Titles

Create Title

Showing 16,681-16,700 of 17,576 items.
#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
16681F3E3CC95-5975-4472-96C1-3CED91A655B5LV167CBVesper Hymn(not set)Concert Band
16682F3E9EB54-BFA0-40E9-8971-AC4E6BDC9835S234CBConcertino for Horn and Band(not set)Horn solo, band
16683F3EA6FE2-F137-4576-8F2A-46D79BACD86ASS533Two ( 2) Short Classic Quintets (out-of-print)Woodwind Quintet
16684f3f305e6-9e38-11f0-a418-0022482c968210806805Dove's Carol, TheSetting of words by Katherine Root Warner describing Jesus newly born and looking to his future. Written for unison treble chorus or SA chorus with either piano or organ accompaniment.Unison or SA Chorus with Piano or Organ
16685F3F96FE2-8194-4730-BC71-73CD401D95C2S251Student Officers March (out-of-print)Marching Band
16686F3FCAB46-FBD0-4CAF-8F57-530F40ED46C8A927690Pulcinella Suite: Music after J. B. Pergolesi, K034bIgor Stravinsky’s ballet Pulcinella was written for Les Ballets Russes after the great triumph of The Firebird and the great scandal of The Rite of Spring, but it marked a new compositional direction. Stravinsky would later remark, “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible.” The inspiration for Pulcinella, outside of the music of the past, was commedia dell’arte, Italian improvised theater and its stock characters. In the staged ballet, Stravinsky reinvented the music with movement, lively characters, and even singing roles. Pulcinella Suite is a pared-down version of the ballet (nearly half the movements are omitted in the suite) with instrumental passages replacing the singing roles. The one act ballet consists of 21 excerpts whereas the suite has only eight movements (Sinfonia, Serenata, Scherzino, Tarantella, Toccata, Gavotta, Vivo and Minuetto). Stravinsky’s work with music of the past retains much of the charm of the original pieces, but with harmonic and rhythmic twists that are pure twentieth-century inventiveness, and pure Stravinsky. Pulcinella Suite premiered in December of 1922 in Boston with the Boston Symphony Orchestra and Pierre Monteux. Instrumentation: 2(2d. Picc).2.0.2: 2.1.1.0: Solo Str. (1.1.1.1.1) Str (3.3.2.2.2 in set).2(2d. Picc).2.0.2: 2.1.1.0: Solo Str. (1.1.1.1.1) Str (3.3.2.2.2 in set)
16687F3FD26D1-C840-4A49-B588-128F9F9BD1A018800011My SalvationThe 11th entry in the Nelhybel Anthem Series, this work for SATB chorus and organ is a setting of Psalms 3, 4, 31, and 38. Based on the chord progression of Bach's Predude I from THE WELL-TEMPERED CLAVIER, the organ accompaniment can be augmented by playing (on piano or harpsichord) any edition of the prelude.SATB and Organ
16688F4022F04-124F-475C-A5FD-9FB05924B9B1X627001Massah for Euphonium and PercussionDuet for euphonium and percussion. Includes 1 playing score. Movements: I. Introit, II. Dialogue, III. Interlude, IV. Scherzo, V. Epilogue. Ca. 20 min.Euphonium, Percussion
16689F403415E-5E05-40E5-A144-4ED480C1FE7FSF2114PCavata (flexible ensemble)This piece is written for the younger band and is based on a motive of repeated notes, hence its title. It was commissioned by and dedicated to the Burns Junior High School Band, Lawndale, North Carolina, Dawn Taylor and Carl Rohleder, Directors. This arrangement for flexible instrumentation by Aric Branchfield can be played by any SSATB combination of instruments with optional percussion, from 5 players through large ensembles.Any SSATB combination of instruments with optional percussion, from 5 players through large ensembles
16690F4048D97-912F-4346-A545-0C8FD2AC5FBD52702041The String Trio, vol. 2BThis long-time best-seller is now available with a score and newly edited by Lynne Latham. These are great for gigs and intermediate chamber music experiences for students. This volume has more complicated rhythms. [replaces M1723 #4-5]String Trio: Violin 1, Violin 2/Viola, Violoncello
16691F4095756-6B76-47E3-A512-651E18561EA4B304Illustrated Method for the French Horn(not set)Horn
16692F411B3A7-D45E-4099-B5C2-9BA1C14F0C18R01333Elegy for String OrchestraIn Memoriam, Mildred "Barry" FriedmanString Orchestra. (Parts contain divisi. Separate concertmaster part and first stand violin 2 part with solo passages.)
