Concert band - Grade 4

SKU: MH.1-59913-021-1

Composed by Liadov. Arranged by Don Wilcox. Suitable for high school, community, and college bands. Conductor Full Score. Duration 6:45. Published by Manhattan Beach Music (MH.1-59913-021-1).

ISBN 9781599130217.

Program Notes: Festival in Russia is a transcription for concert band of Anatoli Liadov's dazzling orchestral work, Polonaise (Op. 49). Written at the turn of the century, its energetic dance rhythms and melodic expressiveness will bring a delightful Old World charm to today's audiences. Liadov (1855-1914) was a student of Rimsky-Korsakov at the St. Petersburg Conservatory, and succeeded him as the composition teacher. (One of Liadov's most notable students at the Conservatory was Sergei Prokofiev.) At the time the Polonaise was written (1899), Liadov was at the height of his profession and one of his era's most respected and widely-known composers. The first performance of this transcription for concert band was given by the West Virginia University Wind Symphony at the Kennedy Center for the Performing Arts on February 24, 1988, Don Wilcox conducting. Ensemble instrumentation: 1 Piccolo, 4 Flute I, 4 Flute II, 1 Oboe I, 1 Oboe II, 1 English Horn, 1 Bassoon I, 1 Bassoon II, 1 Eb Clarinet, 4 Bb Clarinet I, 4 Bb Clarinet II, 4 Bb Clarinet III, 1 Eb Alto Clarinet, 1 Eb ContrabassClarinet, 3 Bb Bass Clarinet & Bb Contrabass Clarinet, 3 Eb Alto Saxophone I, 3 Eb Alto Saxophone II, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Cornet I, 3 Bb Cornet II, 3 Bb Cornet III, 2 Bb Trumpet I, 2 Bb Trumpet II, 2 F Horn I & III, 2 F Horn II & IV, 2 Trombone I, 2 Trombone II, 2 Bass Trombone, 3 Euphonium, 2 Euphonium T.C., 4 Tuba, 2 Timpani, 2 Bells & Vibraphone, 3 Chimes, Triangle & Cymbals, 2 Xylophone & Marimba, 2 Snare Drum & Bass Drum.

Composed by Carol Lynn Mizell. For selected handbells (chimes, glockenspiel), oboe, unison voices. Level 2 . Full score and parts. Published by Chorister's Guild

Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3

SKU: CF.CPS251

Composed by Patrick Glenn Harper. Set of Score and Parts. 28+8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+6+6+6+4+8+1+4+2+2+12+2+8 pages. Duration 4 minutes, 27 seconds. Carl Fischer Music #CPS251. Published by Carl Fischer Music (CF.CPS251).

ISBN 9781491159873. UPC: 680160918461.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1 and more. - Grade 3

SKU: CF.CPS210

Composed by Sean O'Loughlin. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+16+8+16+32+32+8+8+8+8+8+8+16+16+16+8+8+12+12+12+16+8+4+8+32+40+8 pages. Duration 3 minutes, 57 seconds. Carl Fischer Music #CPS210. Published by Carl Fischer Music (CF.CPS210).

ISBN 9781491152362. UPC: 680160909865.

A driving composition from Sean O'loughlin,?Commence!?begins with a spirited theme that oscillates between triple and duple meter. After developing into a heartfelt lush brass chorale, the lilting theme returns again. The composition concludes with a dramatic return of the B theme and a rousing finale. A beautiful piece,?Commence!?is a?strong choice for any contest or festival.

Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

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Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

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Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn. This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds. This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

Band Bass Clarinet, Bass Drum, Bassoon, Castanets, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2 and more. - Grade 3

SKU: CF.CPS222

Composed by Ed Kiefer. 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+2+2+1+12+2+1+36+4 pages. Duration 5 minutes, 19 seconds. Carl Fischer Music #CPS222. Published by Carl Fischer Music (CF.CPS222).

ISBN 9781491152485. UPC: 680160909988.

From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences.  Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster and leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. The piece continues through a more lyrical second section before a dramatic return of the opening material to close out this contest/festival style piece.
From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences. Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster. This leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. After a quickly paced melody in the low register for the clarinets, the piece gives way to an exciting tutti section that features horns and saxes on an answering countermelody.The second section is a dance that starts with low reeds and a flute solo, but develops into a full band Spanish-sounding dance, with melody in many different places. The recap is a reverse of the beginning section and again loosely represents the danger of life on the high seas.The short ostinato that is used at the beginning and in some transitional moments is based on the beginning notes of Irish Tune from County Derry, a favorite of J. C. Sykes, who this piece honors. Mr. Sykes gave a lifetime to teaching music to band students in North Carolina. The first four notes in clarinet 1, the first four in flute 1 and the first four in clarinet 2 make up the first phrase from that beautiful melody. Just something to get students thinking about composition in a new way.

