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Tony Caramia | Hal Leonard Tony Caramia Tony Caramia is Professor of Piano at the Eastman School of Music, where he is Director of Piano Pedagogy Studies and Coordinator of the Class Piano Program. In May 2003, he was a guest on Marian McPartland's Piano Jazz on NPR. In May 2004, he served as a judge, along with Kenny Barron and Hilton Ruiz, at the 6th American Jazz Piano Competition for the American Pianists Association, and as adjudicator in the Crescendo Music Awards from 2005-2008. In September of 2007, he was privileged to participate in the dedication concert on the new "Sorel" Steinway at SUNY Fredonia, in honor of his former teacher, Miss Claudette Sorel. Mr. Caramia is featured in the Yamaha Clavinova on Campus series. He has contributed articles for Clavier Companion magazine and the web site The Piano Pedagogy Forum. His latest solo piano compositions -- Suite Dreams and Jazz Moods -- have been published by the Hal Leonard Publishing Corporation, for whom he is also a keyboard clinician. He has conducted numerous workshops in jazz piano for teachers at MTNA National and State Conventions; the International Association for Jazz Educators (IAJE) Teacher Training Institutes; the National Piano Teachers Institute, and the International Workshops. He has lectured and performed at the European Piano Teachers Association International Conference in London (1991), the first Australian Piano Pedagogy Conference in Adelaide (1993), and the Institute of Registered Music Teachers National Conference in New Zealand (1996). In 2005 he returned to Adelaide, Australia, to perform and lecture at the 7th Australasian Piano Pedagogy Conference; and was invited to perform at the International Stride Summit in Switzerland. 2006 saw the release of his solo jazz piano CD, called Tribute, which features the music of Ellington, McPartland, Brubeck, as well as original compositions. Tribute is available on www.cdbaby.com. A strong advocate of theme recitals -- he spoke at the CFMTA-MTNA Collaborative Conference in Toronto, Canada on the topic: The Art of Modern Recital Programming -- he has presented multi-media tributes to composers Harold Arlen and Richard Rodgers, and the extraordinary pianist, Cy Walter. He was a featured performer at the prestigious Rochester International Jazz Festival, and the 2007 and 2009 National Conference on Keyboard Pedagogy in Chicago. Publications by Tony Caramia

Michael Abene | Hal Leonard Michael Abene Michael Abene is a composer, arranger, keyboard player and record producer. Michael joined the Maynard Ferguson band while still a teenager and was responsible for writing some of the most-requested arrangements, such as "Green Dolphin Street," "Airegin," "Fox Hunt," "Chicago," "Whisper Not," "Knarf" and "Cherokee." Michael produced the Grammy-winning projects "Digital Duke" featuring the Duke Ellington Orchestra and "The GRP All-Star Big Band-All Blues." He produced the Grammy-nominated "GRP All-Star Big Band" and "The GRP All-Star Big Band Live" and received nominations in the arranging category for all three big band records. Other projects he has produced are "The GRP Christmas Collection Volumes 1, 2 and 3" (Volume 1 was awarded a gold record for sales of 500,000 units), "Happy Anniversary, Charlie Brown," two projects for Billy Taylor, "... It's a matter of pride" and "Homage," "Maiden Voyage" for Nnenna Freelon plus projects for Billy Cobham, Eddie Daniels and Dave Valentin. Some of the other artists Michael has composed and arranged for are Take 6, Joe Lovano, Bireli Lagrene, Montreal fusion bassist Alain Caron, Dick Oatts, Dave Grusin, for which he received a 1998 Grammy nomination for the arrangement of "America" from "Dave Grusin Presents West Side Story," Chick Corea, Buddy Rich, Dizzy Gillespie, the Mel Lewis Jazz Orchestra, Liza Minnelli, Charles Aznavour, Dave Taylor, Ronnie Cuber, Diva, the Metropole Jazz Orchestra in the Netherlands and the Carnegie Hall Jazz Band. Michael has also appeared as featured pianist and arranger/composer with the UMO Jazz Orchestra in Helsinki, WDR Big Band in Cologne, Germany, the Rotterdam Conservatory Big Band (The Netherlands), Jazz Big Band Graz (Austria), Kluvers Big Band (Denmark) and the BBC Big Band in England. Michael also has produced and arranged for many singers, from pop and crossover artists Patti Austin and B.B. King, to classic jazz artists Grady Tate, Joe Williams, Chris Connor, New York Voices and Diane Schuur. Two works of Michael's were premiered during the summer of 2000: a piece he arranged for The Metropole Jazz Orchestra for seven trombones where each trombonist contributed an original and Michael composed opening and connecting sections allowing the piece to be played as a suite. This composition was performed at the International Trombone Festival in Utrecht, The Netherlands. The second composition was an original work commissioned by The