SKU: CL.023-4593-01

Based on the liturgical hymn The Doxology written in 1674 by Thomas Ken, this lyrical and sensitive arrangement for the beginning band provides multiple teaching opportunities in a rich musical setting. The first melodic statement is written as a musical exchange between soloists or sections creating a connection and awareness between sections of the band. The second melodic statement is a lush full ensemble setting in contrast. The use of mixed meter in an accessible and musically logical manner reinforces teaching and concepts introduced in the first year of most beginning band methods. A beautiful and educational choice for your concert program!

SKU: AP.36718S

UPC: 038081409054. English.

This humorous circus march brings to life all the color of a clown parade as it slips and slides and elbows you in the ribs. The sax section gets to stand and bark like dogs, and the entire ensemble screams in delight as a clown is shot out of a canon onto a galloping horse. Very colorful and exciting!

SKU: HL.44005181

UPC: 073999888768. 8.5x11 inches. English-German-French-Dutch.

Great Britain has had a National Youth Brass Band since 1952, which caters for players between the ages of 12 and 18 and has produced many outstanding instrumentalists in its distiguished history. An exciting development took place in July 2004 when the first summer course of a new National Children's Brass Band of Great Britain, for players between the ages of 8 and 13, was held in Bromsgrove, Worcester. Renowned cornet soloist and conductor Lynda Nicholson was appointed music director and she commissioned Philip Sparke to write a piece for this inaugural course. The Pioneers was the result. The title refers to the fact that the NCBBGB was starting out on a new adventure but is also a salute to the bicentenary of an expedition by two of the composer's heroes - Meriwether Lewis and William Clark. They were commissioned by US President Thomas Jefferson to find the headwaters of the Mississippi and a route to the Pacific following the Louisiana Purchase in 1803, which doubled the size of USA. They set out, as the “Corps of Discovery,” from Louisville, Kentucky, in May 1804; not only did they succeed in reaching the Pacific through hostile territory, but also found their way back - in three years! The piece is not descriptive of the journey but gives the composer the opportunity to celebrate the 200th anniversary of this amazing feat.

SKU: HL.44011353

UPC: 884088892418. 9x12 inches. English(US)/Deutsch/Francais/Nederlands.

Sir Eu was commissioned by the regional music authority of Upper Austria and the brass band SoundINNBrass. The composition was meant to be very virtuoso and was written for the euphonium player Steven Mead, who premiered it and has played it regularly worldwide. The title Sir Eu alludes to the master of the euphonium himself, and also to the concept of Europe. From jazz through romanticism to folkloristic elements - this work offers everything that the musical heart could wish for!

Sir Eu is geschreven in opdracht van de deelstaat Opper-Oostenrijk en de brassband SoundINNBrass. De compositie moest heel virtuoos zijn - toegesneden op de talenten van euphoniumspeler Steven Mead, die de premiere voor zijnrekening nam en het werk overal ter wereld heeft gespeeld. De titel verwijst naar deze meester op het euphonium, maar ook naar het Europese beginsel. Van jazz en romantiek tot folkloristische elementen biedt dit werk alles wat hetmuzikale hart begeert.

Sir Eu wurde von der oberosterreichischen Landemusikdirektion und der Brass Band SoundInn-Brass in Auftrag gegeben. Das Stuck sollte ausserst virtuos und massgeschneidert fur den Euphoniumspieler Steven Mead sein, der es urauffuhrte und bis heute weltweit regelmassig spielt. Der Titel Sir Eu ist eine Anspielung auf den Meister des Euphoniums und zugleich an den europaischen Gedanken. Von Jazz uber Romantik bis hin zu Folklore-Elementen ist in diesem Stuck alles zu finden, was das musikalische Herz begehrt.

