For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Traditional pop and vocal standards. Series: Hal Leonard Fake Books. 424 pages. 9x12 inches. Published by Hal Leonard.

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: HL.44002765

Score and Parts. Composed by Jan Van der Roost. De Haske Concert Band. Concert. Set (Score & Parts). Composed 1998. De Haske Publications #0981118-010. Published by De Haske Publications (HL.44002765).

UPC: 073999027655. 9.5x13.5x0.97 inches.

This piece was commissioned by the 'Concert Band Vlamertinge' and is a plea for peace: the title translates as 'Peace on Earth'. This is expressed by means of the vocal contribution expected from the performers. In various places of the piece you can recognize, the words 'Et In Terra Pax' - an appeal for peace - at first jumbled together but later more rhythmically structured, developing into synchronized massed voices.The work starts with a pentatonic theme based on the notes D, E, G, A and C (taken from 'ConCErtbAnD VlAmErtinGE' and the name of the conductor, NiCk VAnDEnDriessChe). A somewhat sad melody is developed during an orchestral climax which leads to the firstexplosion of sound (measure 62 onwards). Suddenly the opening measures are recaptured, albeit with a differently colored sound: the words 'Et In Terra Pax' bring the first movement to a close. A restless Allegro follows which abruptly stops and is replaced by a calming cho-rale-like passage. A narrator reads aloud the poem 'Sonnet' by the young poet Charles Hamilton Sorley, who was killed during World War I. This poem fittingly puts into words the cruelty and senselessness of war. After the expanded recapitulation of the allegro, the broad, almost infinite atmosphere of the beginning returns. Clarinet and English horn play the pentatonic opening theme once more, this time broadly, while the words 'Et In Terra... Pax' are repeated again and again by the rest of the orchestra.The composer has purposely avoided all forms of aggression and bombastic sounds regularly used in works about war. Fear of violence and destruction can be heard and felt during the allegro passages. The charged opening makes way in the end for hope: May peacefulness replace cruelty in everyday life, too.

Dieses Werk wurde im Auftrag der Concert Band Vlamertinge geschrieben und ist ein Pladoyer an den Frieden: Der Titel bedeutet dann auch 'Frieden auf Erden'. Dies kommt unter anderem im vokalen Anteil der Ausfuhrenden zum Ausdruck. An verschiedenenStellen des Werkes erklingen, anfangs durcheinander dann zu einem rhythmischen und strukturierten Synchrongesang vereint, die Worte 'Et In Terra Pax' wie ein flehendes Gebet fur den Frieden.

Ein pentatonisches Thema formt den Anfang dieses Werkes, basierend auf den Noten D, E, G, A, und C, die dem Namen: 'ConCErtbAnD VlAmErtingE' und dem Namen des Dirigenten NiCk VAnDEnDriessChe entstammen. Wahrend der orchestralen Klimax, die zu einemersten Klangausbruch fuhrt (ab Takt 62), entsteht eine etwas traurige Melodie. Plotzlich werden dann die Eingangstakte wiederaufgenommen, wenn auch mit einer veranderten Klangfarbe; die Worte 'Et In Terra Pax' runden den ersten Teil daraufhin ab. Esfolgt ein unruhiges Allegro, das uberraschend durch eine Choralartigen Passage voller Ruhe unterbrochen wird. Eine Sprechstimme liest wahrenddessen das Gedicht Sonnet des jungen Dichters Charles Hamilton Sorley vor, der im ersten Weltkriegfiel. Es findet fur die Grausamkeit und Sinnlosigkeit des Krieges die passenden Worte. Nachdem das Allegro, diesmal mit einigen Ausbreitungen, wiederholt wird, kehrt die weite, beinahe unendliche Atmosphare des Beginns wieder zuruck. Klarinettenspielen zusammen mit einem Englischhorn das pentatonische Eingangsthema ein letztes Mal in ausgebreiteter Fassung, wobei das Et In Terra Pax' durch den Rest des Orchesters stets wiederholt wird.Der Komponist hat bewusst auf jegliche Form der Aggression oder bombastischen Vertonung, die in so vielen Werken uber den Krieg zu finden ist, vermieden. Dennoch ist die Angst vor Gewalt und Zerstorung vor allem in den Allegro-Passagen deutlich zuhoren und zu fuhlen. Am Ende macht die anfangliche Spannung jedoch der Hoffnung Platz: Moge die Friedlichkeit auch im taglichen Leben die Grausamkeit verbannen...