Mancini Institute, where Michael has appeared as composer-in-residence, for bass trombonist Dave Taylor entitled "Heritage: New/Old and Then Some" and performed by The Mancini Institute Orchestra and Big Band. This work has also been performed by The Manhattan School of Music Studio Jazz Orchestra and in 2004 by The Amsterdam Conservatory Orchestra and Big Band. Two new compositions by Michael premiered in 2003 were "Odyssey for Brass," commissioned and performed by The Metropole Jazz Orchestra in Tilburg, The Netherlands and "Fragmentations" performed by the Slovenian Symphony and Radio Big Band. In the fall of 2003 Michael was appointed Musical Director, Principal Composer/Arranger of the WDR Radio Big Band of Cologne, Germany. Because of the response worldwide, Michael has made his compositions and arrangements available to schools and bands and serves as a clinician, and is currently working on his own 11-piece band consisting of two trumpets, french horn, tenor and bass trombone, three reeds and rhythm section. Michael joined the faculty of Manhattan School of Music in January 1998. In 2001 Michael was instrumental in creating a course entitled "Jazz Composition and Arranging for The Studio Orchestra" and in 2003, a Doctoral in Jazz program. Michael and Jim McNeely are the Music Directors of the BMI Jazz Composers Workshop. Publications by Michael Abene

Michael Philip Mossman | Hal Leonard Michael Philip Mossman Michael Philip Mossman, Professor and Director of Jazz Studies at the Copland School of Music at Queens College (NYC), has been active on the international scene since the age of 17. After stints as lead trumpet with the Machito Orchestra, Toshiko Akiyoshi, and the Lionel Hampton Orchestra, Michael became the musical director of Blue Note Records' group, Out of the Blue, with whom he recorded with Dizzy Gillespie, Art Blakey, Joe Henderson, McCoy Tyner, Gerry Mulligan, Joe Zawinul, Slide Hampton, Toshiko Akiyoshi, Jon Faddis, George Gruntz, Bob Mintzer, Steve Turre, Anthony Braxton, Roscoe Mitchell, Tom Pierson, Benny Carter, the Carnegie Hall Jazz Orchestra, and the Charles Mingus, Gil Evans, and Count Basie Orchestras. Michael has played lead trumpet with the Michel Camilo Big Band, the Jon Faddis Orchestra, the Chico O'Farrill Orchestra, and the Jimmy Heath Big Band among many others. Since then, Mr. Mossman has been a key performer in Latin jazz. He has performed and recorded with Tito Puente, Eddie Palmieri, Chico O'Farrill, Ray Barretto, Daniel Ponce, Israel "Cachao" Lopez, Paquito D'Rivera, Bebo Valdez and Michel Camilo. He has performed classical and contemporary classical pieces with the Chicago Chamber Orchestra, the Naumburg Orchestra, the Jupiter Symphony Orchestra, the New Jersey Composers' Guild, the Garden State Chamber Orchestra, the New Jersey Symphony, the National Symphony of the Dominican Republic, and the contemporary ensemble Secret Cosmos. He has recorded Daniel Schnyder's Sonata for Trumpet, and two solo classical albums for MM1. Michael was nominated for a 2013 Grammy award for "Best Instrumental Arrangement" for his Afro-Latin Ellington Suite. He has composed and arranged music for the films Bossa Nova and Chico and Rita (which was nominated for a 2012 Academy Award). His ballet Beneath the Mask was performed by Jon Faddis and the Chicago Jazz Orchestra with the Deeply Rooted Dance Company (choreographed by Mayte Vicens). Mr. Mossman has conducted the Bilbao Symphonic Orchestra in Spain, and has composed and arranged scores for the Philadelphia Orchestra, the Louisiana Philharmonic, the Tri-Cities Symphony, Joe Henderson's Grammy-winning Big Band album, the Carnegie Hall Jazz Orchestra, the Count Basic Orchestra, the Charles Mingus Orchestra, Tito Puente, Mario Bauza, Slide Hampton and the Jazz Masters Orchestra, Paquito D'Rivera, the UMO Orchestra of Finland, the NDR Big Band of Hamburg, WDR of Cologne, HR Bigband of Frankfurt, HGM Bigband of Zagreb, Danish Radio Big Band, the Andalucia Latin Jazz Big Band, Heineken Jazz Festival Orchestra (Puerto Rico), Granada Bigband, Sedajazz Latin Jazz Ensemble, and Ray Barretto's New World Spirit. Michael is a Yamaha Artist and his music is published by Hal Leonard Corporation. Publications by Michael Philip Mossman

