Chamber Suite for Viola & Orchestra by Daniel McCarthy. For Soloist(s) with Full Orchestra (solo viola, flute, oboe, Bb clarinet, bass clarinet, bassoon, F horn, Bb trumpet, trombone, tuba, timpani, percussion (suspended cymbal, temple blocks, low tom, bongo, finger cymbals, tam tam, drum rack), piano, violin I, violin II, viola, cello, string b). Orchestra Music. Medium. Score and parts. Duration 9:00. Published by C. Alan Publications (CN.10310). Written for the composers son, Daniel, who is a violist. This composition is derived partly from Chamber Symphony No. 3 and a piece for viola and piano, also written for McCarthy's son, "Testament.".

Windows. (for Bassoon & Orchestra). By Daniel McCarthy. For Soloist(s) with Full Orchestra (Piccolo, Flute, Oboe , English Horn, Clarinet 1/2 in Bb, Bassoon 1/2, Trumpet 1/2 in Bb, Horn 1/2, Horn 3, Trombone , Percussion 1 (bongos, snare drum, maracas, suspended cymbal, tambourine, wood block, sand paper, sleigh bells), Percussion 2 (suspended c). Orchestra Music. Score only. Duration 22:00. Published by C. Alan Publications (CN.10301). Commissioned by Barrick Stees, assistant principal bassoonist of The Cleveland Orchestra. Each movement is a study of various aspects of light in the study of refraction in prisms.I. PrismsII. Liquid MoonIII. Through Stained, Leaded GlassIV. Clouds: Obscured Light V. White Light.

Passing by Joshua Missal. For Full Orchestra (piccolo, flute 1-2, oboe 1-2, english horn, Bb clarinet 1-2, bassoon 1-2, F horn 1-4, Bb trumpet 1-3, trombone 1-3, tuba, timpani, percussion (2, players) (tam tam, bass drum, cymbals, field drum), violin 1-2, viola, cello, contrabass). Orchestra Music. Grade 3. Score only. Duration 7:45. Published by C. Alan Publications (CN.10231). For Pegge, beloved wife, in memory (9/9/01).

Passing by Joshua Missal. For Full Orchestra (piccolo, flute 1-2, oboe 1-2, english horn, Bb clarinet 1-2, bassoon 1-2, F horn 1-4, Bb trumpet 1-3, trombone 1-3, tuba, timpani, percussion (2, players) (tam tam, bass drum, cymbals, field drum), violin 1-2, viola, cello, contrabass). Orchestra Music. Grade 3. Score and parts. Duration 7:45. Published by C. Alan Publications (CN.10230). For Pegge, beloved wife, in memory (9/9/01).

Gothica by Daniel McCarthy. For Full Orchestra (Piccolo, Flute , Oboe , English Horn, E-flat Clarinet, Clarinet in Bb, Bass Clarinet, Bassoon, Trumpet 1/2 in Bb, Trumpet 3 in Bb, Horn in F 1/2, Horn in F 3, Trombone , Tuba, Timpani, Percussion 1 (snare drum, bongos, maracas, suspended cymbal, tambourin). Orchestra Music. Score only. Duration 20:00. Published by C. Alan Publications (CN.10221). Written for Barrick Stees, Assistant Principal bassoon of the Cleveland Orchestra. The various movements of this work depict aspects of Gothic Cathedral architecture.

Symphony No. 2 by Kimberly Archer. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Trombone ). Band Music. Grade 5. Score only. Duration 21:00. Published by C. Alan Publications (CN.10181). Symphony No. 2 is my doctoral dissertation. At this significant point in my life and career, I feel it is important to pay homage to three people who have been critical in my getting this far, both personally and professionally.I. March is dedicated to Andy Waggoner, my first composition teacher in graduate school. By form it is a march, but by style, a scherzo. It is intended to be playful and humorous (reflective of our personal relationship), but also makes use of several of the concepts and skills he taught me, including how to use octatonic collections.II. Passacaglia is dedicated to Pat Dunnigan. Pat taught me to use Finale, premiered several of my early band compositions (including my first symphony), and has been my friend and mentor for more than ten years. His movement is composed in the style of Phillip Glass - one of his favorite composers. There are also allusions to the "Star Trek" theme and Mahler's Symphony No. 1.III. Theme and Variations is dedicated to my father, who is a former church organist, and particularly fond of the hymn "Blessed Assurance." All three movements of the symphony include elements of this hymn in some form, thus adding unity to an otherwise eclectic work, but the third movement takes the hymn as its outright theme. Some of my earliest musical experiences involved listening to my dad practice or having him accompany me for solos and auditions. I doubt I would have pursued music professionally, or have survived graduate school, had it not been for him.- Kim ArcherSymphony No. 2 is conceived for a full symphonic band rather than a true wind ensemble, which assumes that at least all the flute and clarinet parts will be doubled.The piano part for Movements II and III and the string bass part for Movements I and II should both be clearly audible, particularly in solo passages. String bass should be positioned near the front of the stage and the piano should use full stick.

Weihnachten by Engelbert Humperdinck (1854-1921). Arranged by Richard Proulx. For Flute. Sacred, Christmas. Easy. Instrumental Part. 4 pages. Published by GIA Publications (GI.G-6145FL).

Symphony No. 2 by Kimberly Archer. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Trombone ). Band Music. Grade 5. Score and parts. Duration 21:00. Published by C. Alan Publications (CN.10180). Symphony No. 2 is my doctoral dissertation. At this significant point in my life and career, I feel it is important to pay homage to three people who have been critical in my getting this far, both personally and professionally.I. March is dedicated to Andy Waggoner, my first composition teacher in graduate school. By form it is a march, but by style, a scherzo. It is intended to be playful and humorous (reflective of our personal relationship), but also makes use of several of the concepts and skills he taught me, including how to use octatonic collections.II. Passacaglia is dedicated to Pat Dunnigan. Pat taught me to use Finale, premiered several of my early band compositions (including my first symphony), and has been my friend and mentor for more than ten years. His movement is composed in the style of Phillip Glass - one of his favorite composers. There are also allusions to the "Star Trek" theme and Mahler's Symphony No. 1.III. Theme and Variations is dedicated to my father, who is a former church organist, and particularly fond of the hymn "Blessed Assurance." All three movements of the symphony include elements of this hymn in some form, thus adding unity to an otherwise eclectic work, but the third movement takes the hymn as its outright theme. Some of my earliest musical experiences involved listening to my dad practice or having him accompany me for solos and auditions. I doubt I would have pursued music professionally, or have survived graduate school, had it not been for him.- Kim ArcherSymphony No. 2 is conceived for a full symphonic band rather than a true wind ensemble, which assumes that at least all the flute and clarinet parts will be doubled.The piano part for Movements II and III and the string bass part for Movements I and II should both be clearly audible, particularly in solo passages. String bass should be positioned near the front of the stage and the piano should use full stick.

