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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
16381EFBD0382-F9FF-4B50-8B31-8E08F1E735C6R00087En Rouge et Noir for Flute, Piano, Double Bass and DrumsEn Rouge et Noir means literally "in red and black". While this can be interpreted many ways, this 17 minute work by renowned "Third Stream" composer David Baker explores both "red-hot" and "black" influences in three jazz-steeped movements: swing, jazz waltz, and bebop. The flutist doubles on alto flute and the piano part includes the entire solo line. While the bass part is fully notated, the drums are written jazz chart style. Available for sale for the first time in 2012.Flute (doubling Alto Flute), Piano, Double Bass, Drums
16382EFBF052D-F5EE-4FF5-BA87-8D761C829813R00167Sapphire3(1d Piccolo).1(d English Horn).2+Bass Clarinet.2+ContraBassoon: 4.3.3.1: Timpani.Percussion(5).Piano(d Celesta).Harp: Strings
16383EFBFE28F-56FC-455A-8CD5-59E8BCD9EBF8S210CBLaredo: Paso Doble for Concert Band(not set)Concert Band
16384EFC22451-B675-4F9E-84B3-2241576A0FCASS721SonatinaMovement titles: I. Allegro Moderato, II. Andante, III. Allegro MoltoTrumpet and Piano
16385EFCBE055-87AB-49EA-A085-52713FA8323EO37JBKeeping Up With the Jones(not set)Jazz Band
16386EFD37ABC-C0A3-42B4-B113-1E2133149F28MP816403Songs for the End of the World for Mezzo-soprano, Horn in F, English Horn, Marimba, and CelloStarted upon a commission for a major work from the International Horn Society, Warren Benson incorporated another song cycle he had in mind for the distinguished mezzo-soprano Jan DeGaetani into the work. In looking for appropriate text, the composer recalled that distinguished American novelist John Gardner had studied horn at Eastman School of Music as a young man. Mr. Gardner responded favorably to the collaboration and provided six poems to the project. The titles given in the program for the various songs are by the composer, suggesting aspects of the poems which are both descriptive and in their small way, symbolic. Songs: I. Awakening, II. Two Step, III. Lullaby, IV. Spring, V. Siciliana, VI. NocturneMezzo-soprano (Vocal range: F#3-B5), Horn, English Horn, Marimba, Cello
16387EFD38DAB-AA96-4C05-A4D7-4332AEFD1D11SC74Good Night? Ah! NoSsa
16388EFD44D12-5239-4A96-9A06-449BB98760BES150005Melodies for the Young SaxophonistThis solo collectlon focuses on the all-important melodic aspect of music for young students who may lose interest in their instrument when asked to work on "exercises." It is neither meant to replace method books nor to minimize the importance of the study of fundamentals. This compilation s best used as an adjunct to the many fine beginning methods now available.Saxophone
16389EFDA0FDE-B1B2-4F30-8440-4C65EFD4E79310100108Rienzi(not set)Concert Band
16390EFDCC10F-0993-42AC-858B-69B3EF9CA6D4ST642Just a Closer WalkBaritone
16391EFEEEF60-7864-4453-BB8D-AC63FF0FF04DA930290Concerto for Piano and Winds (1950 revision)This concerto was composed during the winter of 1923-24 when Stravinsky was living in France and touring as a concert pianist. The premiere was in Paris in 1924 with Koussevitzky conducting and Stravinsky as soloist. The work remained the exclusive performance right of Stravinsky, who performed it around 40 times in the next five years. The scoring for the concerto is unconventional, employing a large band of woodwinds and brass made deliberately bottom-heavy by the addition of both timpani and double basses. Unfortunately, this concept was not clear to everyone at the time of the first performance. Stravinsky wrote the following some months later: “I remember that I was reproached on the subject of the constitution of the orchestra, which was said to be ‘incomplete’ because of the absence of strings (except for the double basses). The unfortunate critic did not know at the time that there is such a thing as un orchestre d’harmonie. It is this orchestre d’harmonie (concert band) which I have chosen for my piano concerto, and not the symphonic orchestra, as an instrumental body more appropriate to the tone of the piano. Strings and piano, a sound scraped and a sound struck, do not sound well together; piano and winds, sounds struck and blown, do." - Keith BrionSolo Piano: 3.3.2.2: 4.4.3.1: Timp.Bass
16392EFF4FC08-1765-4A40-A8E9-06323B5CB9DF50508001Two Chorales for BrassThese two brass chorales are written for a group of intermediate players, and either or both would be a perfect selection for a brass recital, contest, or just for a warm-up at the beginning of rehearsal.Brass Choir (2.2.2.2 Euph.1)
16393EFF71339-9AF3-4981-BD63-A27A50A1C738S982CBCoast to Coast: An American Musical Road TripTravel across the country from New York to San Francisco and points in between, as this medley drives you through some of the best-known songs about U.S. cities and states in just a few minutes! Just be sure to hold onto your seat. Though the ride begins with a smooth cruise, there are a few tricky curves in the road ahead, and maybe even an “Easter egg” or two. Featuring: The Sidewalks of New York • My Kind of Town (Chicago Is) • Kansas City, Here I Come •
The Yellow Rose of Texas • Viva Las Vegas • I Left My Heart in San Francisco.

Program Notes

One of the first challenges a writer faces in a medley is, of course, how to blend songs that can differ from one another greatly in terms of style, tempo and mood into a cohesive whole that makes sense, and hopefully shows as little of the "seams" when it is stitched together for a live performance. I quickly settled on the idea to try to put the tunes in order roughly by geography, with the image of an imaginary road trip starting in New York in the east and ending in San Francisco on the west coast as the organizing force in the arrangement. As luck would have it, the musical transitions just seemed to kind of fall into place once that decision was made. I hope folks enjoy playing and hearing it.

