SKU: CF.SPS94
ISBN 9781491161449. UPC: 680160920037.
On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America's cities and towns. The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive. The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic. In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal. In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together. This impressionistic composition about these vanished structures, although written for more advanced ensembles, has only one flute, clarinet, trumpet, horn and trombone part. As a result, smaller bands can play this composition without having to look for a flex-band arrangement. Use this to develop the essential skills of syncopation and counting while also offering the security of only having one part for each instrument voice. An exciting contrasting selection for bands looking for a harmonically interesting composition, this also works well as a contest selection. .On November 5th, 2017, a mass shooting took place at the First Baptist Church in Sutherland Springs, Texas. Twenty-six innocent people lost their lives that day, including an unborn child. Overture to a Small Town is dedicated to these victims and the loved ones they left behind. From the biggest cities to the smallest towns, the senseless bloodshed must end. Despite the darkness of this tragedy, it is my intent through this music to portray a sense of hope, dignity, and innocence deserved by all America’s cities and towns.  The opening moments of this piece should be treated delicately, ensuring that the brass section moves together in one unified voice, and that the crotales evoke distant flickers of light. Similarly, in mm. 120-127, articulations in the flutes, trumpets and mallets should be strong enough to be heard, but without being aggressive.  The textural layering in mm. 48-53 should be executed with machine-like precision of both rhythm and articulation. This passage should evoke the sound of many voices rising together. There should be a great contrast between the opening Piano dynamic and the final Forte dynamic.  In mm. 65-69, both mallet percussionists may play the indicated notes in any octave they choose. Both players should move rapidly between notes in any order. This passage should sound fluid and ethereal.  In mm. 69-73: If there is no English Horn available to the ensemble, the Trumpet should play this passage solo. If there is an English Horn, both instruments should play the passage together.This impressionistic composition about these vanished structures, although written for more advanced ensembles, has only one flute, clarinet, trumpet, horn and trombone part. As a result, smaller bands can play this composition without having to look for a flex-band arrangement. Use this to develop the essential skills of syncopation and counting while also offering the security of only having one part for each instrument voice. An exciting contrasting selection for bands looking for a harmonically interesting composition, this also works well as a contest selection. .
SKU: HL.345969
ISBN 9781540093110. UPC: 840126921168. 6.75x10.5x0.019 inches. Job 12:10, Psalm 47, Psalm 93.
This well-known spiritual dances with joy reminding us of God's divine presence, power, and care. A snippet of text from All Things Bright and Beautiful, set to new music, forms the anthem's bridge section. The new material joins the traditional text and tune to close the piece with a lively partner song. Available separately: Unison/opt. 2-Part Treble. Duration: ca. 2:02.
SKU: CF.W2693
ISBN 9781491158586. UPC: 680160917198. 9 x 12 inches.
While unknown today, composer William Pettee (1839a1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880a1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (atuba soloa spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwellas Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Petteeas Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839-1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880-1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra. Olosabut (tuba solo spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell's Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee's Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.While unknown today, composer William Pettee (1839–1891) was clearly a remarkable musician and composer evidenced by the fact that he wrote funeral music for Abraham Lincoln and General Ulysses S. Grant. This funeral music survives to this day in a piano reduction format and is the basis of some of my most current arranging projects. This new edition of Olosabut was the culmination of years of research into the era commonly called The Golden Age of Bands, a period spanning 1880–1920. This project initially began when I played the solo part for Olosabut with a reading band when I was a guest artist at the Northwest Brass Festival in Seattle in 2010. For this new edition, I created a score with modern transpositions. Prior to this, there has been no score for this music. There is often no score for American band music from this era. I also adjusted the dynamics and articulations to allow the soloist to be heard and composed a handful of new musical lines to correct the problems stemming from inconsistent number of measures in the original edition. Finally, I created a reduction for tuba and piano as well as a new edition for solo tuba and orchestra.Olosabut (“tuba solo†spelled backwards) from 1885 is possibly the oldest American tuba solo to survive to the twenty-first century. I have done extensive research in this area, and while there may be some earlier pieces with small obbligato solos for tuba, and perhaps even earlier full-fledged tuba solos, I believe this is the earliest music with a serious solo tuba part throughout that survives to this day. In the Tuba Source Book, several early solos are listed from the 1880s. In my research, I have attempted to obtain all of the music listed in the Tuba Source Book from the 1880s or earlier though the Library of Congress and various historic libraries in America. Most of this music for solo tuba and band is incomplete or entirely unavailable today though. The earliest of these is Southwell’s Quickstep (Fun for Basses) from 1881. This is described as a novelty march for tuba section, however. A notable omission from the Tuba Source Book, though, is William Pettee’s Olosabut, which is clearly marked 1885 on the original published sheet music. This piece is not listed in the Tuba Source Book. However, a different piece by Pettee called Osceola is listed from 1889.