Weihnachten - Full Score and Parts by Engelbert Humperdinck (1854-1921). Arranged by Richard Proulx. For Flute, Oboe, 2 Horns in F, Solo Violin, String Quintet, Bass, Organ; Flute, harp for use with vocal score only (G-6145FL, G-6145HARP). Sacred. Easy. Score & Parts. 20 pages. Published by GIA Publications (GI.G-6145INST).

Sword Dancer. (Oboe Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet in Bb, Bassoon, Contrabassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Oboe Solo, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1, Horn in F 2, ). Band Music. Grade 4. Score only. Duration 8:00. Published by C. Alan Publications (CN.10171). Commissioned byThe Andover High School Symphony BandBloomfield Hills, MI, Robert H. Ambrose, ConductorDedicated to the Memory ofDr. Robert H. Ambrose, M.D.1925-1994.

Sword Dancer. (Oboe Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet in Bb, Bassoon, Contrabassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Oboe Solo, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1, Horn in F 2, ). Band Music. Grade 4. Score and parts. Duration 8:00. Published by C. Alan Publications (CN.10170). Commissioned byThe Andover High School Symphony BandBloomfield Hills, MI, Robert H. Ambrose, ConductorDedicated to the Memory ofDr. Robert H. Ambrose, M.D.1925-1994.

Cape Breton Postcard by Catherine McMichael. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon, Clarinet in Bb 1/2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1/2, Trombone 1/2, Euphonium, (Baritone T.C.), Tuba, Timpani, Per). Band Music. Grade 3. Score only. Duration 7:00. Published by C. Alan Publications (CN.10091). What is it about Cape Breton? What makes the people so strong and their music so keen? In 1497 the first Europeans led by the famed explorer John Cabot arrived on Cape Breton, which is now part of Nova Scotia, Canada. Cabot's discovery of the island led to its gradual settlement by Scots, Irish, French and English. The mid 1700s brought major changes to Scotland with the end of the Highland Clan System. Contemplating a grim future in their homeland, many Scots left for new opportunity in Cape Breton. Cape Breton has since become a stronghold of Gaelic culture, some say more deeply Scottish than Scotland. This fierce blend of daring, edgy courage, pathos and energy has become distilled to a fine, strong spirit in the music played by Bretonians from then until now. Music from Cape Breton is Celtic times twenty!The three movements of Cape Breton Postcard are meant to portray the integral bond between the land and the soul: Dawn, Mist and Thunder are all intrinsic to the Cape Breton environment. The Mist is derived from a melody for solo fiddle called "Arisaig Mist" by Wilfred Gillis, a Canadian composer, and used by permission of Cranford Publications of Cape Breton Island. That haunting melody was the starting point for the concept of the entire piece. All other melodies are original to this work but inspired by much listening to music from Cape Breton.Cape Breton Postcard was commissioned by the Hill Country Middle School Bands in Austin, Texas, Cheryl Floyd and Chuck Fisher, directors. The commission was funded by the Baylor University School of Music, Dr. Kevin Sedatole, conductor, and the Stevenson family. The piece was premiered by the Hill Country Middle School Band on May 24, 2005 at the Westlake High School Auditorium with the composer present. The orchestra adaptation was premiered by the Midland (MI) Community Orchestra, Robert Ralston, conductor on February 19, 2006.

Cape Breton Postcard by Catherine McMichael. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon, Clarinet in Bb 1/2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1/2, Trombone 1/2, Euphonium, (Baritone T.C.), Tuba, Timpani, Per). Band Music. Maestro Band Series. Grade 3. Score and parts. Duration 7:00. Published by C. Alan Publications (CN.10090). What is it about Cape Breton? What makes the people so strong and their music so keen? In 1497 the first Europeans led by the famed explorer John Cabot arrived on Cape Breton, which is now part of Nova Scotia, Canada. Cabot's discovery of the island led to its gradual settlement by Scots, Irish, French and English. The mid 1700s brought major changes to Scotland with the end of the Highland Clan System. Contemplating a grim future in their homeland, many Scots left for new opportunity in Cape Breton. Cape Breton has since become a stronghold of Gaelic culture, some say more deeply Scottish than Scotland. This fierce blend of daring, edgy courage, pathos and energy has become distilled to a fine, strong spirit in the music played by Bretonians from then until now. Music from Cape Breton is Celtic times twenty!The three movements of Cape Breton Postcard are meant to portray the integral bond between the land and the soul: Dawn, Mist and Thunder are all intrinsic to the Cape Breton environment. The Mist is derived from a melody for solo fiddle called "Arisaig Mist" by Wilfred Gillis, a Canadian composer, and used by permission of Cranford Publications of Cape Breton Island. That haunting melody was the starting point for the concept of the entire piece. All other melodies are original to this work but inspired by much listening to music from Cape Breton.Cape Breton Postcard was commissioned by the Hill Country Middle School Bands in Austin, Texas, Cheryl Floyd and Chuck Fisher, directors. The commission was funded by the Baylor University School of Music, Dr. Kevin Sedatole, conductor, and the Stevenson family. The piece was premiered by the Hill Country Middle School Band on May 24, 2005 at the Westlake High School Auditorium with the composer present. The orchestra adaptation was premiered by the Midland (MI) Community Orchestra, Robert Ralston, conductor on February 19, 2006.

Spirit of the Shannon. (Flute Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1, Horn in F 2, Trombone 1/2, Bass Trombone, Euph). Band Music. Grade 3. Score only. Duration 4:30. Published by C. Alan Publications (CN.10081). Celtic in style, this one movement concerto for flute is in three sections: lively, lovely and really, really fast! The accompaniment is accessible by an intermediate level band.

Spirit of the Shannon. (Flute Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1, Horn in F 2, Trombone 1/2, Bass Trombone, Euph). Band Music. Maestro Band Series. Grade 3. Score and parts. Duration 4:30. Published by C. Alan Publications (CN.10080). Celtic in style, this one movement concerto for flute is in three sections: lively, lovely and really, really fast! The accompaniment is accessible by an intermediate level band.

