SKU: CL.CTS-7718-01
Translated Sound of The Winds, Sonus Ventorum begins with a dramatic opening for full band. This gives way to an exciting Allegro with trombones and saxophones playing the ostinato. The secondary theme is fragmented and foreshadowed prior to the second announcement of the first theme. The piece ends with both themes being played together. Great teaching elements in Sonus Ventorum include the 7/8 measure, and several rhythmic challenges as well. One of Smithâ??s signature works.
SKU: CF.SPS73
ISBN 9781491147689. UPC: 680160905188. 9 x 12 inches. Key: Bb major.
Composer/arranger Sean O'Loughlin has provided a refreshing new setting of our National Anthem. It was originally written for orchestral brass and percussion and has been performed at both MLB and NBA events. The arrangement begins with a bold fanfare to set the tone, but also to provide the motive glue to hold the arrangement together and create something unique. Creative harmonic usage and colorful orchestration really make this version stand out from the rest.There have been many great arrangements of our National Anthem throughout the years . The responsibility of creating one that truly brought something new to the mix was very daunting . I was fortunate enough to get an opportunity to write this version for the Oregon Symphony Brass Section to perform at the Portland Trail Blazers NBA games . Subsequent performances have occurred with the Baltimore Symphony at the Baltimore Orioles MLB games . At this time, it is my supreme honor to adapt this for the advanced concert band .In bringing something new, I decided to start with a bold fanfare to set the tone for this great music . Introducing some more dissonant harmonies also created a more intense feel .The first stanza includes a flowing counter line in the horns and alto saxophones . The trumpets interject some flourishes on the second pass to further the intensity . These flourishes continue “ . . . when the rockets red glare!†The final push at m . 29 is colored with pulsating 16th notes in the woodwinds that lead to some dramatic harmony at the fermata in m . 32 . The opening fanfare then returns to let everyone know that it's time to “Play ball!â€.
SKU: CL.CTS-7718-00
Translated Sound of The Winds, Sonus Ventorum begins with a dramatic opening for full band. This gives way to an exciting Allegro with trombones and saxophones playing the ostinato. The secondary theme is fragmented and foreshadowed prior to the second announcement of the first theme. The piece ends with both themes being played together. Great teaching elements in Sonus Ventorum include the 7/8 measure, and several rhythmic challenges as well. One of Smith’s signature works.
SKU: CL.011-3946-01
Based upon a simple but lush harmonic chorale, the introduction quickly builds into a dramatic brass driven fanfare. The rhythmic flourish is introduced in the saxophones and moves between the choirs of instruments throughout the piece. Effective rhythmic writing compliments the flowing melodies building to a dramatic and exciting finale that is a signature of David Shaffer’s festival music. An exceptional choice for contest or festival.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: PE.EP72630
ISBN 9790577009162. 420 x 297mm inches. English.
Commissioned by the SWR. First performance on 19 October 2014 at the Bartok Saal, Donauhallen, Donaueschingen by Ensemble Modern conducted by Jonathan Stockhammer.This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: SU.50600021
Imstrumentation: Solo Horn & Wind Ensemble Duration: Composed: 2004 Published by: Dunsinane Music Composer's Note: Great Scott! was commissioned by Mary Ann Craig, Director of Bands at Montclair State University for the MSU Wind Ensemble, and is dedicated to Mr. Jeffrey Scott. A work in one movement, Great Scott! may be heard as a stream of consciousness in the mind of the soloist. The work opens with the soloist quietly reflecting. The remnants of a dance tune are heard in the lower brass, as if from a radio, and the soloist unselfconsciously incorporates this material into his musings. He is joined by the ensemble, which reiterates and makes emphatic the soloist’s reflections. A variation of the dance tune, now integrated with the soloist’s ideas, is heard in the saxophones, soon joined by the French horn, gradually leading to a quieter section that again incorporates and expands the gathering musical materials. This leads to the central, lyric section of the piece—where the soloist returns to his initial musings, now amplified by the ensemble. This time, the dance music is not heard separately—in essence, it has been re-constructed by the soloist with contributions from the ensemble. A fanfare-like section follows, featuring brass and timpani. After a brief pause, the opening material is heard a final time, now with an active, rapid surface, as the piece rushes to a close.
