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A dramatic setting of the famed Heiligenstadt Testament letter penned by Beethoven, "A Silence Haunts Me" invites the listener to empathize with the great composer as he agonizes over the impending loss of the asset he holds most dear: his hearing._x000D_ _x000D_ The full score does not include instrument parts. Instrument part rental is available here: https://jakerunestad.com/pages/rental-request

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The full score does not include instrument parts. Instrument part rental is available here: https://jakerunestad.com/pages/rental-request

Accompaniment - []

The full score does not include instrument parts. Instrument part rental is available here: https://jakerunestad.com/pages/rental-request

Accompaniment - []

Ritual is a rhythmically-driving sonic narrative that uses a created language for colorful timbral effects. The title alludes to societal rituals that persist for the sake of tradition, but necessitate deeper reflection and reconsideration. The drums and chorus rage with a gritty intensity, while a lone soloist offers a softer, more thoughtful perspective. Despite the soloist's attempt at change, their voice is ultimately overtaken by the power of tradition and the chorus and drums drown out any alternative perspective._x000D_ _x000D_ The work should be approached with an earthy, unrefined, primal quality, and lots of grittiness and rhythmic intensity. Engage in a deep, supported, grounded sound — on the verge of a roar!

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“The Lighthouse Keeper,” an ode to a dear friend, is a series of vignettes capturing a life journey of joy, beauty, loss, and renewal. From the excitement of a roadtrip to Joshua Tree National Park, to a magical midnight swim in the Spanish Mediterranean, to the death of a friend at Point Reyes National Seashore, to celebrating new beginnings at Yosemite National Park, this work is a deeply personal, yet powerfully universal expression of a life shared in friendship. “Shifting Sand" is the second movement of "The Lighthouse Keeper" and evokes the excitement of setting off on a new adventure.

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"Flower Into Kindness" had its premiere with Conspirare, Craig Hella Johnson, conductor, and is featured on their album: "The Hope of Loving: Choral Music of Jake Runestad."_x000D_ _x000D_ "Flower Into Kindness" is excerpted from "Into the Light" -- an extended work for chorus and chamber orchestra.

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The full score does not include instrument parts. Instrument part rental is available here: https://jakerunestad.com/pages/rental-request

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Accompaniment - ["Piano"]

Accompaniment - ["Piano"]

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Accompaniment - ["Keyboard"]

Accompaniment - ["Keyboard"]

Accompaniment - ["Keyboard"]

Accompaniment - ["Keyboard"]

Accompaniment - []

_x000D_ Whether you are preparing for an audition or developing your musical voice in an orchestra, there are a myriad of new ideas on every page that are sure to inspire, inform, and invigorate your flute playing._x000D_ _x000D_ —Hannah Hammel Maser_x000D_     Principal Flute, Detroit Symphony Orchestra_x000D_ _x000D_ _x000D_ _x000D_ Flutists will find focused, tactical solutions to some of the most daunting challenges in the repertoire. Applying Joshua Smith’s exercises and annotations has a remarkably freeing impact on the performer._x000D_ _x000D_ —Madeline Lucas Tolliver_x000D_     Dean of Performance and Production Operations,_x000D_     Manhattan School of Music_x000D_ _x000D_ _x000D_  _x000D_ _x000D_ Another indispensable guide for aspiring and established flutists preparing for orchestral auditions, The Audition Method for Flute, Volume 2 offers even more core audition repertoire from the mid 20th century along with insight and advice from Joshua Smith, principal flute of The Cleveland Orchestra._x000D_ _x000D_ Each excerpt is provided in three versions: the Original Part as it appears in the actual score with original markings, an Annotated Part that includes instructions written into the part to aid preparation, and an Audition Part. All annotations are carefully made in blue ink for ease of reading._x000D_ _x000D_ Each excerpt comes with a written guide that includes primary and secondary points of interest when preparing for an audition. A number of practice exercises are also provided with suggested methods for overcoming specific challenges in each excerpt._x000D_ _x000D_ On its own or as a companion to the first volume, The Audition Method for Flute, Volume 2 is an invaluable aid to all flutists preparing for the audition experience._x000D_ _x000D_ Repertoire (Mid 20th Century):_x000D_ _x000D_ _x000D_ Ravel: Bolero _x000D_ Hindemith: Symphonie Mathis der Mahler, mvts. I and II_x000D_ Prokofiev: Peter and the Wolf _x000D_ Bartók: Concerto for Orchestra, mvts. I, II, and IV_x000D_ Hindemith: Symphonic Metamorphosis, mvts. II and III_x000D_ Stravinsky: Petrouchka_x000D_ _x000D_ _x000D_ _x000D_ Firmly established as one of the world’s great orchestral flutists, Joshua Smith is equally at home as a soloist, chamber musician, and educator. He was appointed as principal flute of The Cleveland Orchestra (TCO) at age twenty, joining the ensemble in 1990. He can be heard on more than a hundred recordings with the TCO and has performed extensively in both the United States and abroad.