Concerto for Piano, Winds & Percussion. (Piano Feature). By David Gillingham. For Soloist(s) with Concert Band (Solo Piano, Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet in A 1, Clarinet in A 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in C 1, Trumpet in C 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone,). Grade 5. Score only. Duration 17:00. Published by C. Alan Publications (CN.09971). Also available for Solo Piano and Percussion Orchestra (Item #06530).

Concerto for Piano, Winds & Percussion. (Piano Feature). By David Gillingham. For Soloist(s) with Concert Band (Solo Piano, Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet in A 1, Clarinet in A 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in C 1, Trumpet in C 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone,). Grade 5. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.09970). Also available for Solo Piano and Percussion Orchestra (Item #06530).

A Symphony for Salem by D. Mark McCoy. For Concert Band (Piccolo/Alto Flute, Flute, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1-2, F Horn 3-4, Trombone 1, Trombone 2). Grade 5. Score and parts. Duration 19:50. Published by C. Alan Publications (CN.08880). "Thou shalt not suffer a witch to live..." Exodus 22:18Movement I: THE DANCEAccording to Arthur Miller's play, "THE CRUCIBLE", the entire episode began when several young girls (one the daughter of the minister) were caught dancing nude in the fields. To escape the harsh puritan punishments administered for their sins, the girls claimed Tituba, a slave woman from Barbados, had "conjured" spirits. This movement evokes the mood of that first night as each of four instruments (flute, oboe, clarinet and bassoon), portrays one of the antagonists on their journey into the forest on that dark night. The "devil's voice" is heard in euphonium as he changes the mode of the girls dance theme. As the dance builds to a feverish climax, the strains of music from the church are heard echoing in the distance. The dissonance of these themes is indicative of the inherent conflict in the young girl's actions. "The Devil's Waltz" is heard as the girls join in the seductive, ritualistic dance. The initial dance theme is heard again (with its modal alterations) as the girls return to the village and the church. The last strain of the movement corresponds to the line from the hymn "for still our ancient foe doth seek to work us woe..."Movement II: SCENES FROM THE VILLAGE (THE ACCUSED)Salem village was a contentious place full of hard-working, deeply religious people. The town had been suffering land battles for years. The New England winters were dull and hard and there was little to do as celebratory events such as Christmas or Mardi Gras were forbidden. The Village had been caught up in serious disputes with three previous ministers before it finally settled on its fourth, the Reverend Samuel Parris. The power of God and Satan was unquestioned. In this environment, hysteria could run rampant on this sleepy village. Between June and September of 1692, scores of men and women were accused of and tried for witchcraft. Themes in this movement represent two married couples and an old matron accused and executed as witches. Rebecca Nurse was a pious, nearly deaf, seventy-one year old woman. She replied to her accusers "OF this thing I am innocent as a child unborn, but surely, what sin hath God found in me unrepented of that He could lay such an affliction on me in my old age?" Martha Cory denied ever having been a witch and her husband Giles, in his humility had actually testified against her. John Procter was one of the first to speak out against the girls. "If they are let alone we should all be devils and witches." When first his wife and then he himself were accused, witnesses said that it met with much skepticism. The movement begins with Rebecca's theme, it's spinning continuo emblematic of her rocking chair. She had seen difficult times before; just when it seems her theme will stop, it finds the strength to continue. Next the "Cory theme" is heard representing the old couple trying to survive the harsh winter. As the village comes to life, their themes are turned into fugue and double fugue. As the movement nears its end, a love theme is heard representing the strong bond between the Proctors. Their theme is honest, strong and consonant, until the added Eb gives the theme an uneasy feeling of some discord lurking below the surface of this serene melody.Movement III: THE TRIALIn all, fourteen women and six men were put to death as witches. Nineteen of them were hanged. In an attempt to coerce a confession, Giles Cory was "pressed" to death by adding rocks to his chest until he was crushed. Reportedly his last words were "More Weight". Despite their high place of esteem in the community. the Proctors were given to the gallows to appease the screaming children. Even pious, God-fearing Rebecca Nurse was sent to Gallows Hill.The trials were a mockery of judicial restraint. When the accused were lead in, the girls would fall writhing on the floor, accusing the defendants of attacking, pinching, or biting them. If the judges remained unimpressed, the girls would claim the "witches" were sitting on the beams over their heads. The courtroom was a cacophonous, wicked circus with no chance of defense or search for the truth. This movement recreates the air of frustration and confusion as each of the accused are lead in, questioned and interrupted as they attempt to defend themselves. An eight-note theme is truncated again and again as if it were sand passing through an hourglass, for once in the courtroom, it was simply a matter of time until the guilty verdict was issued. The "Cory theme" is heard First and, as they state their case, the people of the village join in to claim their innocence. Their defense goes unheard. Martha is sent to the gallows and Giles is "pressed" to death. The love theme of the Proctors is heard again but it too is interrupted and ignored. They are sent to their deaths. Rebecca's theme is uttered softly to no avail; unlike before, it hasn't the power to continue. She is condemned to death as well.Movement IV: THE QUESTIONFinally, the Governor of Massachusetts forbad the use use of "spectral evidence" in the proceedings. The girls were silenced. Several months after the fury had dissipated, the "afflicted" girls were walking in a nearby town. As they passed a woman that they did not know, they fell writhing on the ground, accusing the woman of witchcraft. However, the people of this town paid the girls no attention. They had no desire to repeat the sins of Salem. The surprised girls rose and went on their way. No words were spoken, no names and deeds given, no apparitions imagined or explained.Narcissism would have us believe that that incident closed the book on witch trials in America. But history proves otherwise. The innocent people whose lives were wrecked by the McCarthy Hearings as recently as the 1950's relived the sins of Salem in a very real sense. The perrenial election-year arguments are at times eerily reminiscent of the witch hunts. "Those who do not study history are doomed to repeat it..." it would seem as true for most who do. Despite the fact that we condemn the people of Salem, we are all too capable of repeating their mistakes. The question is unfortunately not "will it happen again?" but "when......?".

