Convention Season 2017

This year, music educator conventions will bring us to Florida, Ohio, Texas, Pennsylvania, and Minneapolis. Look for our exhibit booths and be sure to catch these clinics presented by our Editor in Chief, Larry Clark, and our Choral/Vocal Music Editor, Denise Eaton.
Booth visitors will have the opportunity to enter to win a $100 gift card by joining our mailing list. Each convention that we attend will have one winner per day!

  • Florida Music Education Association
    Tampa, FL — January 11-14, 2017

    Booth: 2015
    Exhibit Hall Hours:
    Thursday, January 12 — 12:30 pm – 6:00 pm
    Friday, January 13 — 10:30 am – 6:30 pm
    Saturday, January 14 — 9:00 am – 1:00 pm


    Marches: The Key to a Successful Band


    Presented by Larry Clark

    Thursday, January 12, 2017
    TCC room 9

    The judge of a good band is based on how well they perform marches. Marches are part of the heritage of the band, but they are also excellent tools to improve, tone, technique, balance, blend, intonation and musicianship. This clinic will show you how to use them as an essential part of your rehearsal strategies.

    Beyond The Notes On The Page


    Presented by Denise Eaton

    Thursday, January 12, 2017
    TCC room 39

    Veteran educator and author Denise Eaton will demonstrate her approach to implementing three essential ingredients to beautiful choral performances: tone production, unified vowel formation and expressive text treatment. Using the complimentary music packet provided, she will also illustrate how sequential skill building throughout the year is possible with intentional repertoire selection.

  • Ohio Music Education Association
    Cleveland, Ohio — February 2-4, 2017

    Booths: 222 & 224
    Exhibit Hall Hours:
    Thursday February 2 — 1:00 pm to 6:00 pm
    Friday February 3 — 9:00 am to 5:00 pm
    Saturday February 4 — 9:00 am to 12:30 pm


    In the Eye of the Beholder – Picking Quality Music

    Larry Clark

    Presented by Larry Clark

    Thursday, February 2, 2017
    Room CC 24

    As a music educator, choosing the right piece for your students’ needs often means sifting through thousands of choices, making this already subjective process even more difficult. What one person thinks is the greatest piece ever written could be annoying drudgery for someone else. Just as beauty is in the eye of the beholder, there is a melody for everyone and no one is more qualified to decide what your students will enjoy than you. This clinic will break down some common characteristics of quality music that will help you to choose great music consistently for your ensembles.

    Something for Everyone

    Denise Eaton

    Presented by Denise Eaton

    Friday, February 3, 2017
    Room CC 1

    Carl Fischer choral music that “works”: Veteran educator Denise Eaton will showcase many of the recently published Carl Fischer chorals in a variety of voices, all accessible for secondary and above choirs. A complimentary packet will be provided.

  • Texas Music Educators Association
    San Antonio, TX — February 8-11, 2017

    Booths: 10129 & 10131
    Exhibit Hall Hours:
    Thursday, February 9 — 9:00 am – 5:00 pm
    Friday, February 10 — 9:00 am – 5:00 pm
    Saturday, February 11 — 9:00 am – 2:00 pm


    Publisher Showcase

    Denise Eaton
    Presented by Denise Eaton and others

    Thursday, February 9, 2017
    CC Hemisfair Ballroom 3

    Join the clinicians as they present popular and new two-part concert chorals along with dynamic new resources, collections and musicals.

    Beyond The Notes On The Page

    Presented by Denise Eaton

    Friday, 2/10/2017
    1:00 PM – 2:00 PM
    Grand Hyatt Lone Star ABC

    Veteran educator and author Denise Eaton will demonstrate her approach to implementing three essential ingredients to beautiful choral performances: tone production, unified vowel formation and expressive text treatment. Using the complimentary music packet provided, she will also illustrate how sequential skill building throughout the year is possible with intentional repertoire selection.

  • American String Teachers Association
    Pittsburgh, PA — March 1–4, 2017

    Booths: 609 & 611
    Exhibit Hall Hours:
    Thursday, March 2 — 5:00 pm – 7:00 pm
    Friday, March 3 — 10:00 am – 6:30 pm
    Saturday, March 4 — 10:00 am – 1:30 pm


    Significant New Literature from Carl Fischer Music

    Presented by Larry Clark

    Thursday, March 2, 2017
    3:45pm — 4:45pm

    Picking quality literature for your string orchestra is very important. The works you choose to perform will form the basis of your curriculum and will directly affect the success of your program. Editor-in-Chief, Larry Clark, will present the best new string orchestra pieces for all levels from the Carl Fischer Music catalog. Attendees are invited to participate, so please bring your instrument and play along.