Sir Eu est une œuvre de commande conjointe du Comite Regional pour la Musique de Haute-Autriche et du Brass Band SoundINNBrass. Cette composition, taillee sur mesure pour le maitre de l'euphonium Steven Mead, est d'une grande virtuosite. Steven Mead en assura d'ailleurs la creation et la promotion sur les scenes du monde entier. Le titre fait reference a la fois au dedicataire de la piece et au concept europeen. Du jazz aux elements traditionnels en passant par des couleurs plus romantiques, cette piece contient tous les ingredients pour un succes grand public !

Sir Eu was commissioned by the regional music authority of Upper Austria and the brass band SoundINNBrass. The composition was meant to be very virtuoso and was written for the euphonium player Steven Mead, who premiered it and has played it regularly worldwide. The title Sir Eu alludes to the master of the euphonium himself, and also to the concept of Europe. From jazz through romanticism to folkloristic elements - this work offers everything that the musical heart could wish for!

SKU: CL.012-4197-75

Written for an icon in the band world, Favor And Treasure honors Col. John Bourgeois, Director Emeritus of the United States Marine Band, past president of the American Bandmasters Association, president of the John Philip Sousa Foundation, American vice president of the International Military Music Society, mentor and friend. Favor And Treasure is based on John's Theme, a bold, original theme conveying inspirational imagery of excellence, artistry and duty congruous with Col. Bourgeois' distinguished career at the helm of the band to which President Thomas Jefferson gave the title The President's Own. To honor Bourgeois' affinity for Cajun folk music, the old Cajun waltz, J'ai Passe Devant Ta Porte is also used, most prominently in the quasi-zydeco section of the work. Musicians and audience members of all ages will be assuredly affected by the spirit and essence of this extraordinary composition.

SKU: AP.49458S

ISBN 9781470660703. UPC: 038081577494. English.

From the top of the country charts, Cole Swindell's hit single She Had Me at Heads Carolina pays tribute to singer and songwriter Jo Dee Messina and her debut single from 1996, Heads Carolina, Tails California. With melodies that get passed throughout the ensemble, arranger Michael Kamuf has crafted the perfect vehicle that will engage both your students and audience. This one is FUN! (2:10).

SKU: HL.44013194

UPC: 888680793432.

This piece for young band will frighten not only the audience but the players also! There are rumours of musicians disappearing during the rehearsals of this piece, never to be found... It is said, however, that singing loudly in the vocal passages provides protection from nasty surprises. Monsters was awarded first prize in the Symphonic Wind Composers Project composition competition. (Grade 2) Dur: 4:15 (Mitropa).

SKU: HL.4006437

UPC: 888680989965. 9.0x12.0 inches.

Mercury Rising was commissioned by sinfonisches blasorchester wehdel and its conductor Thomas Ratzek, to celebrate their 50th anniversary in 2018. They premiered this piece in their half-century concert on 2nd November 2018 in the Bremerhaven Stadttheater in Germany. Designed as a virtuosic and lively opener, Mercury Rising opens with nervous energy and driving, syncopated rhythms in a blaze of colour. The horns and saxophones then introduce a broad melody, which the trumpets subsequently take up after a change of tonality. A quieter moment introduces a distant fanfare on muted horns over bubbling semiquavers in the low clarinets. This is interrupted by a passionate tenor melody but soon returns on the full brass section, accompanied by echoes of the opening woodwind figuration, and is extended to bring the piece to a triumphant close.

SKU: GI.G-10580

ISBN 9781622776375.