Chumash Dance Celebration by Emma Lou Diemer (1927-). Arranged by H. Popp. For Full Orchestra (Piccolo/Flute 1/2, Oboe 1/2, Bb Clarinet 1/2, Bassoon 1/2, F Horn 1/3, F Horn 2/4, Bb Trumpet 1, Bb Trumpet 2/3, Trombone 1/2, Trombone 3, Tuba, Timpani, Percussion 1 (snare drum), Percussion 2 (field drum), Percussion 3 (bass drum), Percussion 4 (medium ). Grade 4. Score only. Duration 4:00. Published by C. Alan Publications (CN.09221). Inspired by the Chumash Indian Tribe Pow Wows, this piece takes you to a celebration of the seasons. Hear the dance rhythms as the drums pound out the dance steps.

Chumash Dance Celebration by Emma Lou Diemer (1927-). For Full Orchestra (Piccolo/Flute 1/2, Oboe 1/2, Bb Clarinet 1/2, Bassoon 1/2, F Horn 1/3, F Horn 2/4, Bb Trumpet 1, Bb Trumpet 2/3, Trombone 1/2, Trombone 3, Tuba, Timpani, Percussion 1 (snare drum), Percussion 2 (field drum), Percussion 3 (bass drum), Percussion 4 (medium ). Grade 4. Score and parts. Duration 4:00. Published by C. Alan Publications (CN.09220). Inspired by the Chumash Indian Tribe Pow Wows, this piece takes you to a celebration of the seasons. Hear the dance rhythms as the drums pound out the dance steps.

Tu Pauperum Refugium by Josquin des Prez (1440-1521). Arranged by G. Brock. For Concert Band (flute 1/2, oboe, clarinet in Bb 1-3, bass clarinet, bassoon, alto saxophone 1/2, tenor saxophone, baritone saxophone, trumpet in Bb 1/2, horn in F 1/2, trombone 1/2, euphonium, string bass, tuba). Grade 3. Score only. Duration 4:00. Published by C. Alan Publications (CN.09141). Based on Josquin Desprez's motet Tu Pauperum Refugium, this work begins with soul-settling chords, then moves off into the complex polyphony Josquin perfected 500 years ago. A beautiful arrangement for band.

Pax by Catherine McMichael. For Concert Band (Flute 1/2, Oboe, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1/2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bariton). Grade 2. Score only. Duration 3:20. Published by C. Alan Publications (CN.09111). "Pax," originally in McMichael's "Rose Quartet" for piano and string trio, is melodic, moving and instantly appealing to listeners and performers alike. With a superb musical journey, it will enhance any concert. A memorable tune with a dramatic flare.

Lewis and Clark by Catherine McMichael. For Concert Band (Flute 1/2, Oboe, Bassoon, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, Horn in F 1/2, Trombone 1/2, Baritone, (Baritone T.C.), Tuba, Timpani, Percussion 1 [2 players] (snare drum, bass). Grade 3. Score only. Duration 2:15. Published by C. Alan Publications (CN.09051). Using the folk songs "New Rigged Ship" and "Jefferson & Liberty," the exciting story of the Lewis and Clark expedition launches a musical journey of discovery and exploration.

Tu Pauperum Refugium by Josquin des Prez (1440-1521). Arranged by G. Brock. For Concert Band (flute 1/2, oboe, clarinet in Bb 1-3, bass clarinet, bassoon, alto saxophone 1/2, tenor saxophone, baritone saxophone, trumpet in Bb 1/2, horn in F 1/2, trombone 1/2, euphonium, string bass, tuba). Grade 3. Score and parts. Duration 4:00. Published by C. Alan Publications (CN.09140). Based on Josquin Desprez's motet Tu Pauperum Refugium, this work begins with soul-settling chords, then moves off into the complex polyphony Josquin perfected 500 years ago. A beautiful arrangement for band.

Pax by Catherine McMichael. For Concert Band (Flute 1/2, Oboe, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1/2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bariton). Grade 2. Score and parts. Duration 3:20. Published by C. Alan Publications (CN.09110). "Pax," originally in McMichael's "Rose Quartet" for piano and string trio, is melodic, moving and instantly appealing to listeners and performers alike. With a superb musical journey, it will enhance any concert. A memorable tune with a dramatic flare.

Lewis and Clark by Catherine McMichael. Arranged by Stuart Johnson. For Concert Band (Flute 1/2, Oboe, Bassoon, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, Horn in F 1/2, Trombone 1/2, Baritone, (Baritone T.C.), Tuba, Timpani, Percussion 1 [2 players] (snare drum, bass). Grade 3. Score and parts. Duration 2:15. Published by C. Alan Publications (CN.09050). Using the folk songs "New Rigged Ship" and "Jefferson & Liberty," the exciting story of the Lewis and Clark expedition launches a musical journey of discovery and exploration.

The Black Sea by Gary Gackstatter. For Full Orchestra (flute 1/2, oboe 1/2, clarinet in Bb 1/2, bassoon 1/2, horn in F 1/2, trombone 1/2, tuba, percussion (suspended cymbal, tambourine, snare drum, Finger cymbals), xylophone, violin I, violin II, viola, violoncello, contrabass). Grade 3. Score only. Duration 2:15. Published by C. Alan Publications (CN.08951). This high-energy piece will have your players rising to the challenge. The unpredictable Black Sea is depicted with meter changes, col legno, pizzicato and more. It's dramatic but not overly difficult. Brief interludes in 7/8 are actually a relatively easy 3+2+2 and the dynamic changes and accents are a blast to play.

The Black Sea by Gary Gackstatter. For Full Orchestra (flute 1/2, oboe 1/2, clarinet in Bb 1/2, bassoon 1/2, horn in F 1/2, trombone 1/2, tuba, percussion (suspended cymbal, tambourine, snare drum, Finger cymbals), xylophone, violin I, violin II, viola, violoncello, contrabass). Grade 3. Score and parts. Duration 2:15. Published by C. Alan Publications (CN.08950). This high-energy piece will have your players rising to the challenge. The unpredictable Black Sea is depicted with meter changes, col legno, pizzicato and more. It's dramatic but not overly difficult. Brief interludes in 7/8 are actually a relatively easy 3+2+2 and the dynamic changes and accents are a blast to play.