  • American Choral Directors Association
    Minneapolis, MN — March 8-11, 2017

    Booths: 435 & 437
    Exhibit Hall Hours:
    Wednesday, March 8 — 9:00am-1:30pm & 3:00pm-7:00pm
    Thursday, March 9 — 9:00am-1:30pm & 3:00pm-7:00pm
    Friday, March 10 — 9:00am-1:30pm & 3:00pm-7:00pm
    Saturday, March 11 — 9:00am-1:00pm


    Industry Showcase — BriLee Music

    BriLee Music publications
    Presented by Denise Eaton

    Wednesday, March 8, 2017
    3:00 pm
    Room L100/A & B

    Find Your Fit – Selections for Every Choir from BriLee Music

    Industry Showcase — Carl Fischer Music

    CarlFischerTree - WEB
    Presented by Denise Eaton

    Thursday, March 9, 2017
    12:00 pm
    Room L100/A & B

    Flexible Solutions for Any Ensemble From Carl Fischer Music

Composer Spotlight: Martin Bresnick

…more than almost any living composer I know of,
he is able to take the most basic, plain materials and spin them out into compelling dramatic structures…
Over the past few months, throngs of friends and admirers have gathered to help celebrate Martin Bresnick’s 70th birthday (November 13). Bang on a Can curated events on July 26th and September 11th in honor of their former teacher. Similarly, members of the Yale faculty paid tribute to their colleague’s milestone birthday on October 18th with a specially dedicated program. The celebrations continued on November 6th as a star-studded night of performances at the National Sawdust in New York City ushered in the beginning of Bresnick’s 70th year.
The stylistic range of Martin Bresnick’s music makes it difficult to pin down, but it is always “marked by an economy of materials and lyrical intensity” (Kyle Gann, American Music in the Twentieth Century). We encourage you to browse through the catalog highlights below and discover why so many champion his music.
    for Orchestra
    3 3(dbl. E.H.) 3(B.Cl.) 3 – 4 3 3 0; Timp. Perc. Str.

    …this is music not to sum up in a few words, but to sink your teeth into and reflect upon at length.

    –Village Voice

    Bresnick on “Angelus Novus”

    for Two Marimbas and Orchestra
    Solo mar.(2); 0 2 2 2 – 2 0 0 0; Str.

    Unmistakably American in its dialect, it’s still not hard to hear Stravinsky (or at least Nadia Boulanger) hovering approvingly in the background.

    –American Record Guide

    An Opera: Prologue, 3 Scenes, Epilogue
    (Based on the story “Strakh” by Anton Chekhov)

    There were sincere ovations and gasps of admiration heard throughout the performance, and the sort of curtain-call reception which any theater creator would hope for. You felt part of something special just by showing up.

    –New Haven Theater Jerk

    for Orchestra
    2(1 dbl. Fl.) 2 2 2 – 2 2 0 0; Timp. 1Perc. Str.

    …effective as a call to action; and in the light of Ferguson, Missouri, and similar events, Mr. Bresnick’s “call” was an action worthy of multiple hearings.

    –Idyllwild Town Crier

    All content is for promotional purposes only.

    for Cello and Piano

    … [a] blend of lyricism and cragginess…


    for Saxophone Quartet

    If anyone ever doubted the power and beauty of a saxophone quartet, PRISM’s presentation of this work would quickly change their mind. It left me speechless.


    Bresnick on “Every Thing Must Go”

    for Piano, Organ, Violin, Vibraphone, Electric Guitar, Bass Clarinet, and Drum Set

    …it is evidence of an American composer whose ears are wide open…

    –New World Records

    Bresnick on “Fantasia on a Theme by…”

    for Woodwind Quintet

    …an unusually resonant sound, warmer and less “tart” than that usually heard in wind quintets.

