491158838. UPC: 680160917532.

Carol of the Bells This version of Carol of the Bells is a new take on a traditional carol. The Ukrainian Bell Carol, which has become an important part of the American holiday tradition, was originally composed by Mykola Leontovych with lyrics by Peter J. Wilhousky. In this arrangement, the flexibility of the instrumentation allows it to be played with as few as five wind or string players, and the various recognizable motifs are passed around the ensemble, giving everyone something interesting to play. Chambers incorporates energetic grooves with the bass line and percussion, as well as a new B melody that adds extra technique and a fresh sound. Please enjoy Carol of the Bells on your next holiday concert! Note to the Conductor: Use this piece to introduce or reinforce the following musical concepts: Steady pulse in a driving 3/4 meter, definition of ostinato, accidentals (minimal), and Syncopated feel (minimal).
Carol of the Bells This version of Carol of the Bells is a new take on a tradi1onal carol. The Ukrainian Bell Carol, which has become an important part of the American holiday tradition, was originally composed by Mykola Leontovych with lyrics by Peter J. Wilhousky. In this arrangement, the flexibility of the instrumentation allows it to be played with as few as five wind or string players, and the various recognizable motifs are passed around the ensemble, giving everyone something interesting to play. Chambers incorporates energe1c grooves with the bass line and percussion, as well as a new B melody that adds extra technique and a fresh sound. Please enjoy Carol of the Bells on your next holiday concert! Note to the Conductor: Use this piece to introduce or reinforce the following musical concepts: Steady pulse in a driving 3/4 meter Defini1on of Os1nato Accidentals (minimal) Syncopated feel (minimal).
Carol of the BellsThis version of Carol of the Bells is a new take on a tradi1onal carol. The Ukrainian Bell Carol, which has become an important part of the American holiday tradition, was originally composed by Mykola Leontovych with lyrics by Peter J. Wilhousky. In this arrangement, the flexibility of the instrumentation allows it to be played with as few as five wind or string players, and the various recognizable motifs are passed around the ensemble, giving everyone something interesting to play. Chambers incorporates energe1c grooves with the bass line and percussion, as well as a new B melody that adds extra technique and a fresh sound. Please enjoy Carol of the Bells on your next holiday concert!Note to the Conductor: Use this piece to introduce or reinforce the following musical concepts: Steady pulse in a driving 3/4 meter Defini1on of Os1nato Accidentals (minimal) Syncopated feel (minimal).

(For the Snare Drummer). By George Lawrence Stone. For Snare Drum. This edition: Revised. Book; Method/Instruction; Percussion - Snare Drum Method. 52 pages. Published by Alfred Music Publishing

By Reid Nibley. For SATB Choir. Medium / Medium-Difficult (accompaniment). Duration 2:52

Band Concert Band - Grade 3

SKU: CF.CPS262

Composed by Carl Strommen. Cps. Set of Score and Parts. 1+8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+4+4+6+6+6+6+4+8+1+1+2+2+28 pages. Duration 5:43. Carl Fischer Music #CPS262. Published by Carl Fischer Music (CF.CPS262).

ISBN 9781491161401. UPC: 680160919994.

Carl Strommen, an alumnus of the Bellmore-Merrick CHSD, composed A Walk in the Park for Walter Avenllaneda's John F. Kennedy High School Band. This composition features dynamic brass and sweeping & energetic woodwind lines. Adhere to natural phrases for which the music of Carl Strommen is known, especially in the beginning and end of the piece, to achieve the full sustained chords that are written. Make sure to bring out the three- note motif as it is orchestrated throughout the piece even in the beginning. The fast sections should be vibrant, energetic and with exaggerated dynamics that follow the line shapes. The Waltz in the middle requires a complete change of style and adds a wonderful contrast to the energy of the piece. The transition out of the Waltz into the new tempo will take some time but is well worth the effort to pull it off. The energy returns until we get a wonderful dramatic and bold ending.
Carl Strommen, an alumnus of the Bellmore-Merrick CHSD, composed A Walk in the Park for Walter Avenllaneda’s John F. Kennedy High School Band.  This composition features dynamic brass and sweeping & energetic woodwind lines. Adhere to natural phrases for which the music of Carl Strommen is known, especially in the beginning and end of the piece, to achieve the full sustained chords that are written. Make sure to bring out the three- note motif as it is orchestrated throughout the piece even in the beginning. The fast sections should be vibrant, energetic and with exaggerated dynamics that follow the line shapes. The Waltz in the middle requires a complete change of style and adds a wonderful contrast to the energy of the piece. The transition out of the Waltz into the new tempo will take some time but is well worth the effort to pull it off. The energy returns until we get a wonderful dramatic and bold ending.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS121F