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

SKU: CF.CPS221F

A Viking Saga. Composed by Gene Milford. Concert Band (CPS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS221F. Published by Carl Fischer Music (CF.CPS221F).

ISBN 9781491153154. UPC: 680160910656.

The Long Ships: A Viking Saga portrays the drama and excitement of the adventures of Viking heroes and great tales of Norse mythology. Composer Gene Milford has written a descriptive work that is bold, exciting, and beautiful. It is a rhapsodic piece with great potential for developing the musicianship of your students. The Long Ships is a perfect addition to your ensemble's contest and festival repertoire.
The Vikings or Norsemen were the great explorers, warriors and traders of the European Medieval Age. In their iconic “long ships” they traveled from their Scandinavian home lands as far west as Greenland and New Foundland, south into the Mediterranean and East through Russia to the Black Sea. The Vikings were also the scourge of the era, and the cry “the Long Ships are coming” sent fear through coastal and river communities throughout Great Britain and Europe. The Norse sagas, tales of gods and heroes, have inspired musicians and authors though the centuries.The Long Ships: A Viking Saga portrays the drama and excitement of the adventures of Viking heroes and great tales of Norse mythology.The anvil in Percussion 2 should be struck with a large metal hammer. A low sounding anvil is preferred but a break drum can be substituted.

Concert Band Alto Saxophone, Baritone Saxophone, Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet I, Clarinet II, Euphonium, Flute, Flute II, Horn, Oboe, Orff Instruments, Snare Drum, Suspended Cy, Tenor, Tenor Saxophone, Timpani, Trumpet I, Trumpet II, Tuba - Grade 1.5

SKU: CF.FPS14

Composed by Sean O'Loughlin. FS-SWS. Carl Fischer First Plus Performance Series. Score and Set of Parts. With Standard notation. Carl Fischer Music #FPS14. Published by Carl Fischer Music (CF.FPS14).

ISBN 9780825839825. UPC: 798408039820. 9 X 12 inches.

An aggressive, outgoing fantasy on the famous Westminster Chimes, Fantasy of Bells utilizes the ability of winds and brass to make bell-like sounds as well as employing the actual bell-sounds of various metalophones. Quartal harmony and colorful scoring give this piece an up-to-date sound and make it ideal as a concert opener for contest and festival time. Duration: 2'.

By Traditional French Carol. Arranged by William Ryden. Concert band. Suitable for elementary and middle school bands. Christmas. Grade 1. Conductor Full Score. Duration 1:45. Published by Manhattan Beach Music

Concert Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Field Drum, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1 and more. - Grade 2-2.5

SKU: CF.YPS16

Full Score and Parts. Composed by Joseph Compello. FS-SWS. Carl Fischer Young Performance Series. Score and Set of Parts. With Standard notation. 16+4+8+4+2+2+10+2+2+8+8+8+6+4+6+6+1+1+4+1+32 pages. Duration 3 minutes. Carl Fischer Music #YPS16. Published by Carl Fischer Music (CF.YPS16).

ISBN 9780825843426. UPC: 798408043421. 9 X 12 inches. Key: Eb major.

An exciting British/Regimental style march by a master of writing for young musicians, Joe Compello's, The Royal Regiment is tuneful and harmonically straight forward. Set in a stately march tempo, the overall effect is of a band on parade approaching from far away and, after a fully-scored climax, receding to the sound of drums fading out in the distance. This is a good alternative march selection for contest or festival. Duration: 3'.

Composed by Bill Calhoun. Score and part(s). 24 136 pages. Duration 4 minutes, 22 seconds. Carl Fischer #YPS0165. Published by Carl Fischer (CF.YPS165).

Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 3

SKU: CF.CPS153F

Composed by Peter Terry. Concert Band. Full score. 32 pages. Duration 4 minutes, 23 seconds. Carl Fischer Music #CPS153F. Published by Carl Fischer Music (CF.CPS153F).

ISBN 9780825896460. UPC: 798408096465. 9 x 12 inches.

A piece with cinematic flare, The Emissary contains sounds from all around the world. Up-and-coming composer Peter Terry utilizes colorful scoring of instruments, making this a perfect choice for contest or festival performances.