Composed by David Gillingham. Arranged by Dennis Wright. Score only. Duration 9:30. Published by C. Alan Publications (CN.06191).

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo and more. - Grade 4 and up

SKU: CF.SPS2

Suite for Band. Composed by Larry Clark. FS-SWS. Carl Fischer Symphonic Performance Series. Score and Set of Parts. With Standard notation. Carl Fischer Music #SPS2. Published by Carl Fischer Music (CF.SPS2).

ISBN 9780825837272. UPC: 798408037277. 9 X 12 inches.

Three contrasting movements (Into the Future, Who Has Ever Touched the Sun? and Rondo: In the Nick of Time) make a modern suite, that is an excellent study in coloristic scoring for the modern concert band. The syncopations and use of angular melodic ideas will be somewhat challenging for advancing bands and help to make Upon a New Horizon an ideal showpiece for contest and festival performances. Duration: 9'.

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

SKU: CF.YPS214F

Composed by George Sweet. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS214F. Published by Carl Fischer Music (CF.YPS214F).

ISBN 9781491153017. UPC: 680160910519.

This new piece from composer George Sweet is a delightful combination of Scotland the Brave and Amazing Grace. Each tune on its own is wonderful, but in Sweet's setting, they are masterfully layered to reflect the composer's Scottish-American heritage. This presentation of a Scottish melody with Americana-inspired harmonies is a stunning example of compositional craft.
Bravery and Grace is a setting of the unofficial Scottish national anthem, Scotland the Brave. While the melody is taken from Scotland the Brave, the accompaniment and harmony both have a “Western Americana” feel, reminiscent of composers like Roy Harris and Aaron Copland.  This combination of a Scottish melody with American harmony is a reflection of the composer’s Scottish-American Heritage.The piece begins with a fragment of Scotland the Brave presented in a lush and reflective context. The main theme is performed in full by the upper voices at m. 9. The middle voices perform the material at m. 17, and the lower voices perform it again at m. 33. This results in a loud passage representing pipers at m. 46. The traditional spiritual Amazing Grace appears suddenly at m. 51 in a somewhat polytonal setting. This is, once again, reminiscent of practices of the aforementioned American composers.  After this lyrical presentation, a fragment of the main theme returns at m. 66. This is followed by a broad restatement of the theme at m. 70 and a brisk conclusion with a final flair of polytonality.

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.CPS228F

Composed by George Sweet. Concert Band (CPS). Full score. With Standard notation. 28 pages. Carl Fischer Music #CPS228F. Published by Carl Fischer Music (CF.CPS228F).

ISBN 9781491153222. UPC: 680160910724.

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.

Concert Band Alto Saxophone, Baritone Saxophone, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Flute, Flute II, Horn, Oboe, Snare Drum, Tambourine, Tenor, Tenor Saxophone, Timpani, Triangle, Trumpet, Tuba - Grade 1

SKU: CF.BPS20F

Full Score. Composed by Larry Clark. Carl Fischer Beginning Performance Series. Full score. With Standard notation. 12 pages. Carl Fischer Music #BPS20F. Published by Carl Fischer Music (CF.BPS20F).

ISBN 9780825844546. UPC: 798408044541. 9 X 12 inches. Key: Bb major.

