SKU: CF.CPS225

ISBN 9781491152515. UPC: 680160910014.

Tartan Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

SKU: YM.GTW01101612

ISBN 9784636113037. 8.25 x 11.75 inches.

The famous aria sung in the third act of Puccini's opera Turandot has been arranged in the style of EDM (electronic dance music). Be sure to try out the trumpet solo played by Eric Miyashiro in the recording.
Instrumentation: Conductor×1; Piccolo×1; 1st & 2nd Flutes×2; *Oboe×1; *Bassoon×1; Clarinet in E♭×1; 1st Clarinet in B♭×3; 2nd Clarinet in B♭×3; 3rd Clarinet in B♭×3; *Alto Clarinet in E♭×1; Bass Clarinet in B♭×1; 1st Alto Saxophone in E♭×1; 2nd Alto Saxophone in E♭×1; Tenor Saxophone in B♭×1; Baritone Saxophone in E♭×1; 1st Trumpet in B♭×1; 2nd Trumpet in B♭×1; 3rd Trumpet in B♭×1; 1st & 2nd Horns in F×2; 3rd & 4th Horns in F×2; 1st Trombone×1; 2nd Trombone×1; Bass Trombone×1; Euphonium×2; Tuba×2; Electric Bass Guitar×1; *Electric Guitar×1; Drums×1; Timpani×1; Cymbals, Tambourine, Wood Block & Bass Drum×1; Wind Chime & Suspended Cymbal×1; Glockenspiel×1; Xylophone, Marimba & Chimes×3 The composition can also be performed without the instruments marked with *.
Performance time: Approximately 4 minutes 15 seconds
Difficulty Level: 3.

SKU: HL.1226166

UPC: 663961015584. 16.0x22.0x16.0 inches.

Mackie's PPM Series Powered Mixers are an excellent choice for small to medium sized venues or bars that have limited space. Its compact and ultra-lightweight design mean you can pull it out when you need it and have all the power you need. PPM is an excellent solution for integration into existing passive loudspeaker systems, bands touring small clubs or any application requiring an ultra-lightweight, powerful, all-in-one mixing and amplification solution. The PPM1008 features 800W + 800W peak Class-D, Fast Recovery power amplifiers, six mono mic/line channels each with a 3-band Perkins EQ and sweepable mid and two stereo mic/line/RCA channels each with 4-band Perkins EQ. The PPM1008 is equipped with a 32-bit RMFX+ processor featuring 24 effects with tap delay, dual 9-band graphic EQ (one for mains, one for monitors) and dedicated in-line compressors on the first four channels. Each mono channel has a premium Mackie mic preamp, a low/high gain switch, one Mon send and one FX/Mon send, and a channel insert jack for connecting an external processor. There are built-in DIs on channels 5 and 6 for direct connection of guitars or bass, a 1/4″ stereo footswitch jack for muting effects and a subwoofer output. Other features include +4BV phantom power, stereo tape output, stereo 12-segment LED meters and TRS stereo output jacks. Despite its large channel count, the PPM1008 is ultra-light and has Mackie's “Built-Like-a-Tank” construction.

SKU: 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.

SKU: CF.CM9727

ISBN 9781491161067. UPC: 680160919666. Key: Eb major. Latin. Traditional Latin.

Please use NOTES from SA(T)B BL1031 and replace the 2nd paragraph with the following: When a counterpoint section occurs, keep in mind that only one part can be dominant at a time. For example, at letter A, the basses have the lead. However, when the baritones enter two measures later, they will have the spotlight, and the basses must sing softer in order to let the baritones be heard. Two measures later, the basses and the baritones must both take a back seat when the focus shifts to the tenors. The important thing to remember about counterpoint is that the singers must learn the art of taking turns being dominant.
Please use NOTES from SA(T)B BL1031 and replace the 2nd paragraph with the following:When a counterpoint section occurs, keep in mind that only one part can be dominant at a time.  For example, at letter A, the basses have the lead.  However, when the baritones enter two measures later, they will have the spotlight, and the basses must sing softer in order to let the baritones be heard.  Two measures later, the basses and the baritones must both take a back seat when the focus shifts to the tenors.  The important thing to remember about counterpoint is that the singers must learn the art of “taking turns” being dominant.

SKU: CF.CPS120F

ISBN 9780825885044. UPC: 798408085049. 9 x 12 inches. Key: C minor.

Larry Clark’s natural instinct is to provide great concert band music, and once again, trusting his gut feeling has resulted in another winner. Instinct blazes out of the starting gate with an aggressive 6/8 theme, which is then manipulated and developed over the course of this great concert opener or closer. We’re willing to bet that your audience will be out of their seats by the end.

SKU: 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.