A Symphony for Salem by D. Mark McCoy. For Concert Band (Piccolo/Alto Flute, Flute, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1-2, F Horn 3-4, Trombone 1, Trombone 2). Grade 5. Score only. Duration 19:50. Published by C. Alan Publications (CN.08881). "Thou shalt not suffer a witch to live..." Exodus 22:18Movement I: THE DANCEAccording to Arthur Miller's play, "THE CRUCIBLE", the entire episode began when several young girls (one the daughter of the minister) were caught dancing nude in the fields. To escape the harsh puritan punishments administered for their sins, the girls claimed Tituba, a slave woman from Barbados, had "conjured" spirits. This movement evokes the mood of that first night as each of four instruments (flute, oboe, clarinet and bassoon), portrays one of the antagonists on their journey into the forest on that dark night. The "devil's voice" is heard in euphonium as he changes the mode of the girls dance theme. As the dance builds to a feverish climax, the strains of music from the church are heard echoing in the distance. The dissonance of these themes is indicative of the inherent conflict in the young girl's actions. "The Devil's Waltz" is heard as the girls join in the seductive, ritualistic dance. The initial dance theme is heard again (with its modal alterations) as the girls return to the village and the church. The last strain of the movement corresponds to the line from the hymn "for still our ancient foe doth seek to work us woe..."Movement II: SCENES FROM THE VILLAGE (THE ACCUSED)Salem village was a contentious place full of hard-working, deeply religious people. The town had been suffering land battles for years. The New England winters were dull and hard and there was little to do as celebratory events such as Christmas or Mardi Gras were forbidden. The Village had been caught up in serious disputes with three previous ministers before it finally settled on its fourth, the Reverend Samuel Parris. The power of God and Satan was unquestioned. In this environment, hysteria could run rampant on this sleepy village. Between June and September of 1692, scores of men and women were accused of and tried for witchcraft. Themes in this movement represent two married couples and an old matron accused and executed as witches. Rebecca Nurse was a pious, nearly deaf, seventy-one year old woman. She replied to her accusers "OF this thing I am innocent as a child unborn, but surely, what sin hath God found in me unrepented of that He could lay such an affliction on me in my old age?" Martha Cory denied ever having been a witch and her husband Giles, in his humility had actually testified against her. John Procter was one of the first to speak out against the girls. "If they are let alone we should all be devils and witches." When first his wife and then he himself were accused, witnesses said that it met with much skepticism. The movement begins with Rebecca's theme, it's spinning continuo emblematic of her rocking chair. She had seen difficult times before; just when it seems her theme will stop, it finds the strength to continue. Next the "Cory theme" is heard representing the old couple trying to survive the harsh winter. As the village comes to life, their themes are turned into fugue and double fugue. As the movement nears its end, a love theme is heard representing the strong bond between the Proctors. Their theme is honest, strong and consonant, until the added Eb gives the theme an uneasy feeling of some discord lurking below the surface of this serene melody.Movement III: THE TRIALIn all, fourteen women and six men were put to death as witches. Nineteen of them were hanged. In an attempt to coerce a confession, Giles Cory was "pressed" to death by adding rocks to his chest until he was crushed. Reportedly his last words were "More Weight". Despite their high place of esteem in the community. the Procters were given to the gallows to appease the screaming children. Even pious, God-fearing Rebecca Nurse was sent to Gallows Hill.The trials were a mockery of judicial restraint. When the accused were lead in, the girls would fall writhing on the floor, accusing the defendants of attacking, pinching, or biting them. If the judges remained unimpressed, the girls would claim the "witches" were sitting on the beams over their heads. The courtroom was a cacophonous, wicked circus with no chance of defense or search for the truth. This movement recreates the air of frustration and confusion as each of the accused are lead in, questioned and interrupted as they attempt to defend themselves. An eight-note theme is truncated again and again as if it were sand passing through an hourglass, for once in the courtroom, it was simply a matter of time until the guilty verdict was issued. The "Cory theme" is heard First and, as they state their case, the people of the village join in to claim their innocence. Their defense goes unheard. Martha is sent to the gallows and Giles is "pressed" to death. The love theme of the Proctors is heard again but it too is interrupted and ignored. They are sent to their deaths. Rebecca's theme is uttered softly to no avail; unlike before, it hasn't the power to continue. She is condemned to death as well.Movement IV: THE QUESTIONFinally, the Governor of Massachusetts forbad the use use of "spectral evidence" in the proceedings. The girls were silenced. Several months after the fury had dissipated, the "afflicted" girls were walking in a nearby town. As they passed a woman that they did not know, they fell writhing on the ground, accusing the woman of witchcraft. However, the people of this town paid the girls no attention. They had no desire to repeat the sins of Salem. The surprised girls rose and went on their way. No words were spoken, no names and deeds given, no apparitions imagined or explained.Narcissism would have us believe that that incident closed the book on witch trials in America. But history proves otherwise. The innocent people whose lives were wrecked by the McCarthy Hearings as recently as the 1950's relived the sins of Salem in a very real sense. The perrenial election-year arguments are at times eerily reminiscent of the witch hunts. "Those who do not study history are doomed to repeat it..." it would seem as true for most who do. Despite the fact that we condemn the people of Salem, we are all too capable of repeating their mistakes. The question is unfortunately not "will it happen again?" but "when......?".

Woodland Serenade and Rondo. (Alto Saxophone Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score only. Duration 6:00. Published by C. Alan Publications (CN.08781). Woodland Serenade & Rondo is a 6-minute concerto, crafted to spotlight not only a fine saxophone soloist, but also to give a director the opportunity to feature other outstanding solo wind players in the ensemble. Its premiere was December 20, 2003 at the prestigious Midwest Band and Orchestra Clinic in Chicago. It was performed by The Woodlands (TX) High School Band, Brett Johnson conducting, with Mr. Lynn Klock, professor of saxophone at the University of Massachussetts at Amherst, the soloist.Although it is a short piece, the thematic material is rich and well-developed. The serenade's simple, haunting theme demands sensitive musicality and warm tone quality from soloist and band alike. Vibraphone, marimba, bells and wind chimes create a dreamy backdrop to the long-limbed melody. At times the serenade is chamber-like in texture spotlighting solo winds on lines that answer and mingle with the saxophone melodies. A short cadenza is followed by an improvisational type variation of the main theme, and the serenade comes to a peaceful close as the saxophone and solo winds call and respond with a motive from the theme. An immediate segue into the rondo follows, picking up the pace with a jazzy tune derived from the serenade theme, accompanied by brass. In classic rondo form, the second and third themes have contrasting textures and moods, and include the use of xylophone, slapstick, rimshots and other percussion colors. Sass, humor and driving intensity are all elements of this fast-paced rondo, with the ending bringing a real wail of delight from soloist, band and audience alike.- Catherine McMichael.