    –Rovi Joseph Stevenson

    for Flute, Clarinet, Violin, Viola, Cello, and Piano

    Although it begins as though it might be some sort of minimalist piece…
    it develops into something completely different, nostalgic, deep, and beautiful, and having a very specific relationship to its text.


    Bresnick on “My Twentieth Century”

    for Cello and Piano

    …dark, brooding and emotionally substantial…


    …exemplifies the power formal craftsmanship can have to ensnare the ear and make a visceral emotional connection.

    –Time Out New York

    Bresnick on “String Quartet No. 2”

    All content is for promotional purposes only.

    for Mandolin

    …seek[s] to synthesize the musical past and a unique voice of the present.

    –The Yale Alumni Magazine

    A coherent multi-sensorial work, it invites sustained attention from a far wider audience than ‘pure’ concert music can hope to do.

    –RealTime Online Magazine

    for Solo Piccolo with Optional Toy Piano

    His music is formally clear, and it has a combination of a direct expressivity and a rigorous method, as well as a real sense of sonic immediacy.

    –John Harbison

    for Solo Piano

    Mercifully free of stereotypic trappings of negativity — just listen to the chiming, dancing turns of “Ishi’s Song” — you’ll find Bresnick handing you refreshingly new and yet fully authentic meditations on things we least understand.

    –Porter Anderson

    for Solo Violin

    …a significant contribution to the solo violin repertoire.


    All content is for promotional purposes only.

  • Take a glimpse into the world behind many of Martin Bresnick’s works.

  • Angelus Novus
    (Part of “Opera della Musica Povera”) for Orchestra
    Bread and Salt
    for Mixed Ensemble
    B’s Garlands
    for Eight Solo Violoncellos
    Caprichos Enfáticos
    for Piano and Percussion Quartet
    for Solo Mezzo-soprano and Orchestra
    for Brass Ensemble
    Fantasia on a Theme by Willie Dixon
    for Chamber Ensemble
    for Two Marimbas and Orchestra
    Little Suite
    for String Orchestra
    My Friend’s Story
    An Opera: Prologue, 3 Scenes, Epilogue
    Pine Eyes
    for Narrator and Mixed Ensemble
    Prophetic Strain
    (Movement II from “Pan Penseroso”) for Two Flutes and Orchestra
    (part of “Opera della Musica Povera”) for Orchestra
    The Way It Goes
    for Orchestra
    Wir Weben Wir Weben
    for String Orchestra

Composer Marga Richter at 90

Marga Richter

October 21st, 2016 marks the 90th birthday of Carl Fischer Music composer Marga Richter. A daughter of American soprano Inez Chandler and granddaughter of German composer/conductor Richard Richter, Marga Richter was born in Reedsburg, Wisconsin in 1926. In 1943, the family moved to New York so that she could enroll at the Juilliard School where she majored in composition with William Bergsma and Vincent Persichetti, and studied piano with Rosalyn Tureck, receiving a Master’s Degree in 1951. While still in her twenties, a series of pieces commissioned by MGM Records brought national recognition.

Today she is living in Long Island and is still passionate for composing. Marga considers music, in her own words, as “both a compulsion and a joy.” It is a consistent passion in her life. Marga says “Every day, whether or not I actually spend time composing a new piece, revising or re-editing or resurrecting an old piece, I am thinking about doing so. It sometimes takes hours and hours to find exactly the right solution.”

Here is a video including her works “Out of Shadows and Solitude,” “Quantum Quarks of a Quick Quaint Quark,” and “Spectral Chimes: Enshrouded Hills.”

Paul Lansky

Composer Spotlight: Paul Lansky

Recently inducted into the American Academy of Arts and Letters, Paul Lansky has long been regarded as a revolutionary American composer in the medium of computer-generated sound. Beyond being a widely respected composer, Lansky was also a pioneer in using a technique developed for phone transmission, Linear Predictive Coding, for musical purposes. He also developed a language specifically for creating computer music called Cmix. The bulk of Lansky’s later work has centered more around instrumental music, with a frequent focus on music for percussion and for guitar, and we are proud to include a number of these masterful works in our catalog.

Lansky’s newest commissions include The Long and Short of it (premiered Oct. 24, 2015), a wind quintet co-commissioned by the Library of Congress and the Chamber Music Society of Lincoln Center, and Springs (premiered September 16th, 2016), a percussion quartet commissioned for Sō Percussion by Chamber Music America.