SKU: RM.DEST02816-CO
SKU: CL.015-2568-00
This great arrangement features all of those Heavy Metal instruments like the trombones, baritones, tubas, bass clarinets and baritone saxophones in a cheerful setting that is sure to build confidence in your younger players. Designed to build technical proficiency as well as enthusiasm in those sections that don’t often get the spotlight, Heavy Metal will pay big dividends to your program in the years to come.
SKU: SS.50600020
Composer's Note: Great Scott! was commissioned by Mary Ann Craig, Director of Bands at Montclair State University for the MSU Wind Ensemble, and is dedicated to Mr. Jeffrey Scott. A work in one movement, Great Scott! may be heard as a stream of consciousness in the mind of the soloist. The work opens with the soloist quietly reflecting. The remnants of a dance tune are heard in the lower brass, as if from a radio, and the soloist unselfconsciously incorporates this material into his musings. He is joined by the ensemble, which reiterates and makes emphatic the soloist's reflections. A variation of the dance tune, now integrated with the soloist's ideas, is heard in the saxophones, soon joined by the French horn, gradually leading to a quieter section that again incorporates and expands the gathering musical materials. This leads to the central, lyric section of the piece - where the soloist returns to his initial musings, now amplified by the ensemble. This time, the dance music is not heard separately - in essence, it has been re-constructed by the soloist with contributions from the ensemble. A fanfare-like section follows, featuring brass and timpani. After a brief pause, the opening material is heard a final time, now with an active, rapid surface, as the piece rushes to a close.
SKU: CL.015-2568-01
SKU: CF.YPS197F
ISBN 9781491152850. UPC: 680160910359.
Chase the Horizon is a musical journey depicting a lonesome cowboy riding on his horse, chasing the horizon. Composer John Pasternak has delivered a strong and musically rewarding piece for the young band. It begins with a nice legato section before setting off on the journey with a tuneful theme. The piece develops through several contrasting sections finishing in a dramatic conclusion.This piece is a story of new beginnings. While writing this piece I pictured a lonely cowboy riding on his horse, chasing the horizon. The beginning for this piece should have a very legato feel except for the Xylophone part, which should use a very abrupt, staccato articulation. Measure 9 should take on a staccato and light feel. The feeling should remain light except for the instruments with the melody, who should play their parts with a more legato feel. Dynamics throughout this first section are crucial. All parts at m. 22 should play with a legato style with focus on the dynamics. The trumpet interjection at m. 25 should be played very light. At m. 32 there should be contrast with all the different styles of articulation. Measure 42 should not slow down too quickly as the group should not ever get slower than the tempo marking at m. 49.The slow section at m. 49 should be played soft with a legato style growing gradually through m. 61. The articulation at m. 61 should be short and staccato, and be careful not to rush. The sections with the melody here should contrast the staccato of the ensemble with a legato style. When the ensemble arrives at m. 78 the piece should have a maestoso-style feel. The rit. at m. 88 should not become slower than the tempo at m. 92. At m. 92, let the horns and saxophones really shine through.
SKU: CF.YPS197
ISBN 9781491152171. UPC: 680160909674. Key: Eb major.
SKU: CL.013-0096-00
Note: This is a reprint from a vintage publication of 1894. No conductor score is published for this work. The Solo Cornet part serves as a conductor guide. Due to the era of this work, tenor and baritone saxophones and double-reed parts are not published. Parts for Eb Horns are included; no F Horn parts are published for this work. If a C Piccolo/C Flute part was not published originally, one has been subsequently added by our editorial staff.
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