Contributors: Travis J. Cross (University of California–Los Angeles) • David J. Elliott (New York University) • Marissa Silverman (Montclair State University) • Jacob Wallace (South Dakota State University) • Randall Everett Allsup (Teachers College, Columbia University) • Cynthia Johnston Turner (Wilfrid Laurier University) • Carolyn Barber (University of Nebraska-Lincoln) • John Kratus (Independent Scholar) • Vincent C. Bates (Weber State University) • Thomas G. Warner, Jr. (North Carolina Agricultural and Technical State University) • Ben Hawkins (Transylvania University) • Thomas A. Regelski (SUNY Fredonia School of Music, Helsinki University of Finland) • Paul Woodford (Western University) • Charles Peltz (New England Conservatory of Music) In the wind band profession—as in every great discipline—it is critical to take stock in the big questions about where we are heading, and why, as we move through the twenty-first century. This thought-provoking book contains seven high-level exchanges between a leading wind band practitioner and a music education philosopher. Each section of The Future of the Wind Band grapples with the most profound issues facing the music education profession and the path of instrumental music education in our schools: Relevance: What relevance, if any, does the wind band have both to today’s students and to culture more broadly in the twenty-first century? What relevance does the band experience hold for students’ everyday life? Repertoire: What is the relationship between the repertoire performed by wind ensembles and the larger musical world? Pedagogy: What constitutes best practice in terms of musical pedagogy and rehearsal technique within the large-ensemble experience? Creativity: Can the wind band function as a vehicle for enhancing the individual creativity of its members? Economic Justice: How do issues of social class and the distribution of wealth relate to broader questions of social justice within the context of instrumental music education? Professional Ethics: What are the primary ethical responsibilities of the wind band conductor? Democratic Citizenship: What relationship, if any, can be drawn between membership in the wind band and citizen participation in democracy? Such exchanges can only strengthen our profession and pay rich dividends in our musical and educational work with the students we serve. Editor of this book, William (Bill) M. Perrine is Associate Professor of Music and Director of Instrumental Activities at Concordia University in Ann Arbor, Michigan, where he directs the wind ensemble, marching band, and community orchestra.

SKU: BT.DHP-1064045-010

9x12 inches. English-German-French-Dutch.

The Last Rose of Summer is a popular Irish folksong. The original text was written by Thomas Moore (1779-1852) and the melody is a traditional air titled The Groves of Blarney. The German composer Friedrich von Flotow (1812-1883) cleverly used this song in his opera Martha, a light-hearted, successful work that is still regularly performed. The melancholy character of The Last Rose of Summer still appeals to many people in the present day and this arrangement by Wil van der Beek certainly does justice to the beauty of the melody. A wonderful item to change the mood of any performance.

The Last Rose of Summer is een geliefd Iers volkslied. De originele tekst is van Thomas Moore (1779-1852) en de melodie is een traditionele air met de titel The Groves of Blarney. De Duitse componist Friedrich von Flotow(1812-1883) gebruikte dit lied op handige wijze in zijn opera Martha, een lichtvoetig, succesvol werk, dat tot op heden repertoire gehouden heeft. Het melancholische karakter van The Last Rose of Summer spreekt ook vandaagde dag nog veel mensen aan. Dit arrangement van Wil van der Beek doet beslist recht aan de schoonheid van de melodie.

The Last Rose of Summer ist ein beliebtes irisches Volkslied. Der ursprüngliche Text stammt von Thomas Moore, die Melodie ist ein überliefertes Air mit dem Titel The Groves of Blarney. Der deutsche Komponist Friedrich von Flotow verarbeitete das Lied geschickt in seiner Oper Martha, ein heiteres, erfolgreiches Werk, das heute noch aufgeführt wird. Der melancholische Charakter dieses Liedes hat auch in der Gegenwart nichts von seinem Reiz verloren. Diese Bearbeitung von Wil van der Beek wird Schönheit der Melodie absolut gerecht.

The Last Rose of Summer est un des plus célèbres chants traditionnels irlandais. En 1847, le compositeur allemand Friedrich von Flotow (1812-1883) intègre cette mélodie dans son opéra Martha. Le succès est immédiat et l’opéra jouit encore de nos jours d’une immense notoriété. L’arrangement de Wil van der Beek conserve la beauté de la mélodie originale.

The Last Rose of Summer è uno dei più celebri canti tradizionali irlandesi. Nel 1847, il compositore tedesco Friedrich von Flotow (1812-1883) include questa melodia nell’opera Martha. Il successo è immediato e gode ancora oggi di immensa notoriet . L’arrangiamento di Wil van der Beek conserva la bellezza della melodia originale.

SKU: PR.46500013L

UPC: 680160600151. 11 x 14 inches.

I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.