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_x000D_ Whether you are preparing for an audition or developing your musical voice in an orchestra, there are a myriad of new ideas on every page that are sure to inspire, inform, and invigorate your flute playing._x000D_ _x000D_ —Hannah Hammel Maser_x000D_     Principal Flute, Detroit Symphony Orchestra_x000D_ _x000D_ _x000D_ _x000D_ Flutists will find focused, tactical solutions to some of the most daunting challenges in the repertoire. Applying Joshua Smith’s exercises and annotations has a remarkably freeing impact on the performer._x000D_ _x000D_ —Madeline Lucas Tolliver_x000D_     Dean of Performance and Production Operations,_x000D_     Manhattan School of Music_x000D_ _x000D_ _x000D_  _x000D_ _x000D_ The Audition Method for Flute, Volume 1 is for aspiring and established flutists looking to win orchestral auditions. This book can be used throughout the entire process of preparing for an audition, including at the audition itself._x000D_ _x000D_ In this volume, Joshua Smith, principal flute of The Cleveland Orchestra, provides standard flute audition excerpts from the early 20th century in three versions: the Original Part as it appears in the actual score with original markings, an Annotated Part that includes instructions written into the part to aid preparation, and an Audition Part. All annotations are carefully made in blue ink for ease of reading._x000D_ _x000D_ Each excerpt comes with a written guide that includes primary and secondary points of interest when preparing for an audition. A number of practice exercises are also provided with suggested methods for overcoming specific challenges in each excerpt._x000D_ _x000D_ The Audition Method for Flute, Volume 1 is an invaluable aid that will transform and improve the entire audition experience._x000D_ _x000D_ Repertoire (Early 20th Century):_x000D_ _x000D_ _x000D_ Debussy: Prelude to the Afternoon of a Faun _x000D_ Debussy: La Mer, mvts. I and III_x000D_ Ravel: Daphnis et Chloé Suite No. 2, Opening and Solo_x000D_ Prokofiev: Classical Symphony, mvts. II and IV_x000D_ Stravinsky: Le Chant du Rossignol _x000D_ Stravinsky: The Firebird Suite_x000D_ _x000D_ _x000D_ _x000D_ Firmly established as one of the world’s great orchestral flutists, Joshua Smith is equally at home as a soloist, chamber musician, and educator. He was appointed as principal flute of The Cleveland Orchestra (TCO) at age twenty, joining the ensemble in 1990. He can be heard on more than a hundred recordings with the TCO and has performed extensively in both the United States and abroad.

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Educators have long known that a student’s needs must be met before meaningful learning can occur. In this practical guide, Scott Edgar empowers music teachers to prioritize student well-being through embedded life-skill development in the music classroom._x000D_ _x000D_ To better understand the unprecedented challenges today’s students face, Edgar surveyed K–12 music teachers and students nationwide. He found that students—across a range of grades and contexts—consistently experience the following challenges:_x000D_ _x000D_ _x000D_ Struggles with self-management and impulse control_x000D_ Difficulty balancing expectations_x000D_ Fear of taking risks or being vulnerable_x000D_ Lack of resilience_x000D_ _x000D_ _x000D_ For each challenge, Edgar explores typical student behaviors and suggests practical ways teachers can offer support. He also presents real-life scenarios ranging from elementary to high school that demonstrate thoughtful teacher responses to common challenging situations._x000D_ _x000D_ In addition, Yorel Lashley shares an adaptable framework for centering student voices and embedding life-skill development in the music classroom. Darlene Machacon also contributes a chapter on the power of culturally responsive teaching, inviting educators to use music as a tool for social impact and student empowerment._x000D_ _x000D_ Needs Before Notes is a must-have resource for developing the ability to read student behavior and respond with empathy while also teaching important life skills for music and beyond._x000D_ _x000D_ Scott N. Edgar is Associate Professor of Music at Lake Forest College. He is the author of Music Education and Social Emotional Learning: The Heart of Teaching Music and is an internationally sought-after clinician on the topic. He serves as Director of Practice and Research for The Center for Arts Education and Social Emotional Learning (www.artsedsel.org) and serves as SEL Editor for GIA Publications._x000D_ _x000D_ View this post on Instagram A post shared by GIA Music Education (@giamusiceducation)_x000D_

Accompaniment - ["Keyboard"]

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The brass and string parts are optional.

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Includes a Full Score and parts for Violin 1, Violin 2, Viola, Cello, and Bass._x000D_ _x000D_  _x000D_ _x000D_ Please note: The Instrumental parts are not avialble to purchase until 1st June 2025._x000D_ Any orders received before then will be held.

Accompaniment - ["Organ"]

A Season To Sing is a choral re-imagining of Vivaldi’s enduringly popular set of violin concertos, The Four Seasons, first published in 1725. RSCM composer Joanna Forbes L’Estrange is rearranging the four concertos for SATB choir and organ, weaving into Vivaldi’s well-loved melodies texts from poetry and the Bible on the subject of spring, summer, autumn and winter. _x000D_ _x000D_ “The Four Seasons is the first piece of music I can remember hearing from my childhood. I used to dance around the sitting room to it!” Joanna recalls. “I thought a great way to mark its 300th anniversary would be to make it possible for choirs to perform it. Vivaldi’s tunes are so magnificent they deserve to be sung!” _x000D_ _x000D_ The 40-minute work also includes a new setting by Forbes L’Estrange of Ecclesiastes 3.2 – To everything there is a season. Its seasonal theme will enable the piece to be performed at any time of the year and it is hoped that A Season To Sing will become a firm favourite with choirs throughout the world. _x000D_ _x000D_

Accompaniment - ["Piano"]