Woodland Serenade and Rondo. (Alto Saxophone Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score and parts. Duration 6:00. Published by C. Alan Publications (CN.08780). Woodland Serenade & Rondo is a 6-minute concerto, crafted to spotlight not only a fine saxophone soloist, but also to give a director the opportunity to feature other outstanding solo wind players in the ensemble. Its premiere was December 20, 2003 at the prestigious Midwest Band and Orchestra Clinic in Chicago. It was performed by The Woodlands (TX) High School Band, Brett Johnson conducting, with Mr. Lynn Klock, professor of saxophone at the University of Massachussetts at Amherst, the soloist.Although it is a short piece, the thematic material is rich and well-developed. The serenade's simple, haunting theme demands sensitive musicality and warm tone quality from soloist and band alike. Vibraphone, marimba, bells and wind chimes create a dreamy backdrop to the long-limbed melody. At times the serenade is chamber-like in texture spotlighting solo winds on lines that answer and mingle with the saxophone melodies. A short cadenza is followed by an improvisational type variation of the main theme, and the serenade comes to a peaceful close as the saxophone and solo winds call and respond with a motive from the theme. An immediate segue into the rondo follows, picking up the pace with a jazzy tune derived from the serenade theme, accompanied by brass. In classic rondo form, the second and third themes have contrasting textures and moods, and include the use of xylophone, slapstick, rimshots and other percussion colors. Sass, humor and driving intensity are all elements of this fast-paced rondo, with the ending bringing a real wail of delight from soloist, band and audience alike.- Catherine McMichael.

Sapphire. (Alto Saxophone Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Solo Alto Saxophone, Bb Trumpet 1-4, F Horn 1-4, Trombone 1/2, Bass Trombone, Euphonium, Tub). Grade 5. Score only. Duration 11:20. Published by C. Alan Publications (CN.08611). "Sapphire" is a one-movement concerto for alto saxophone and concert band or wind ensemble, commissioned by Mr. Lynn Klock, Professor of Saxophone at the University of Massachussetts at Amherst. It consists of three connected sections: the fast opening section is full of energy and edgy intensity; the second is a meditative ballad in improvisatory style, linked by a cadenza to the third section, which is a lively salsa, giving the percussion section a real workout. The themes of all the sections are reunited in the coda of the piece, as it culminates in a long trill by the solo saxophone, with instruments gradually added for a noisy, celebratory climax. The piece was composed entirely during the month of September 2000, and the title Sapphire refers to September's birthstone.

Aegean Symphony by Gary Ziek. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1, F Horn 2, F Horn 3, F Horn 4, Trombo). Grade 5. Score only. Duration 20:35. Published by C. Alan Publications (CN.08551). I. PhaetonII. SisyphusIII. PanIV. Pandora"The Aegean Symphony" is comprised of four narrative movements telling the story of four Greek mythological legends. Phaeton's ill fated chariot ride across the sky, Sisyphus' doomed eternity of frustration, the origin of the Pan flute, and Pandora's curiosity that released the ills of the world only to be comforted by Hope at the conclusion.

Military Music of Beethoven by Ludwig van Beethoven (1770-1827). Arranged by J. Boyd. For Concert Band (Piccolo, Flute, Oboe 1/2, Eb Clarinet, Clarinet 1-4, Bassoon 1/2, Contrabassoon, Horn 1/2, Horn 3/4, Bb Trumpet 1-6, Opt. C Trumpet 1-6, Trombone 1/2, Euphonium 1/2, Opt. T.C. Baritone 1/2, Tuba, Piano, Percussion 1 (snare drum, bass drum), Percussion 2 (). Grade 4. Score only. Duration 10:00. Published by C. Alan Publications (CN.08201). In 1807, Beethoven composed a little March (WoO 29) for two clarinets, two horns and two bassoons for Prince Esterhazy in connection with his trip to Eisenstadt in September 1807. Beginning in 1809, the Beethoven marches for band appear. The first, a March in F (WoO 18) was composed "for his Royal Highness Archduke Anton, 1809." Additional marches for band appear in 1810. The first was another March in F composed "for his Royal Highness Archduke Anton, 1810, Baden, on the 3rd Summer month." This march (WoO 19) and the March in F were performed at the tournament at Laxenburg held on August 25, 1810, in honor of the birthday of Empress Maria Ludovica. In this year, Beethoven also composed the Ecossaise in D (WoO 22); Ecossaise in G (WoO 23 - not in the collected works); Polonaise in D (WoO 21); and the March in C WoO 20); all for military band.The final known march that Beethoven composed is the March (WoO 24) of 1816. This was in response to a request from lieutenant Commander Franz Xaver Embel of the Civil Artillery Corps asking Beethoven for a "March of Turkish Music." In the final months of his life, Beethoven still hoped to compose future wind compositions. In December 1826, he spoke with Adolf Schesinger about some military marches which he intended to compose for the Royal Band of the King of Prussia. Unfortunately he did not live to compose any additional works.- John Boyd.

Aegean Symphony by Gary Ziek. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1, F Horn 2, F Horn 3, F Horn 4, Trombo). Grade 5. Score and parts. Duration 20:35. Published by C. Alan Publications (CN.08550). I. PhaetonII. SisyphusIII. PanIV. Pandora"The Aegean Symphony" is comprised of four narrative movements telling the story of four Greek mythological legends. Phaeton's ill fated chariot ride across the sky, Sisyphus' doomed eternity of frustration, the origin of the Pan flute, and Pandora's curiosity that released the ills of the world only to be comforted by Hope at the conclusion.

Sapphire. (Alto Saxophone Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Solo Alto Saxophone, Bb Trumpet 1-4, F Horn 1-4, Trombone 1/2, Bass Trombone, Euphonium, Tub). Grade 5. Score and parts. Duration 11:20. Published by C. Alan Publications (CN.08610). "Sapphire" is a one-movement concerto for alto saxophone and concert band or wind ensemble, commissioned by Mr. Lynn Klock, Professor of Saxophone at the University of Massachussetts at Amherst. It consists of three connected sections: the fast opening section is full of energy and edgy intensity; the second is a meditative ballad in improvisatory style, linked by a cadenza to the third section, which is a lively salsa, giving the percussion section a real workout. The themes of all the sections are reunited in the coda of the piece, as it culminates in a long trill by the solo saxophone, with instruments gradually added for a noisy, celebratory climax. The piece was composed entirely during the month of September 2000, and the title Sapphire refers to September's birthstone.