Composed by Kirt Mosier. Carl Fischer First Plus String Orchestra Series. Full score. 8 pages. Carl Fischer Music #FAS121F. Published by Carl Fischer Music (CF.FAS121F).

ISBN 9781491159330. UPC: 680160917914.

Searching for Destiny's Diamond is a mysterious work that centers around the idea of young people searching out their destiny during dark times. It involves intrigue and tension, as they journey towards their purpose and the diamond that is their bright future. Every instrument in the orchestra begins with the melody and plays it throughout the piece, making this work an excellent teaching piece since all parts can be learned at the same time. The second half of the work is a musical stretto with the melodic figure offset by one measure in Violin II, Viola and Bass. This makes for some intriguing harmonies that will increase the student's hearing ability and bring tension to the piece. While this piece can be performed without piano, it is desired that the piano be played in performance, as it adds intrigue to the sound. The piano part has been written so that it can be performed by developing pianists. To facilitate performances when no player is available, a recorded piano part is available at www.carlfischer.com/FAS121.
Searching for Destiny’s Diamond is a mysterious work that centers around the idea of young people searching out their destiny during dark times. It involves intrigue and tension, as they journey towards their purpose and the diamond that is their bright future.Every instrument in the orchestra begins with the melody and plays it throughout the piece, making this work an excellent teaching piece since all parts can be learned at the same time. The second half of the work is a musical stretto with the melodic figure offset by one measure in Violin II, Viola and Bass. This makes for some intriguing harmonies that will increase the student’s hearing ability and bring tension to the piece.While this piece can be performed without piano, it is desired that the piano be played in performance, as it adds intrigue to the sound. The piano part has been written so that it can be performed by developing pianists. To facilitate performances when no player is available, a recorded piano part is available at www.carlfischer.com/FAS121.

Band Concert Band - Grade 3

SKU: CF.CPS262F

Composed by Carl Strommen. Cps. Full score. 28 pages. Duration 5:43. Carl Fischer Music #CPS262F. Published by Carl Fischer Music (CF.CPS262F).

ISBN 9781491161722. UPC: 680160920419.

Carl Strommen, an alumnus of the Bellmore-Merrick CHSD, composed A Walk in the Park for Walter Avenllaneda's John F. Kennedy High School Band. This composition features dynamic brass and sweeping & energetic woodwind lines. Adhere to natural phrases for which the music of Carl Strommen is known, especially in the beginning and end of the piece, to achieve the full sustained chords that are written. Make sure to bring out the three- note motif as it is orchestrated throughout the piece even in the beginning. The fast sections should be vibrant, energetic and with exaggerated dynamics that follow the line shapes. The Waltz in the middle requires a complete change of style and adds a wonderful contrast to the energy of the piece. The transition out of the Waltz into the new tempo will take some time but is well worth the effort to pull it off. The energy returns until we get a wonderful dramatic and bold ending.
Carl Strommen, an alumnus of the Bellmore-Merrick CHSD, composed A Walk in the Park for Walter Avenllaneda’s John F. Kennedy High School Band.  This composition features dynamic brass and sweeping & energetic woodwind lines. Adhere to natural phrases for which the music of Carl Strommen is known, especially in the beginning and end of the piece, to achieve the full sustained chords that are written. Make sure to bring out the three- note motif as it is orchestrated throughout the piece even in the beginning. The fast sections should be vibrant, energetic and with exaggerated dynamics that follow the line shapes. The Waltz in the middle requires a complete change of style and adds a wonderful contrast to the energy of the piece. The transition out of the Waltz into the new tempo will take some time but is well worth the effort to pull it off. The energy returns until we get a wonderful dramatic and bold ending.