Using only the first six notes young players are taught, Larry Clark encourages upright thinking with this aptly titled, somewhat stern piece. The music's seriousness and amazing variety of harmonic sophistication belie the narrow range of the materials involved. An excellent piece for contest and festivals, Character will make a very strong impression whenever it is performed. Duration: 2' 20.

Band Bass Clarinet, Bass Drum, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Glockenspiel, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Snare Drum, Suspended Cymbal, Tambourine and more.

SKU: CF.YPS260F

Composed by Patrick Glenn Harper. Full score. 24 pages. Carl Fischer Music #YPS260F. Published by Carl Fischer Music (CF.YPS260F).

ISBN 9781491164006. UPC: 680160922796.

A bird is considered to have fledged at the time when its wing muscles and feathers are sufficiently developed for flight. When young birds have reached this stage, but are still dependent on their parents for care and feeding, they are referred to as fledglings. This piece musically follows a fledgling as it begins the long process of learning to fly. It starts out tentatively, gains ability, struggles, and then eventually soars.In all instances where a longer note is tied to an eighth note, players should release, stopping the sound, on the eighth note. For example, a dotted half note tied to an eighth note should have a definite stop at the beginning of beat 4.Measures 20–26: The sudden changes in dynamics should be exaggerated to produce a somewhat pronounced awkward effect.Measures 52–57: The flute, oboe, and clarinet parts should produce a constant flowing sound in the slurred eighth notes, breathing on the eighth-note rests.Measures 66–67: Make sure the staccatos are very short and pronounced, but do not cover the melody in the low brass and reeds.Measures 72–86: Emphasize the accents on the upbeats in the percussion instruments.Measure 83: Emphasize the crescendo to forte and then immediately drop to mezzo-forte.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Floor Tom, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone and more. - Grade 1

SKU: CF.BPS73

Composed by Peter Terry. Beginning Performance Series. Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+3+6+2+3+2+1+2+4+16 pages. Duration 2 minutes, 21 seconds. Carl Fischer Music #BPS73. Published by Carl Fischer Music (CF.BPS73).

ISBN 9780825892240. UPC: 798408092245. 9 x 12 inches. Key: G minor.

Trolls are magical beings in Scandinavian folk tales that are known for being slow and not particularly bright. This piece shows both sides of the story: trolls as the destructive, brutal thugs of the magical world, and the somewhat silly and dim-witted creatures found in books and movies. This is Peter Terry's first piece in the Carl Fischer catalogue.

Orchestra SATB choir, 3 flutes, 2 oboes, 2 clarinets, 4 bassoon, 4 horns, 3 trumpets, 4 trombones, timpani, bass drum, harp, 2 violins, viola, cello, contrabass

SKU: CA.2729409

Composed by Giuseppe Verdi. Edited by Albrecht Gaub. Arranged by Christiane Hulsmann. 1x 27.294/21 flute 1, 1x 27.294/22 flute 2, 1x 27.294/23 flute 3, 1x 27.294/24 oboe 1, 1x 27.294/25 oboe 2, 1x 27.294/26 clarinet 1, 1x 27.294/27 clarinet 2, 1x 27.294/28 bassoon 1, 1x 27.294/29 bassoon 2, 1x 27.294/31 bassoon 3, 1x 27.294/32 bassoon 4, 1. Harmony parts. Sacred vocal music, Lent and Passiontide, Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary. Set of Orchestra Parts. Composed 1896/97. Carus Verlag #CV 27.294/09. Published by Carus Verlag (CA.2729409).

ISBN 9790007201159. Language: Latin.

The Stabat Mater is the last work composed by Giuseppe Verdi. He completed it in 1897 at the age of 84. One year later it was published with the somewhat earlier Te Deum as part of the Quattro pezzi sacri. Verdi set Mary's meditation in the face of her crucified son, a classic of Medieval Latin poetry, in an operatically expressive style for choir and large orchestra. Verdi's Stabat Mater is now published for the first time in a critical edition. Also available in the series Choir & organ. Score and parts available separately - see item CA.2729400.