This fresh arrangement, by Chris M. Bernotas, features "The Medallion Calls" "He's a Pirate," selections from the iconic score of The Pirates of the Caribbean: The Curse of the Black Pearl. Incredibly familiar and memorable themes will resonate with students as they learn valuable musical skills, including playing in 12/8. Your students will have swashbuckling success with this intermediate-level arrangement! Perfect for both middle and high school bands. (3:15)

Let It Go from Frozen is widely considered one of the best Disney movie songs ever. With its tasteful melodies, creative scoring, and some easy syncopation, Michael Story's new arrangement for your developing concert band serves as a multilevel educational experience. The percussion 1 part can be played either with traditional concert band instruments or as an easy introduction to drumset performance. (2:10)

This fast-paced, energetic fanfare is the perfect concert opener for ensembles ready to "swing for the fences!" It embodies the spirit of the idiom—putting forth full effort to achieve an impressive goal. The relentless rhythmic energy, sharp articulations, and powerful dynamic contrasts in Swing for the Fences, by Patrick Roszelle, will help your band "seize the day" at your next contest or concert.

Softcover In 1929, Olivier Messiaen finished composing his Préludes. The first original work for piano of a twenty-one-year-old composer, it would be the first to be included in his official catalogue. This collection of Messiaens, an early work, written as a tribute to his mother, who died prematurely in 1927, offers a unique insight into his writing: a poetic universe coloured by a spatial concept of sound, a refined and sensual sense of legato, and a subtle, understated way with rhythm: these are the many beacons that will guide us in our approach. Messiaen, a true synesthete, associates different colours to each of his preludes. Introduction and notes on interpretation in French and English by Edmond Lemaître.- New engraving.

Softcover For SATB (including S solo & A, T, B divisi) with optional percussion. Commissioned in loving memory of Dave Andreatta (1948-2025) by the John Armitage Memorial Trust. First performed at Lord's Taverners Carol Concert with the Stars on 15th December 2025 at Holy Trinity, Sloane Square, London by The Holst Singers, conducted by Nicholas Cleobury. Text adapted by John Frederick Hudson and Brock Andreatta.

Softcover The original version of this work for solo trumpet, brass, organ and strings was commissioned by His Majesty King Charles III and first performed on 5th July 2023 at St Giles' Cathedral, Edinburgh at the National Service of Thanksgiving and Dedication for Their Majesties The King and Queen on the occasion of the Presentation of the Royal Honours of Scotland by The Trumpeters and Trom bones of HM's RAF Music, the Honours of Scotland Ensemble and the organist Jordan English, conducted by Michael Harris. Versions of the work for accordion, piano and strings (2025) and for organ (2026) have since been created by the composer.

Hardcover

Guitar Solo

Flute with Piano Reduction

Study Score,

SATB divisi a cappella, Octavo One of the lesser-known Mediaeval Christmas texts, starting 'Als I lay on Yoolis Night, alone in my longing, me thought I saw a well fair sight, a may hiar child rokking', provides the words for this Christmas carol by Ed Newton-Rex. A largely homophonic setting, the harmonic language is rich, with frequent gentle dissonance and divisi within the SATB parts, but it is written in such a way as to make it very approachable for intermediate choirs. The beautiful melody is also sometimes sustained by a soprano solo over slowly shifting 'ah' or hummed textures. Choirs are welcome to perform this carol using authentic pronunciation, but a guide to modern pronunciation is included.

SAATB, Octavo An arrangement of the carol published in 1582 as part of the Medieval collection of Latin songs, Piae Cantiones. The melody is taken from that collection, which also contains many well-known carols widely used today in English versions. Clive Osgood's arrangement of 'Resonet in laudibus' ('Let it resound in praise with joyful applause') presents the melody in the soprano line throughout with flowing accompaniment by the lower parts, featuring gentle ahs or the text in a more homophonic approach.

SATB divisi a cappella, Octavo An arrangement of the carol published in 1582 as part of the Medieval collection of Latin songs, Piae Cantiones. The melody is taken from that collection, which also contains many well-known carols widely used today in English versions. Clive Osgood's arrangement of 'Omnis mundus' ('All the world rejoices at the birth of the saviour') presents the original melody in the soprano line followed by the tenors, and it is then passed between the two sections with subtle chromatic harmony and occasional countermelody.

