(For Orchestra and Concert Group). By Stephen Albert. For Piccolo, Flute, Oboe, English Horn, Piccolo Clarinet, Clarinet, Alto Saxophone, Bassoon, Contra Bassoon, Horn, Cornet, Trumpet, Tenor, Tuba, Timpani, Percussion, Piano, Harp, Contrabass, Violin, Vi. full score (large). classical.

SKU: LO.30-2825L

Composed by Pepper Choplin. Arranged by Michael Lawrence. Choral, cantatas. Christmas, Sacred. CD with printable parts. Lorenz Publishing Company #30/2825L. Published by Lorenz Publishing Company (LO.30-2825L).

UPC: 000308131758.

This product is the set of digital parts only (delivered on a CD) for Heaven's Child, and it includes parts for 2 Flutes, Oboe, 2 Clarinets, Bassoon (sub Bass Clarinet), 2 Horns (sub Alto Saxophone), 3 Trumpets, 2 Trombones (sub 2 Tenor Saxophones/Baritones TC), Tuba, Timpani, 2 Percussion, Harp, Piano, 2 Violin, Viola, Cello, and Bass.

(Rediscovering the Joy, Peace, and Love of Christmas). By Pepper Choplin. Arranged by Michael Lawrence. For flute, oboe (sub clarinet), clarinet, optional bassoon (sub bass clarinet), horn (sub alto saxophone), percussion, timpani, piano, 2 violins, viola, cello, bass (string reduction included). Choral: Christmas. Conductor's score and instrumental parts. Published by Lorenz Publishing Company

Orchestra

SKU: LO.30-3096L

Composed by Lloyd Larson. Arranged by Larry Shackley. Choral, cantatas. Eastertide, Holy Week. CD with printable parts. Lorenz Publishing Company #30/3096L. Published by Lorenz Publishing Company (LO.30-3096L).

UPC: 000308137934.

This product is the set of digital parts only (delivered on a CD) for Witness, and it includes parts for 2 Flutes, Oboe, 2 Clarinets, Bassoon, (substitute Bass Clarinet), 2 Horns (substitute 2 Alto Saxophones), 3 Trumpets, 2 Trombones (substitute 2 Tenor Saxophones/Baritone TC), Tuba, 2 Percussion, Timpani, Harp, Piano, 2 Violins, Viola, Cello, Bass, and Keyboard String Reduction.

Orchestra

SKU: LO.30-3095L

Composed by Lloyd Larson. Arranged by Larry Shackley. Choral, cantatas. Eastertide, Holy Week. Instrumental parts. Lorenz Publishing Company #30/3095L. Published by Lorenz Publishing Company (LO.30-3095L).

UPC: 000308137927.

This product is the set of printed parts only for Witness, and it includes parts for 2 Flutes, Oboe, 2 Clarinets, Bassoon, (substitute Bass Clarinet), 2 Horns (substitute 2 Alto Saxophones), 3 Trumpets, 2 Trombones (substitute 2 Tenor Saxophones/Baritone TC), Tuba, 2 Percussion, Timpani, Harp, Piano, 2 Violins, Viola, Cello, Bass, and Keyboard String Reduction.

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*) - grade 5

SKU: CN.R10004

Composed by John Ireland. Band Music. Score and parts. Duration 10:30. Published by G & M Brand Music Publishers (CN.R10004).

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

(Solo Clarinet and Concert Band). By John Williams. Arranged by Paul Lavender. Concert Band Professional. Grade 5-6

From the Opera "Bandanna" - Full Score. By Daron Hagen. Arranged by Mark Spede. Concert band/stage band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Trumpet III, Trumpet IV, Horn I, Horn II, Horn III, Horn IV, Tenor I, Tenor II, Bass Trombone, Euphonium, Tuba, Double Bass, Timpani, Tambourine, Claves, Marimba, Glockenspiel, Guiro, Castanet, Ratchet, Tam-Tam, Piano, Vibraphone, Snare Drum, Bass Drum, Suspended Cymbal, Drum Set, Shaker, Triangle, Tenor Drum, Tom-Tom. Carl Fischer P