Kim André Arnesen Arnesen's music is lovely and worth hearing… Sacred and secular, there is much to admire.– American Record Guide Kim André Arnesen Born in 1980, Kim André Arnesen is one of the most frequently performed composers from Norway today. He grew up in Trondheim where he was a chorister in the Nidaros Cathedral Boys’ Choir, later being educated at the Music Conservatory in Trondheim. With an interest in baroque music, contemporary classical music, and popular music, Kim could have taken many roads, but choral music became his greatest passion. As a composer, he had his first performance at the age of 18 with the boys’ choir. Since then he has written music that has been performed and recorded by choirs all over the world. In 2015–16, Kim was Composer-in-residence for the Denver-based choral ensemble Kantorei and Artistic Director Joel Rinsema. The residency concluded with the recording of Kim’s second CD album released in early 2018 on Naxos Records. He continues to enjoy a busy international schedule of commissions. Kim André Arnesen Born in 1980, Kim André Arnesen is one of the most frequently performed composers from Norway today. He grew up in Trondheim where he was a chorister in the Nidaros Cathedral Boys’ Choir, later being educated at the Music Conservatory in Trondheim. With an interest in baroque music, contemporary classical music, and popular music, Kim could have taken many roads, but choral music became his greatest passion. As a composer, he had his first performance at the age of 18 with the boys’ choir. Since then he has written music that has been performed and recorded by choirs all over the world. In 2015–16, Kim was Composer-in-residence for the Denver-based choral ensemble Kantorei and Artistic Director Joel Rinsema. The residency concluded with the recording of Kim’s second CD album released in early 2018 on Naxos Records. He continues to enjoy a busy international schedule of commissions. I denna ljuva sommartid (In this sweet summertime) SSAA (with divisi) a cappella Duration: c5 minutes 48024604 $2.50 More Info Commissioned by Kvindelige Studenters Sangforening, Oslo, Norway, and Marit Tøndel Bodsberg Weyde, conductor Commissioned by Kvindelige Studenters Sangforening, Oslo, Norway, and Marit Tøndel Bodsberg Weyde, conductor I denna ljuva sommartid (In this sweet summertime) is a well-known traditional summer psalm in Sweden. The text is of German origin, written in 1653 by Paul Gerhardt (1607-76) with the title Geh aus, mein Herz, und suche Freud and also called Sommerlied. The Swedish version is sung with different melodies, including one that is part of the Swedish Hymnal Songbook and sung in schools before the summer holidays. In this arrangement, I’ve used a traditional melody from Malung in Sweden and three of the eight verses of the psalm, which describe summer as a gift from God. As a composer, arranging songs that can be regarded as a national treasure in another country is something that is done with great respect. But also, working with another country’s traditional music, music that is not in one’s own blood, can hopefully result in a fresh and new take on the original. Arranger's note Arranger's note I denna ljuva sommartid (In this sweet summertime) is a well-known traditional summer psalm in Sweden. The text is of German origin, written in 1653 by Paul Gerhardt (1607-76) with the title Geh aus, mein Herz, und suche Freud and also called Sommerlied. The Swedish version is sung with different melodies, including one that is part of the Swedish Hymnal Songbook and sung in schools before the summer holidays. In this arrangement, I’ve used a traditional melody from Malung in Sweden and three of the eight verses of the psalm, which describe summer as a gift from God. As a composer, arranging songs that can be regarded as a national treasure in another country is something that is done with great respect. But also, working with another country’s traditional music, music that is not in one’s own blood, can hopefully result in a fresh and new take on the original. Falling into Mercy SATB (with divisi) & optional piano (maximum divisi SSAATTBB) Text by Euan Tait Duration: 4 minutes 48024608 $2.50 More Info Commissioned by the Stangeland Family Youth Choral Academy of the Oregon Bach Festival, in honor of the Academy’s 20th Anniversary; and St. Olaf College and Anton Armstrong, Professor of Music and Conductor of the St. Olaf Choir Commissioned by the Stangeland Family Youth Choral Academy of the Oregon Bach Festival, in honor of the Academy’s 20th Anniversary; and St. Olaf College and Anton Armstrong, Professor of Music and Conductor of the St. Olaf Choir This work comes from amazement – that the encounter with divine love, our relationship with the sacred, is to be constantly astonished by the endlessness of the depths of love. Love's persistence, again and again, whatever our failures to be people of love, is our reassurance of our precious and limitless value in the eyes of our Creator. And this mercy, this depthless mercy, frees us to become ourselves most fully, uncertain, but tenacious pilgrims. The music should be driven forward with particular attention to phrases and the detailed dynamics. For a piece like this, the various possible dynamic choices are endless and, as long as they substantiate the text and the performance remains fervent, the dynamics may be altered at the discretion of the conductor. As a composer, I always try to give each work its own identity, and this piece is characterized by first inversion chords. It is fascinating how nothing is really changed, and yet everything has changed. If one tries