Chamber Symphony No. 3 for Clarinet. (Clarinet Feature). By Daniel McCarthy. For Solo Bb Clarinet & Chamber Ensemble (Solo Bb Clarinet, Flute, Oboe, Bb Clarinet, Bass Clarinet, Bassoon, F Horn, Bb Trumpet, Trombone, Tuba, Percussion 1-2 (crotales, suspended cymbal, low tom, timbales, bongos, temple blocks, finger cymbals, maracas, timpani, shaker), Piano, Violin I, Violi). Medium difficult. Score only. Published by C. Alan Publications (CN.08601). Chamber Symphony No. 3 was written for the Cleveland Chamber Symphony and clarinetist Kristina Belisle. This is the third work by McCarthy titled "Chamber Symphony" written for a soloist and chamber group. The term is used instead of "concerto" due to a more virtuosic approach to the ensemble writing so that ensemble and soloist are intimately involved. Chamber Symphony No. 1 for Marimba and Winds and Chamber Symphony No. 2for Bassoon and Winds are recorded on Klavier Records by the North Texas Wind Symphony conducted by Eugene Corporon. The six movements were written during a dark period of the composer's life involving several family deaths and deep personal struggle. The second movement, Holy Ghost, is a remembrance of McCarthy's mother, a strong woman of faith who died in the summer of 2002. A Voice in the Dark depicts the reality of living with the specter of those who have passed. TanzMusik, a lively dance movement, is perhaps a bit sarcastic. It is about trying to dance the lively dance in the midst of profound doubt and struggle.

Chamber Symphony No. 3 for Clarinet. (Clarinet Feature). By Daniel McCarthy. For Solo Bb Clarinet & Chamber Ensemble (Solo Bb Clarinet, Flute, Oboe, Bb Clarinet, Bass Clarinet, Bassoon, F Horn, Bb Trumpet, Trombone, Tuba, Percussion 1-2 (crotales, suspended cymbal, low tom, timbales, bongos, temple blocks, finger cymbals, maracas, timpani, shaker), Piano, Violin I, Violi). Medium difficult. Score and parts. Published by C. Alan Publications (CN.08600). Chamber Symphony No. 3 was written for the Cleveland Chamber Symphony and clarinetist Kristina Belisle. This is the third work by McCarthy titled "Chamber Symphony" written for a soloist and chamber group. The term is used instead of "concerto" due to a more virtuosic approach to the ensemble writing so that ensemble and soloist are intimately involved. Chamber Symphony No. 1 for Marimba and Winds and Chamber Symphony No. 2for Bassoon and Winds are recorded on Klavier Records by the North Texas Wind Symphony conducted by Eugene Corporon. The six movements were written during a dark period of the composer's life involving several family deaths and deep personal struggle. The second movement, Holy Ghost, is a remembrance of McCarthy's mother, a strong woman of faith who died in the summer of 2002. A Voice in the Dark depicts the reality of living with the specter of those who have passed. TanzMusik, a lively dance movement, is perhaps a bit sarcastic. It is about trying to dance the lively dance in the midst of profound doubt and struggle.

And Make A Joyous Sound by Roger Cichy. For Full Orchestra (Piccolo, Flute 1-2, Oboe 1-2, Bb Clarinet 1-2, Bassoon 1-2, Contra Bassoon, F Horn 1-4, C Trumpet 1-2, Trombone 1-2, Bass Trombone, Tuba, Timpani, Percussion 1 (snare drum, bass drum, suspended cymbal, triangle--small and large), Percussion 2 (chimes, cra). Score only. Duration 2:05. Published by C. Alan Publications (CN.06631). Commissioned by the Des Moines SymphonyJoseph Giunta, Music Director and ConductorIn celebration of the orchestra's 60th anniversary through the generosity of Tom and Linda Koehn.

Five Songs from the Summit by Daniel McCarthy. For Full Orchestra with CD (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Bassoon 1, Bassoon 2, Horn in F 1-2, Horn in F 3-4, Trumpet in Bb 1, Trumpet in Bb 2-3, Tuba, Timpani, Percussion 1 (drum set, bongos, claves), Percussion 2 (sha). Grade 5. Score only. Duration 10:00. Published by C. Alan Publications (CN.06621). Commissioned by the Akron Symphony Orchestra for the 75th anniversary celebration. The piece is for youth orchestra with an accompanying cd of songs written by middle school children from Akron middle schools.

Artemis Rising by Jeffrey Bishop. For Full or String Orchestra (Flute 1, Flute 2, Oboe 1, Oboe 2, Bb Clarinet 1, Bb Clarinet 2, Bassoon 1, Bassoon 2, F Horn 1/3, F Horn 2/4, Bb Trumpet 1, Bb Trumpet 2, Trombone 1/2, Tuba, Violin 1, Violin 2, Viola, Cello, Double Bass, Timpani, Percussion [2 players] (snare drum, bass ). String Music. Grade 3. Score only. Duration 2:50. Published by C. Alan Publications (CN.06611). This powerful work inspired by the Greek goddess Artemis uses syncopation and accents to build tension and captivate the audience. The main moods in the work are marked "Allegro con fuoco" and "giocoso" as the music moves from a serious minor mode to a major key ending.

Orpheus in the Underworld by Jacques Offenbach (1819-1880). Arranged by J. Bishop. For Full or String Orchestra (flute, oboe, Bb clarinet 1, Bb clarinet 2, bass clarinet, bassoon, F horn 1, F horn 2, Bb trumpet 1, Bb trumpet 2, trombone, tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (3, players) (snare drum, bass drum, crash cymbals)). String Music. Grade 3. Score only. Duration 2:50. Published by C. Alan Publications (CN.06601). Here is a strong arrangement at the medium-easy level that offers you all the excitement of the original! With cues given to cover all the wind parts, this really can be done with strings only or as a full orchestra. From the mysterious opening, to the "Can-Can" dance, to the big finish, this one has it all.

Over the Hills by Jeffrey Bishop. For Full or String Orchestra (flute 1, flute 2, oboe 1, oboe 2, Bb clarinet 1, Bb clarinet 2, bassoon 1, bassoon 2, F horn 1/3, F horn 2/4, Bb trumpet 1, Bb trumpet 2, trombone 1/2, bass trombone/tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (bells, suspended). String Music. Grade 2. Score only. Duration 2:40. Published by C. Alan Publications (CN.06591). An Irish Folk Song Setting for Full or String Orchestra.