2-Part Treble, Octavo Winter-Time was written as a collaboration between Anna Lapwood and the Pembroke College Girls' Choir, continuing their tradition of composing and performing a Christmas carol during the final rehearsal of term. This charming three-minute piece, scored for soprano solo, two-part upper voice choir, and gently flowing piano accompaniment, sets a secular text by Scottish poet Robert Louis Stevenson, packed with winter-themed imagery of exploring the frosty landscape by reindeer sled and warming by the fireside. The soprano solo weaves together lines written and performed by individual choir members, allowing their unique voices to shine through, as heard on the choir's 2024 album The Waiting Sky.

SA divisi, Octavo This Christmas carol was written in 2009 for the senior choir of Dr Challoner's High School in Buckinghamshire, England. The text, taken from the 17th-century clergyman Joseph Beaumont's poem 'Christmasse Day' ('Wonder's birthday, which mak'st December's face fairer than May'), portrays the birth of Christ from the perspective of a cold, winter's day. A sense of mystery prevails as cluster chords emerge from simple unisons with clever but gentle interplay between the parts. However, the harmonic exploration always returns home to middle C, which acts as an anchor throughout the piece. With frequent divisi, sometimes in four to six parts, 'The Little One' offers a challenging but magical new addition to the upper-voice Christmas repertoire.

SATB, Octavo It was written while staying at her family's farm in Cambridgeshire. Unintentionally, the wide open spaces infused Ben Ponniah's writing. This work uses the following 7-note scale: G, A, Bb, C, D, E and F#. Only these notes are used throughout the piece and the scale is derived from Scriabin's 'Mystic Chord'. The uncertain and unresolved tonality, therefore, reflects the mystery surrounding the miraculous birth of Jesus, as well as Ponniah's own personal doubts and wonder.

SA, Octavo Setting the familiar traditional Irish text, 'May the road rise up to meet you', An Irish Blessing was written in 2024 as a parting gift for a Pembroke College, Cambridge organ scholar, Andreana Chan, who was graduating that year. The piece is also fitting as Anna Lapwood herself departed the college in 2025, and she dedicates this work to all the singers and organists she worked with over her nine years at Pembroke. With a beautifully crafted melody and supportive, flowing accompaniment for either piano or harp, the voices explore a variety of colors reflecting the poignant text. The vocal lines are written mostly in four parts, with occasional divisi, but the mostly homophonic texture makes the work accessible to developing voices and more advanced mixed-voice choirs alike. Also available for two-part upper voices (SS, with some additional divisi).

SATB, Octavo Setting the familiar traditional Irish text, 'May the road rise up to meet you', An Irish Blessing was written in 2024 as a parting gift for a Pembroke College, Cambridge organ scholar, Andreana Chan, who was graduating that year. The piece is also fitting as Anna Lapwood herself departed the college in 2025, and she dedicates this work to all the singers and organists she worked with over her nine years at Pembroke. With a beautifully crafted melody and supportive, flowing accompaniment for either piano or harp, the voices explore a variety of colors reflecting the poignant text. The vocal lines are written mostly in four parts, with occasional divisi, but the mostly homophonic texture makes the work accessible to developing voices and more advanced mixed-voice choirs alike. Also available for two-part upper voices (SS, with some additional divisi).

SSAATTBB a cappella, Octavo This setting of the well-known Christmas text by Robert Herrick was commissioned in 2017 to mark the 50th Anniversary of the University of Dundee, and was first performed in the city's St Paul's Cathedral. Mostly homophonic in texture, the text comes to life through Will Todd's characteristic lush harmonies with frequent clusters and detailed dynamic markings, performed at a steady but flexible tempo to allow the music to truly glow. This carol should provide a fresh addition to the repertoire of the intermediate to advanced choir, and a very rewarding experience for both performers and audience alike.

SA, Octavo The lovely words, which the Todd adapted slightly from the 19th-century carol by Edward Caswall, has been a part of his Christmas celebrations for as long as he can remember, and there are several wonderful tunes associated with the text. In writing this new melody, Todd wanted to explore again the timeless nature of the poetry.