16693F4122962-E313-40B1-B5D8-875BB557F738A211902Don Juan, Op. 20 (critical edition)Richard Strauss's (1864-1949) tone poem DON JUAN, Op. 20, was composed in 1888. The work is based on Don Juans Ende, a play derived from an unfinished 1844 retelling of the tale by poet Nikolaus Lenau after the Don Juan legend which originated in Renaissance-era Spain. This publication is a Critical Edition based on the composer's manuscript, edited by Clinton F. Nieweg and Nancy Bradburd. Instrumentation: 3(3rd dPicc).2+EH.2.2+CBsn: 4.3.3.1: Timp.Perc(3): Hp: Str (9-8-7-6-5 in set).3(3rd dPicc).2+EH.2.2+CBsn: 4.3.3.1: Timp.Perc(3): Hp: Str (9-8-7-6-5 in set)
16694F4123577-6174-4EE9-B797-579725309426A717302Stabat Mater, Op. 58/B. 71 (critical edition)Antonín Dvo?ák (1841-1904) began composition of his setting of the Stabat Mater text in 1876 and finally finishing the orchestral version in late 1877, though it was not published until 1881 as Op. 58 (B. 71). It is traditionally thought that Dvo?ák decided to compose it following the death of his two-day old daughter Josefa on August 21, 1875, finishing it after the death of two more children (11-month-old Ruzena on August 13, 1877, and his firstborn son Otakar a month later), but some doubts have been raised about this motivation. Regardless, this ten-movement sacred cantata remains a profound testament to human sorrow and hope, an appropriate setting of a text that describes Mary's suffering as she watches her son die on the Cross. The work was the primary vehicle to Dvo?ák's international fame following the premiere in Prague on December 23, 1880, by the Provisional Theatre Orchestra and Choir under Adolf Cech, and it remains one of his most popular and frequently performed works, and among the most famous settings of the medieval Stabat mater. Edited by Antonín ?ubr with a preface by Otakar Šourek.2.2+EH(can be played by Ob2).2.2: 4.2.3.0: Timp: Org: Str (4-4-3-3-3 in set): Soli SATB: SATB Chor
16695F41D46B8-C7A8-43DD-850C-6C7C574892A0R00176AubadeThis aubade (morning music) was designed especially as a professional/student collaboration for Meet the Music, which is the educational program of the Los Angeles Chamber Orchestra, with local student musicians as stand-partners with the professionals. In the 17th and 18th centuries, aubades were played in honor of royalty. In this case, the honored personage is Jennifer Diener, who has been very important in the life of the Los Angeles Chamber Orchestra, who commissioned the work.2.2.2.2: 2.2.0.0: Timpani.Percussion(4): Strings
16696F4222E91-9693-49DE-BA36-BFC7005A6860X410039Piano Sonata No. 2Solo Piano
16697F4236CBE-80E9-47B5-86E7-5C986C696BB610100414Pictures at an Exhibition, Part 7: The Great Gate of KievThis is an impressive and massive work for mature bands! Boyd's setting is not a simple rehashing of the famous Ravel orchestration, as Boyd remains more faithful to the bold musical language of Mussorgsky's original composition. This exciting work fits the bill for better high school and college bands, yet is substantial enough to meet the needs of professional organizations as well. The work is available in its entirety with all seven sections and the score included at a value-minded price, or each of the individual sections may be ordered individually as a set of parts only and the complete score (10105314) may be purchased separately should only certain sections be of interest. The sections include: Part 1: Promenade; Gnomus-Gnomus. Part 2: Promenade; Il Vecchio Castello.Part 3: Promenade; Tuileries; Bydlo. Part 4: Promenade; Ballet Of The Chicks In Their Shells; Two Jews, One Rich, The Other Poor; Promenade. Part 5: Limoges-The Market Place; Catacombae; Cum Mortuis In Lingua Mortua. Part 6: The Hut On Fowl's Legs. Part 7: The Great Gate Of Kiev.Concert Band
16698F423B3AA-E23B-4774-877E-A64A96350128V85Three Faces Of LoveVocal
16699F42642F6-F7D8-4CFC-A2B7-F5DD7EE6BDB6ST297COTrioHugo Kauder (1888 – 1972) was a mid-20th-century Austrian composer, pedagogue, and music theorist who was born in Tova?ov (German: Tobitschau), Moravia (now in the Czech Republic). He defied the atonal trend of his generation with his uniquely harmonic, contrapuntal style. His legacy of over 300 works, many yet to be published, is receiving renewed interest today. This trio for flute, oboe and piano is written without barlines.Flute, Oboe, Piano
16700F42D5B51-6C7C-49B1-A189-38B26A6AB52818803029Sing!(not set)SA and Piano