From This Time Forth by David Gillingham. For Full Orchestra with SATB Choir (Flute/Piccolo 1/2, Oboe 1/2, Bb Clarinet 1/2, Bassoon 1/2, F Horn 1/2, F Horn 3/4, C Trumpet 1, C Trumpet 2/3, Trombone 1/2, Bass Trombone, Tuba, Timpani, Percussion 1 (crotales, 3 brake drums, 4 toms, bass drum, hi hat), Percussion 2 (bells, chimes, temp). Score only. Duration 12:30. Published by C. Alan Publications (CN.06541). Psalm 121I lift up my eyes to the hillsfrom whence does my help come?My help comes from the Lord,who made heaven and earth.He will not let your foot be moved,he who keeps you will not slumber.Behold, he who keeps Israelwill neither slumber nor sleepThe Lord is your keeper;the Lord is your shadeon your right hand.The sun shall not smite you by day,nor the moon by night.The Lord will keep you from all evil;He will keep your life.The Lord will keepyour going out and your coming infrom this time forth and for evermore.

And Make A Joyous Sound by Roger Cichy. For Full Orchestra (Piccolo, Flute 1-2, Oboe 1-2, Bb Clarinet 1-2, Bassoon 1-2, Contra Bassoon, F Horn 1-4, C Trumpet 1-2, Trombone 1-2, Bass Trombone, Tuba, Timpani, Percussion 1 (snare drum, bass drum, suspended cymbal, triangle--small and large), Percussion 2 (chimes, cra). Score and parts. Duration 2:05. Published by C. Alan Publications (CN.06630). Commissioned by the Des Moines SymphonyJoseph Giunta, Music Director and ConductorIn celebration of the orchestra's 60th anniversary through the generosity of Tom and Linda Koehn.

Five Songs from the Summit by Daniel McCarthy. For Full Orchestra with CD (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Bassoon 1, Bassoon 2, Horn in F 1-2, Horn in F 3-4, Trumpet in Bb 1, Trumpet in Bb 2-3, Tuba, Timpani, Percussion 1 (drum set, bongos, claves), Percussion 2 (sha). Grade 5. Score and parts. Duration 10:00. Published by C. Alan Publications (CN.06620). Commissioned by the Akron Symphony Orchestra for the 75th anniversary celebration. The piece is for youth orchestra with an accompanying cd of songs written by middle school children from Akron middle schools.

Artemis Rising by Jeffrey Bishop. For Full or String Orchestra (Flute 1, Flute 2, Oboe 1, Oboe 2, Bb Clarinet 1, Bb Clarinet 2, Bassoon 1, Bassoon 2, F Horn 1/3, F Horn 2/4, Bb Trumpet 1, Bb Trumpet 2, Trombone 1/2, Tuba, Violin 1, Violin 2, Viola, Cello, Double Bass, Timpani, Percussion [2 players] (snare drum, bass ). String Music. Grade 3. Score and parts. Duration 2:50. Published by C. Alan Publications (CN.06610). This powerful work inspired by the Greek goddess Artemis uses syncopation and accents to build tension and captivate the audience. The main moods in the work are marked "Allegro con fuoco" and "giocoso" as the music moves from a serious minor mode to a major key ending.

Orpheus in the Underworld by Jacques Offenbach (1819-1880). Arranged by J. Bishop. For Full or String Orchestra (flute, oboe, Bb clarinet 1, Bb clarinet 2, bass clarinet, bassoon, F horn 1, F horn 2, Bb trumpet 1, Bb trumpet 2, trombone, tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (3, players) (snare drum, bass drum, crash cymbals)). String Music. Grade 3. Score and parts. Duration 2:50. Published by C. Alan Publications (CN.06600). Here is a strong arrangement at the medium-easy level that offers you all the excitement of the original! With cues given to cover all the wind parts, this really can be done with strings only or as a full orchestra. From the mysterious opening, to the "Can-Can" dance, to the big finish, this one has it all.

Over the Hills by Jeffrey Bishop. For Full or String Orchestra (flute 1, flute 2, oboe 1, oboe 2, Bb clarinet 1, Bb clarinet 2, bassoon 1, bassoon 2, F horn 1/3, F horn 2/4, Bb trumpet 1, Bb trumpet 2, trombone 1/2, bass trombone/tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (bells, suspended). String Music. Grade 2. Score and parts. Duration 2:40. Published by C. Alan Publications (CN.06590). An Irish Folk Song Setting for Full or String Orchestra.

American Dance Music. (Concerto for Brass Quintet & 1 Percussion). By Daniel McCarthy. For Soloist(s) & Full Orchestra (Flute 1/2 (Piccolo), Oboe 1/2, Bb Clarinet 1/2, Bassoon 1/2, F Horn 1-3, Bb Trumpet 1/2, Trombone, Bass Trombone, Percussion 1 (congas/bongos, maracas, snare drum, suspended cymbals, vibraslap, woodblock), Percussion 2 (bass drum, claves, hi-hat, suspende). Medium difficult. Score only. Duration 10:00. Published by C. Alan Publications (CN.06201). AMERICAN DANCE MUSIC was commissioned by RHYTHM & BRASS in 1995. McCarthy was asked to compose a piece that would be musically challenging for the group and appealing to audiences. Thus, such a work was written by McCarthy that celebrates uniquely American music popularized by American dance crazes. The Unsquare Dance pairs the tuba and xylophone in a sophisticated "hoe-down" with frequent meter changes creating music that is "un-square." Latina is patterned after the "Lambada," the dance made famous in the film "Dirty Dancing." Latin rhythms combine with a Baroque style canon. Serenade recalls the ~40,s style slow dance with a Tommy Dorsey-like trombone solo and a musical language of modem jazz. J~ borrows from the 1950s be bop era and the like of Dizzy Gillespie, Gerry Mulligan and Stan Kenton with another tuba and xylophone duet. ROKlT is unabashedly dedicated to the composer's favorite rock/funk group, Tower of Power. With the all important drum solo, this movement combines the elements of jazz, rock and funk so prevalent in the 70,s styles of groups such as Tower of Power, Blood, Sweat and Tears, and Chicago.