For Lansky, “Success means creating new ways of listening and hearing.” With his varied and uniquely experimental career, Lansky has reached a wide audience of listeners from all walks of life and has invited us all to pause, and listen intently to the world around us. You can hear performances of his works below.

You can read his full bio and see a list of recordings on his composer page. His personal website also contains some electronic and instrumental samples along with some of the composer’s writing.


    Paul Lansky has written for the two-piano team Quattro Mani who recorded his piece It All Adds Up and premiered his concerto Shapeshifters with the Alabama Symphony in 2008.

    It All Adds Up

    Quattro Mani


    Commissioned for the Meehan/Perkins Duo, Travel Diary is, in the composer’s words, “…a kind of meditation on travel, particularly for those who don’t do it that much.” The piece is mildly programmatic with the third movement, “Lost in Philly,” drawing inspiration from Lansky’s personal experience after a wrong turn on a family road trip from Princeton, NJ to Los Angeles, CA.

    Travel Diary

    Meehan/Perkins Duo


    Featured on “Notes to Self,” Partita, Suite for Guitar and Percussion is further evidence of Lansky’s flair for experimentation. Hannis Brown of Q2 Music for WQXR writes that the piece, “…tours moments of flamenco, minimalism and even Zappa-esque jazz fusion.”

    Partita, Suite for Guitar and Percussion

    Abby Fisher and Koh Kazama


    Lansky’s trio for horn, violin and piano, Etudes and Parodies, written for William Purvis, was the winner of the 2005 International Horn Society Competition.

    Etudes and Parodies

    Brentano String Quartet


    Of Horizons, Lansky has said that along with the other pieces featured on his recorded album, Notes to Self, the music came, “…from a different toolkit in my composer’s workshop.” As he shifted away from electronic music, Lansky explored and upended many techniques he had learned, practiced, developed, and pioneered over the course of his unique career. Horizons, composed for piano, cello and percussion features compositional elements from both electronic music and acoustic traditions.


    Contempo Flux Spring 2015 Concert


    Since the mid-1990s, Lansky has unplugged and focused primarily on instrumental composition for live performers including Nancy Zeltsman, David Starobin, and many others. His percussion quartet, Threads, written for the So Percussion ensemble has been widely performed by that group and others as well as by numerous college and university ensembles.


    Peabody Percussion Group


    Lansky’s recent instrumental music eschews attempts to “break new ground,” relying instead on a fresh approach toward tonality and harmony that references musical traditions of various kinds, from Machaut to Stravinsky. His string quartet, Ricercare Plus, is based on concepts of counterpoint and part-writing from early Baroque and Renaissance music.

    Ricercare Plus

    Brentano String Quartet


    Premiered by the TTU Percussion Studio (Tennessee Technological University), Patterns, features four percussionists, each using 3 metals and 3 woods. The result is an engrossing, shimmering palette of sound.


    TTU Percussion Ensemble


    In Textures, Lansky instructs the players to find metals that have different decays, skins that are not too “boomy” or with a “twang”, wood blocks, and keyboard instruments – creating a world of sound displaying the diverse palette of timbres that these instruments are capable of.


    Svet Stoyanov, Gwendolyn Burgett, Thomas Rosenkranz, Michael Sheppard

  • dorian
    1944 – Born in New York
    1965 – Graduated from Queens College after studying with George Perle and Hugo Weisgall
    1966 – Played French horn with the Dorian Wind Quintet
    1969 – Joined the faculty at Princeton University after studying with Milton Babbitt, Earl Kim and others to gain his Ph.D. in Composition
    1973 – Composed mild und leise using an IBM 360/91 mainframe computer (this would be the first of many computer compositions for Lansky)
    1979 – Completed Six Fantasies on a Poem by Thomas Campion marking a career turning point focusing almost exclusively on computer generated compositions until the mid 1990s
    1991 – Theremin lesson with Leon Theremin himself
    2000 – English Rock band Radiohead featured a passage from mild und leise in their song, Idioteque
    2002 – Received a lifetime achievement award from SEAMUS (the Society for Electroacoustic Music in the United States
    2005 – Won the International Horn Society Competition for his trio for horn, violin and piano, Etudes and Parodies
    2016 – Inducted into the American Academy of Arts and Letters