By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 6:30. Published by Manhattan Beach Music.

Concert band - Grade 4

SKU: MH.1-59913-072-6

Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:00. Published by Manhattan Beach Music (MH.1-59913-072-6).

ISBN 9781599130729.

Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.

Combo Edition of Books 1 and 2 with Online Audio. Guitar Tab Method. Instruction, Method. Softcover Audio Online. 64 pages. Published by Hal LeonISBN 9781705141724. 9.0x12.0 inches. Get started quickly and easily, and with songs you want to play! Learn the notes of the bass with riffs like "Day Tripper" and "Stand by Me," reading rhythms and tab with classics by the Who and Red Hot Chili Peppers, fingerstyle and pick technique with songs like "Roxanne" and "Low Rider," beginning slap technique with songs like "Higher Ground" and "Fly Away," and much more. The method's unique, well-paced, and logical teaching sequence will get students playing more easily than ever before, and music from popular artists like the Beatles, Nirvana, and Green Day will keep them playing and having fun. This special combo edition includes books one and two of the series plus online audio access.ard

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5

SKU: CF.CAS110

Composed by Peter Ilyich Tchaikovsky. Arranged by Bud Caputo. Concert String Orchestra (CAS). Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+7+24 pages. Duration 5:57. Carl Fischer Music #CAS110. Published by Carl Fischer Music (CF.CAS110).

ISBN 9781491151297. UPC: 680160908790. 9 x 12 inches. Key: E minor.

Bud Caputo presents Nutcracker Suite Selections for string orchestra featuring three abridged movements of?Tchaikovsky's Nutcracker Suite:?Dance of the Sugar Plum Fairy, March, and Trepak. These abridged movements are sure to be crowd-pleasers around the?winter holidays or a favorite for?any time of the year.
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.A Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm.A 16-19, in the Basses and m.A 34A in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandosA in this movement. March: A Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-restA figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement toA accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: A Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble..
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert. Suitable for Grades 3 through 5. To the Director: Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March: Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak: Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.
This arrangement will challenge students, while fostering rhythmic independence, execution of bowing and pizzicato, and the ability to balance the melody with the accompaniment throughout the arrangement. However, ranges remain primarily in first position with some optional 8va passages, allowing intermediate groups to perform this in time for the winter holiday concert.  Suitable for Grades 3 through 5.To the Director:Dance of the Sugar Plum Fairy: A steady tempo is critical when performing this movement, as students may have a tendency to rush during the pizzicato sections. There is a regularly occurring descending sixteenth-note rhythmic figure that is transcribed form the bass clarinet part in the original. It is important to maintain clarity and balance in performing these passages as seen in mm. 16-19, in the Basses and m. 34 in the Cello and Bass. The balancing of the chords will be a challenge in the execution of the many sforzandos in this movement. March:  Measures 2 and 4, and similar melodic patterns that follow, require the performers to carefully balance their forte/pianos on beats 3 and 4, along with the rapid diminuendo. The contrasting rhythmic patterns in mm. 5-8, and later throughout this movement must line up precisely. Strings playing the pizzicato eight note, walking bass line, must not rush, and the upper strings playing the eighth-note/eight-rest figure must follow their section leaders in executing this in a unified manner. While there is no formal tempo change from mm. 40 to 41, directors may need to relax the tempo at the beginning of the movement to accommodate the technical challenge of the double time feel that happens in m. 41. Trepak:  Tchaikovsky was careful to notate the p, f and sf, requiring the performers to recognize the difference between all three markings that frame the chief melody. The upper strings must be careful to support the melody in the lower strings that begins in m. 33. Directors will challenge their students to have fun in the last twelve measures with the accelerando passage to the end. Care must be taken to use an accelerando that works for all the players in the particular ensemble.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

Band Concert Band - Grade 3

SKU: CF.CPS263

Composed by Carl Strommen. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+4+4+6+6+6+6+4+8+1+1+4+5+32 pages. Duration 4 minutes, 38 seconds. Carl Fischer Music #CPS263. Published by Carl Fischer Music (CF.CPS263).

