Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

Orchestra SSTB voice soli, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 clarinos/trumpets, timpani, 2 violins, viola, cello, double bass

SKU: CA.5148613

Komodie mit Musik. Composed by Wolfgang Amadeus Mozart. This edition: urtext. Stuttgart Urtext Edition: Mozart. Viola. Incidental music. Single Part, Viola. Composed 1786. KV 486. 16 pages. Duration 28 minutes. Carus Verlag #CV 51.486/13. Published by Carus Verlag (CA.5148613).

ISBN 9790007225179. Language: German. Text: Stephanie der Jungere, Johann Gottfried. Text: Johann Gottfried, Stephanie der Jungere.

Der Schauspieldirektor (The Impresario) was composed in the spring of 1786 to fulfill a commission from Joseph II for performance during a visit to Vienna by the Governor-General of the Netherlands. The visitors were meant to be entertained with a short German and an Italian musical comedy during a festival arranged on short notice in Schonbrunn Palace. The choice of composers fell to Mozart and Salieri. Both pieces spoofed the theatrical practices of the day. Der Schauspieldirektor, by Gottlieb Stephanie the Younger, has a loosely-constructed plot that hinges on the vanity of opera singers and the empty-headedness of many traveling companies. Frank Lustig wants to create a new theatrical troupe, for which Herr Eiler is willing to supply money, but only on condition that his lady friend is allowed to join. In the course of the piece, appearances are made by other ladies with resonant names who want to be retained as singers and who attempt to outdo each other until reason is allowed to prevail. Score and part available separately - see item CA.5148600.

1 Solo Piano - Grade 4

SKU: FL.FX073532

Composed by Patrice Bernard. Original Composition, Republished Master Piece. Classical, Educational. Score and Set of Parts. 4 pages. Duration 2 minutes, 5 seconds. FLEX Editions #FX073532. Published by FLEX Editions (FL.FX073532).

Instruments: 1 Solo Piano; Difficuly Level: Grade 4.

Band concert band - Grade 1

SKU: CF.BPS103F

Composed by Gene Milford. SWS. Carl Fischer Beginning Performance Series. Full score. With Standard notation. 16 pages. Carl Fischer Music #BPS103F. Published by Carl Fischer Music (CF.BPS103F).

ISBN 9781491147825. UPC: 680160905324. 9 x 12 inches.

The mystery and romance surrounding Egypt's Nile river, expansive deserts, mighty pyramids, Valley of the Kings, and legacy of art and culture has inspired generations of men and women around the globe. In ancient Egypt, the word Pharaoh meant Great House, referring first to the royal palace itself and later to the ruler in power as an official title of leadership. Land of the Pharaohs is a short, musical depiction of the power that the ancient Pharaohs once held and the drama that has captivated mankind since the end of their long reign.

Fanfare Band - Grade 3

SKU: BT.DHP-1094661-020

Composed by Irving Berlin. Arranged by Lorenzo Bocci. DHP Pop, Film and Show. TV-Film-Musical-Show. Set (Score & Parts). Composed 2009. De Haske Publications #DHP 1094661-020. Published by De Haske Publications (BT.DHP-1094661-020).

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

Puttin’ on the Ritz, dessen Titel sich vom mondänen Ritz- Hotel ableitet und so viel bedeutet, wie sich schick und modern kleiden“, ist ein Lied von Irving Berlin, das erstmals im gleichnamigen Musikfi lm von 1930 erschien. Seither wurde es oft interpretiert, zum Beispiel von Fred Astaire oder in der Top-Ten-Version aus den 80er-Jahren von Taco. Lorenzo Bocci setzte das rhythmisch sehr interessante, swingende Stück für Fanfareorchester um.

“Putting on the Ritz : c'est ainsi que les Anglo-Saxons se « mettent sur leur 31 », consacrant, au passage, le mondialement célèbre palace comme éternel symbole de du luxe et de la perfection. Irving Berlin célèbrera cet art de vivre avec la chanson Puttin’ on the Ritz, reprise par de nombreux artistes. Lorenzo Bocci en a réalisé un arrangement absolument “ritzy.

By Randall Faber, Nancy Faber. For Piano. Piano Adventures. Book. Published by The FJH Music Company Inc.
Level: Young Beginner - Skips on the Staff.

Edited by Helen Marlais, Kristen Avila. For Piano. Succeeding with the Masters. Instructional, Method. Level: Late Elementary through Intermediate. 40 pages. Published by The FJH Music Company Inc.

Soprano Book Only. Composed by Various. Edited by Richard Walters. Vocal Collection. 256 pages. Published by Hal Leonard

The Singer's Musical Theatre Anthology - Volume 4 - Soprano (Book only) by Various. Edited by Richard Walters. For Vocal. Hal Leonard Vocal Collection. Broadway. Difficulty: difficult. Songbook. Vocal melody, lyrics, piano accompaniment, chord names, introductory text and a show synopsis. 216 pages. Published by Hal Leonard

SKU: WD.080689326974

Composed by Kathie Hill. Choral. Modern Christian. Director's aide and video. Word Music #080689326974. Published by Word Music (WD.080689326974).

UPC: 080689326974.

Join the cast of Trading Places at a Hebrew home and an Egyptian palace where Page Turner, Hildi Vine, Frank Incense and Ty Kwando assist kids in discovering the story of Moses. But there's no redesigning history in this musical as kids learn about the plagues, the Passover, the Exodus and the Ten Commandments through clever lyrics and memorable music. As in his own life, the emphasis of this musical is not on Moses, but the God of Moses -- the Great I AM! Ages: 1st - 8th Grades.

Performed by George Harrison. For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vocal melody, piano accompaniment, lyrics, chord names and guitar chord diagrams. Britpop and classic rock. 24 pages. 9x12 inches. Published by Hal Leonard.