The Sidewalks of New York is a popular song composed in 1894 by vaudeville actor and singer Charles B. Lawlor with lyric by James W. Blake. It was an immediate and long-lasting hit and is often considered a theme for New York City. Many artists, including Mel Torme, Duke Ellington, Larry Groce, Richard Barone, and The Grateful Dead have performed it. The song is written in the waltz style that was popular in its day. This arrangement actually begins loosely based on Nat King Cole's recorded version, but abruptly takes a turn in the second verse to a more intense interpretation in the relative minor key, reminiscent of the film scores of Lalo Schifrin, and with a little nod to another well-known New York tune.

My Kind of Town (Chicago Is) was composed by Jimmy Van Heusen, with lyric by Sammy Cahn. The song was originally part of the musical score for Robin and the 7 Hoods, a 1964 musical film starring several members of the Rat Pack. Of course, it goes without saying that the major influence for this arrangement is the timeless interpretation by none other than the great Frank Sinatra.

Kansas City (Here I Come) is a rhythm and blues song written by the hit songwriting duo of Jerry Leiber and Mike Stoller in 1952. It became one of Leiber and Stoller's most recorded tunes, with more than 300 versions. While in writing this section, I was mostly listening to the version by Fats Domino, but I'd say the style is more an amalgam of many "covers" that is simply designed to be fun to listen to. Incidentally, the slow trumpet introduction from W.C. Handy's St. Louis Blues just seemed to work well as a transition, both musically and geographically.

The Yellow Rose of Texas is a traditional American folk song dating back to at least the 1850's that many people, even outside of Texas, are well-familiar with. It is widely considered one of the most popular Western songs of all time, with several versions of the song having been recorded by the likes of Elvis Presley, Willie Nelson, and Mitch Miller. I had a bit of fun with this tune, first drawing it out into a lyrical "mini-chorale" and then taking it through a couple faster iterations, with some brief salutes to other songs about the Lone Star State that the careful listener will recognize.

Viva Las Vegas is a 1963 song recorded by Elvis Presley, written by Doc Pomus and Mort Shuman for his Viva Las Vegas film vehicle. People may be surprised to find out that Presley never actually sang the song live outside of the movie performance, yet despite that it has become one of "The King's" most iconic numbers, widely known and often performed by others. The low brass gets its moment of glory channeling Elvis' inimitable baritone in the verse following the intro.

I Left My Heart in San Francisco requires little introduction, even to this day. Written in the fall of 1953, with music by George Cory and lyric by Douglass Cross, it became best-known as the signature song of Tony Bennett, as well as one of the official anthems for the city of San Francisco. In deciding to take a "detour" from Bennett's easy-listening style, as well as Alfred Reed's lyrical and popular stand-alone concert band arrangement, I decided what the tune needed as the ending of this medley was a little uptempo pizzazz. With the imagination fired by the spirit of Count Basie's sassy big-band arrangement, it all comes together in a dramatic and rousing finale.

This arrangement was made possible by the support of two influential people who I wish to acknowlege. The first is composer James Barnes, who needs no introduction in the band world. I have admired his work since performing his well-known Alvamar Overture on one of my earliest middle school concerts. In working for Keiser Southern Music, I have had the distinct honor over the past several years to get to know Jim on a personal and professional level, and the thrill of him hearing this piece as it was being recorded this past spring can best be described as like cutting a record together with your favorite childhood rock star. I also want to give special thanks to Lauren Keiser, not only my most important mentor in the business of publishing, but also as an insightful advocate of musical talent, whose ability to inspire and develop one's artistry is second to none. With thanks to both of these of these inspirational figures, and the unwavering support of my family and friends, this little romp was born.

Joe Derhake		Concert band
16394F0057F4A-816C-4DA7-8D76-CC050A0AABE6S136MBBleacher Yells(not set)Marching Band
16395F0086B51-F2B9-4771-8A70-3C73736478DES17Aurora (out-of-print)Concert Band
16396F01046A7-F8AB-45CE-A669-C57013A46791W702691Three QuartetsSpanish Basque composer Juan Crisóstomo Jacobo Antonio de Arriaga y Balzola (1806-1826) was nicknamed "the Spanish Mozart" after he died because he and Wolfgang Amadeus Mozart shared the status of a child prodigy and accomplished composer that died young. The three sparkling string quartets were written in 1823 when Arriaga was only 16, and they were the only of his works published in his lifetime.Two Violins, Viola, Violoncello (parts only; no score)
16397F0111716-BC97-4B07-9FFA-76BD5662A93652733052Water Music Selections for Cello QuartetLynne Latham arranged three selections from George Frideric Handel's WATER MUSIC - Bourree, Allegro, and Hornpipe for Cello Quartet. Cello I is advanced in treble clef.Cello Quartet
16398F0111B71-6DD2-4701-BD6F-390BBC758135M256991In Dulci JubiloWW5
16399F012AF8C-96C6-41FA-87DB-CD4BB0F9099ESO135CShort Prelude to the Afternoon of a FaunFrom the ballet El amor brujoString Orchestra
16400F0170884-06EB-448A-B250-72E16676BC6DS512002Handel Passacaglia for Two ViolinsOutside of his native Norway, Johan Halvorsen (1864-1935) is known internationally only for his arrangement of Handel’s Harpsichord Suite. The Passacaglia is performed as a mainstay of Duo programs in his arrangements for both Violin/Viola and Violin/Cello. Jascha Heifetz established these duos in the standard literature by playing and recording countless performances with William Primrose and Gregor Piatigorsky.2 Violins