Organ

SKU: HL.49045845

10 Organ Works from 4 Centuries Organ. Composed by Various. Edited by Gerhard Gnann. Organ Collection. Classical. Softcover. 76 pages. Schott Music #ED22915. Published by Schott Music (HL.49045845).

UPC: 841886033801.

New music on old instruments and new organ literature in dialogue with historical Iberian works. The present edition contains a collection of works, composed for an authentically rebuilt historical Spanish organ and covering a wide range of styles, which adds new sounds to the purely Baroque repertoire. With works by Jose Blasco de Nebra, Francisco Correa de Arauxo, Antonio de Cabezon, Pedro de Araujo, Antonio de Cabezon and new compositions by Guy Bovet, Michael Kapsner, Pavel Klimashevsky, Zsigmond Szathmary and Alfred Muller-Kranich. The new Spanish organ of the Hochschule fur Musik Mainz as an authentically rebuilt historical instrument from the workshop of the organ builder Joaquin Lois from Tordesillas in Castile shall both adequately reproduce early music and be a source of inspiration for contemporary music. For this reason, the Hochschule fur Musik Mainz commissioned five composers to write modern compositions according to the motto 'Early music in dialogue with New Music' which are a valuable addition to the repertoire of historical instruments of the 'Siglo de Oro'. Certain specifications had to be taken into account: e. g. a limited pitch range, half stops for treble and bass registers, the short octave as well as a mean-tone temperament. In addition, each composition is based on a work of the Iberian organ literature; sometimes, the work found its way into the new composition, sometimes, it only served as an inspiration. The pieces can also be played on a modern organ, although there is a special charm in playing and hearing them played on an appropriate historical instrument. Encompassing a broad range of styles, the resulting collection adds new sounds to the purely Baroque repertoire.

Band Concert Band - Grade 2

SKU: CF.YPS198F

Composed by Tyler Arcari. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS198F. Published by Carl Fischer Music (CF.YPS198F).

ISBN 9781491152867. UPC: 680160910366.

All the While was inspired by a very special person in Tyler Arcari's life. Director's will be happy to find many opportunities for emotional and passionate playing with plenty of fun in the middle for young bands.  All the While gives students a number of chances to work on expressive playing during the beginning and ending sections, and offers a light rhythmic middle section for contrast.
Program Notes:All the While is a bit of a personal piece for me. I was inspired to write it by a very special person in my life. It might be a young-band piece but I feel that it has the capacity for great emotion and passionate playing as well as a little fun in the middle. Sometimes it is difficult to tell people how you feel, even if you have known them for a long time. I think sometimes we say in our heads that “I have felt this way for a long time,” and all the while never being able to put it to words.About the work:The piece opens with a flute and alto saxophone duet. This melody trades off at m. 10 with the addition of new voices and harmonies building in intensity all the way to m. 28. I personally like to use extended phrases in this section, though it looks like it would just utilize four-measure phrases. I feel this adds to the momentum building in dynamic intensity. Measure 28 is a subito change beginning with a prominent Timpani solo. The following section should be played as lightly as possible to avoid a lumbering feel. In mm. 68- 70, the agogic accents should not be very heavy, but more pointed in their momentum to m. 70.Measures 70–76 should be taken with metric liberty bringing out all of the moving parts in the low brass. The low brass really adds the foundation of momentum for the rest of the band here. Measure 76 to the end, though a repetition of material from the beginning, should be played as the high point of the piece and familiar conclusion.