to move the bass to the root note it is a completely different work; the first inversion chords give a feeling of something endless, and from a musical image echoing the text, “to keep falling, endlessly.” Notes from the Poet and Composer Notes from the Poet and Composer This work comes from amazement – that the encounter with divine love, our relationship with the sacred, is to be constantly astonished by the endlessness of the depths of love. Love's persistence, again and again, whatever our failures to be people of love, is our reassurance of our precious and limitless value in the eyes of our Creator. And this mercy, this depthless mercy, frees us to become ourselves most fully, uncertain, but tenacious pilgrims. The music should be driven forward with particular attention to phrases and the detailed dynamics. For a piece like this, the various possible dynamic choices are endless and, as long as they substantiate the text and the performance remains fervent, the dynamics may be altered at the discretion of the conductor. As a composer, I always try to give each work its own identity, and this piece is characterized by first inversion chords. It is fascinating how nothing is really changed, and yet everything has changed. If one tries to move the bass to the root note it is a completely different work; the first inversion chords give a feeling of something endless, and from a musical image echoing the text, “to keep falling, endlessly.” The Gift to Sing SATB (with divisi) & piano (maximum divisi SSAATBB) Text by James Weldon Johnson Duration: 4:30 48024607 $2.50 More Info Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers If there is one thing anyone who has sung in a choir (or other context) knows, it is how singing can “turn the gloom to a cheerful day,” as James Weldon Johnson writes in his poem. We know it from our own experience, but it is even scientifically proven. There are many reasons to sing, and one of them is to bring light into our surroundings powered by our very own voices. And if someone does not think of themselves as a singer, I feel quite confident that Johnson’s poem will make them want to sing at the top of their voice! Composer’s note Composer’s note If there is one thing anyone who has sung in a choir (or other context) knows, it is how singing can “turn the gloom to a cheerful day,” as James Weldon Johnson writes in his poem. We know it from our own experience, but it is even scientifically proven. There are many reasons to sing, and one of them is to bring light into our surroundings powered by our very own voices. And if someone does not think of themselves as a singer, I feel quite confident that Johnson’s poem will make them want to sing at the top of their voice! The Holy Spirit Mass Mixed Voices with Organ or Strings and Piano Vocal Score 48024610 $19.95 Release date in the US: May 2019 Composed to commemorate the 500th anniversary of the Reformation, The Holy Spirit Mass interweaves the familiar Mass texts with English translations of the 9th-century Veni Creator Spiritus (‘Come Creator Spirit’) and Martin Luther’s hymn Come Holy Ghost, God and Lord. This major new choral work encourages unity and reconciliation in the world and celebrates hope for its future. Arnesen’s characteristic rich harmonies and memorable melodic lines combine to create an inspirational and uplifting work suitable for concert performance. This vocal score, which includes accompaniment for organ, can also be used for performing the versions of The Holy Spirit Mass with orchestral accompaniment available on rental from Boosey & Hawkes. Composed to commemorate the 500th anniversary of the Reformation, The Holy Spirit Mass interweaves the familiar Mass texts with English translations of the 9th-century Veni Creator Spiritus (‘Come Creator Spirit’) and Martin Luther’s hymn Come Holy Ghost, God and Lord. This major new choral work encourages unity and reconciliation in the world and celebrates hope for its future. Arnesen’s characteristic rich harmonies and memorable melodic lines combine to create an inspirational and uplifting work suitable for concert performance. This vocal score, which includes accompaniment for organ, can also be used for performing the versions of The Holy Spirit Mass with orchestral accompaniment available on rental from Boosey & Hawkes. I will light candles this Christmas SATB (with divisi) & piano (maximum divisi SSAATTBB) Text by Howard Thurman Duration: c4 minutes 48024571 $2.95 More Info Commissioned by Celia Ellington through LutheranArts in honor of Gary Aamodt’s 80th birthday, and dedicated to the annual St. Olaf Christmas Festival. Commissioned by Celia Ellington through LutheranArts in honor of Gary Aamodt’s 80th birthday, and dedicated to the annual St. Olaf Christmas Festival. Advent and Christmas are times of excitement and celebration. However, it is difficult not to see the darkness of the world. Where the treetops glisten and behind