ISBN 9781491161524. UPC: 680160920150.

Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone “teewinet,” meaning “many pinnacles.” Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight “swing” and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.

The Best Step-by-Step Guide to Start Playing. Do It Yourself. Instruction, Method. Softcover Media Online. 128 pages. Published by Hal Leonard

By Joyce Eilers and Emily Crocker. (Student). Methodology Chorals. Size 6.7x10.5 inches. 80 pages. Published by Hal Leonard.

Concert band - Grade 1

SKU: MH.0-931329-76-0

Composed by Bob Margolis. Suitable for elementary and middle school bands. Conductor Full Score. Duration 2:20. Published by Manhattan Beach Music (MH.0-931329-76-0).

ISBN 9780931329760.

THE STARS ASLEEP, THE BREAK OF DAY is my most instrumentally colorful Grade 1 work and I believe in this area it breaks new ground. Furthermore, the musical content greatly exceeds Grade 1 expectations. Beginning band students have something to study here that presents opportunity for real musical development. Band directors will notice immediately that the scoring does not look like Grade 1 music. The music actually sounds like a Grade 3 work but it is not. The ranges and technical demands are truly only Grade 1, but the variety in the instrumentation is ample. Numerous cues and cross-cues allow less secure bands to rehearse or perform the work. The flexibility of tempo in the first movement presents unique challenges in performance and teaching. The sparkling and dancelike second movement is cinematic in its instrumental colors and pacing, and will be fun to perform. Instrumental sections that are used to being buried in the mix will discover that their roles in band music can be significant. Ensemble instrumentation: 6 Flute 1, 6 Flute 2, 2 Oboe, 2 Bassoon, 6 Bb Clarinet 1, 6 Bb Clarinet 2, 3 Bb Bass Clarinet, 4 Eb Alto Saxophone 1, 4 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 6 Bb Trumpet 1, 6 Bb Trumpet 2, 4 F Horn, 4 Trombone 1, 4 Trombone 2, 4 Euphonium, 2 Euphonium (T.C.), 6 Tuba, 2 Timpani, 2 Percussion 1, 4 Percussion 2, 3 Percussion 3.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3 and more. - Grade 3.5

SKU: CF.CPS228

Composed by George Sweet. Concert Band (CPS). Set of Score and Parts. With Standard notation. 8+8+4+8+16+16+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+1+2+2+2+2+4+8+2+28+4 pages. Duration 4 minutes, 35 seconds. Carl Fischer Music #CPS228. Published by Carl Fischer Music (CF.CPS228).

ISBN 9781491152546. UPC: 680160910045.

Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was a large influencing factor for George Sweet in the composition of this piece. Richly scored for the modern concert band, Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.
Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was an influencing factor on the composition of the piece. Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.This begins with strict motor accompaniment. Take care to maintain equal balance among the different “moving parts” so that they blend to create a solid whole both here and throughout the piece. The primary thematic material is stated by the trumpets and horns at m. 12. This material is the basis for much of the harmonic and thematic material that follows. A slightly varied statement of the main theme is presented again at m. 26 with a different type of motor accompaniment. This leads to a B-section at m. 44, which is a bold fanfare-like presentation of the main material. Another series of variations on the main theme begins at m. 50 and incorporates many different textural and harmonic ideas in the accompaniment. Once again, be careful to not let any one “moving part” overwhelm another and keep the texture evenly balanced.  A second, broader presentation of the B-section occurs at m. 90 and leads to a subdued C-section at m. 100 with new melodic material presented in the trumpet. A whimsical march-like section pushes to the return of the introductory motor material at m. 131. A final heroic presentation of the main thematic material results in a somewhat ambiguous coda, which brings the piece to a dramatic conclusion.

(82 balanced lessons). By Harold E. Mitchell. For trumpet. This edition: Paperback. Instructional. Method. Method book and DVD. Text Language: English. 96 pages. Published by Santorella Publications