the toys and goodies it can be cold and unsafe. And it is in darkness that we need light. The candle can light our hope and remind us that we are much more than what is darkest in our lives. Therefore this time of the year can be one of light over darkness. I hope the message in this carol can guide us to become carriers of a light that brings joy, hope, courage, peace, grace, and love, now and when the star dims. “Let your light shine before others.” (The Sermon on the Mount) Composer’s note Composer’s note Advent and Christmas are times of excitement and celebration. However, it is difficult not to see the darkness of the world. Where the treetops glisten and behind the toys and goodies it can be cold and unsafe. And it is in darkness that we need light. The candle can light our hope and remind us that we are much more than what is darkest in our lives. Therefore this time of the year can be one of light over darkness. I hope the message in this carol can guide us to become carriers of a light that brings joy, hope, courage, peace, grace, and love, now and when the star dims. “Let your light shine before others.” (The Sermon on the Mount) My flame the song SATB (with divisi) & piano (maximum divisi SSATBB) Text by Euan Tait Duration: 5 minutes 48024605 $2.95 More Info Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers We share a fierce, impassioned singing of the life of love. We sing in the lives we lead, by the way we respond to the cry in the human heart. Our lives unfold the powerful potential of love that lives in each one of us, as friends, parents, siblings, partners, colleagues. In making music, singing together lights an extraordinary process in us: we connect from the depths of our beings with each other, with this shared spiritual flame within us, we connect to those we have lost, to those who have sung the same music, we connect to the eternal singing of that vast eternal chord of being human. In performing this work, you will pass on the flame to others. You become its music, its words: your spirit cries out, here. Composer’s note Composer’s note We share a fierce, impassioned singing of the life of love. We sing in the lives we lead, by the way we respond to the cry in the human heart. Our lives unfold the powerful potential of love that lives in each one of us, as friends, parents, siblings, partners, colleagues. In making music, singing together lights an extraordinary process in us: we connect from the depths of our beings with each other, with this shared spiritual flame within us, we connect to those we have lost, to those who have sung the same music, we connect to the eternal singing of that vast eternal chord of being human. In performing this work, you will pass on the flame to others. You become its music, its words: your spirit cries out, here. Ubi caritas et amor Duration: 4 minutes Release date in the US: March 2019 SATB (divisi) a cappella (maximum divisi SSAATTBB) 48024606 $2.50 More Info SSAA a cappella 48024609 $2.50 More Info Commissioned by the Athens Master Chorale, Athens, Georgia, for Joseph S. Napoli, founder and conductor, in honor of his 50 years of loving devotion to the art of choral music. Commissioned by the Athens Master Chorale, Athens, Georgia, for Joseph S. Napoli, founder and conductor, in honor of his 50 years of loving devotion to the art of choral music. The actual origin of the text Ubi caritas et amor is unknown, but it has been dated to some point between 300 and 1100 AD. The text is typically sung during the Washing of the Feet at the Mass of the Last Supper on Maundy Thursday (Holy Thursday). The word “caritas” has many shades of meaning, and there are some nuances that seem to be lost in its translation. While the word “charity” is mostly used about voluntarily giving, the word “caritas” also means honesty, heartfeltness, dearness and tolerance. In a world with a lot of tension and disunity I wanted to write a piece that sings about the commandments to love one another. As ever, choirs performing this work should aim for a good balance between the voice parts, and the music should always be flowing but never hurried. Composer’s note Composer’s note The actual origin of the text Ubi caritas et amor is unknown, but it has been dated to some point between 300 and 1100 AD. The text is typically sung during the Washing of the Feet at the Mass of the Last Supper on Maundy Thursday (Holy Thursday). The word “caritas” has many shades of meaning, and there are some nuances that seem to be lost in its translation. While the word “charity” is mostly used about voluntarily giving, the word “caritas” also means honesty, heartfeltness, dearness and tolerance. In a world with a lot of tension and disunity I wanted to write a piece that sings about the commandments to love one another. As ever, choirs performing this work should aim for a good balance between the voice parts, and the music should always be flowing but never hurried.