Concert band - Grade 4

SKU: CL.012-4114-01

Composed by Buckley. Concert Band. Opus III Wind Orchestra series. Audio recording available separately (item CL.WFR375). Extra full score. Composed 2012. Duration 6 minutes, 12 seconds. Opus III Wind Orchestra Publications #012-4114-01. Published by Opus III Wind Orchestra Publications (CL.012-4114-01).

Shadowplay is a descriptive, impressionistic work inspired by an early morning walk along the beach of the composer's home in Vancouver, Canada. The music reflects the play of light and shadow with the rising of the sun through the trees. It begins calmly, with the sunrise as the light melts the shadows. The piece develops with the sounds and sights of nature; seagulls floating in the air and the crashing of the waves. Shadow becomes light ; light becomes shadow. The music ebbs and flows as the sun rises higher on the horizon. Shadowplay features a variety of tonal colors and textures, orchestration which is sometimes haunting and transparent, sometimes rich and lush, yet always evocative. After a dramatic build, the music subsides, with all of the melodies interweaving like a tapestry of light and dark and ending as it began, with emotional sensitivity. Features, lyrical solos by soprano saxophone, flute and flugelhorn. An ideal piece for concert or festival use to display sensitivity and dynamics.

Clarinet

SKU: GI.G-MCL

Introducing the Instruments. Composed by James Froseth. Band Method. Other Band Methods. Music Education. Book. 32 pages. GIA Publications #MCL. Published by GIA Publications (GI.G-MCL).

English.

For the teacher of instrumental music classes, individual differences among students are inevitable. Unfortunately, the lack of flexible materials frequently forces teachers to adopt a quasi-instructional procedure best described as lockstep, where all students in the class rehearse each exercise until the slow members of the class succeed or until the teacher gives up. The Individualized Instructor was designed with the expectation that students are different. With this method, high-, average-, and low-achieving students in a class are able to progress simultaneously at their own rate according to their interest and ability. In addition, the flexibility of the instructional format often allows twelve or more students to perform different musical material simultaneously, thereby eliminating the “follow the leader” approach to music learning. All study materials in the series are musical. Nonmusical exercises are excluded in favor of folk song literature, musical rounds, and musical ensembles. Furthermore, The Individualized Instructor encourages students to think about their music: to analyze unfamiliar material, generalize previously learned concepts and skills, and synthesize all elements into a musically proficient performance. In addition, this series develops many fundamentals (tonality, phrasing, tempo, and musical style) through the use of the singing voice. Singing best provides the “musical” experience that, subsequently, can be applied to the development of musically sensitive instrumental performance. Books 1, 2, and 3 and the supplementary books ensure that these fundamental ideas are carried well beyond the first year of instruction.

By Rob Landes. For SATB choir, organ (brass, percussion). Choral Music. Liturgy. Advent. Medium/Medium-Difficult. Choral score. Published by MorningStar Music Publishers

(O Waly, Waly with Farewell, My Own True Love). By Earlene Rentz. For SSA choir and piano. Concert, Multicultural. Octavo. Published by Heritage Music Press

Composed by David Hodges; Christina Perri. Arranged by Andy Beck. Performance Music Ensemble; Single Titles. Alfred Pop Choral Series. Pop; Secular. Choral Octavo. 12 pages. Alfred Music #00-46378. Published by Alfred Music (AP.46378).

Concert Band/Harmonie - Grade 2

SKU: BT.DHP-1105029-013

Composed by George Gershwin. Arranged by Jan de Haan. Essential Elements European Band Series. Set (Score & Parts) with CD. Composed 2010. De Haske Publications #DHP 1105029-013. Published by De Haske Publications (BT.DHP-1105029-013).

9x12 inches. English.

George Gershwin’s only opera, Porgy and Bess, dealt with the socially sensitive issue of race. The composer even specified that it may only be performed by coloured actors. Summertime is easily the most well-known piece from this opera and has been covered numerous times, even by the likes of Ella Fitzgerald herself. Now it is your turn!

Die Oper Porgy and Bess von George Gershwin aus dem Jahre 1935 handelt von Afroamerikanern und darf nach einer Verfügung des Komponisten auch nur mit farbigen Schauspielern besetzt werden. Summertime ist eines der berühmtesten Lieder aus der Oper und wurde schon von Größen wie Ella Fitzgerald interpretiert - und jetzt auch von Ihren Nachwuchsmusikern!Spielbar ab Essential Elements Band 2, Seite 24

L’opéra Porgy and Bess (1935), du grand George Gershwin, est considéré comme un classique du patrimoine culturel américain. La trame fait une large place au blues et au spiritual. Summertime est devenu l’air emblématique de cette oeuvre ; un standard repris, par divers grands interprètes dont Barbara Hendricks et Ella Fitzgerald. Cette version pour Orchestre Junior ou petites formations incomplètes est signée Jan de Haan.

Summertime, l’aria emblematica della celebre opera Porgy and Bess di George Gerswhin del 1935, ora disponibile in un arrangiamento per orchestre principianti o ad organico ridotto firmato Jan de Haan.

By Claude Debussy. Arranged by David Reeves. Percussion Ensemble. For 1 vibraphone, 1 marimba (low A), 4 timpani, crotales. (3 players). Level: Advanced. Score and parts. Duration 3:00 per Mvt. Published by Tapspace Publications.

A Hymn for Band by Hugh Stuart. For Concert Band (Score and Parts). MusicWorks Grade 3. Grade 2.5. Score and parts. Hal Leonard #K0481. Published by Hal Leonard

Composed by Charles Tomlinson Griffes (1884-1920). Edited by Albert Mendoza. Masterworks; Piano Solo. Alfred Masterwork Edition. Form: Suite. 20th Century; Masterwork; Recital. Book. 52 pages. Alfred Music #00- 46906. Published by Alfred Music

SAB choir & piano - Very Easy to Easy

SKU: OU.9780193540071

Composed by Sarah Quartel. Secular Choral - Mixed Voices. SABar. Choral score. 8 pages. Duration 3'. Oxford University Press #9780193540071. Published by Oxford University Press (OU.9780193540071).

ISBN 9780193540071. 10 x 7 inches.

For SABar and piano Commissioned by the Treble Makers Women's Choir to celebrate both their 10th anniversary and the 150th anniversary of Canada, this secular work for upper voices sensitively sets Langston Hughes's poem of the same name. Featuring a lilting melodic line, eloquent part-writing, and an effective piano part.

Choral Cello, Clarinet, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Oboe, Percussion 1, Percussion 2, Piano, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, alto voice, bass voice, bassoon, soprano voice, tenor voice

SKU: CF.CM8752IN

Composed by Jill Jackson Sy Miller. Arranged by Mark Hayes. With Standard notation. 24+4+4+3+3+3+3+3+2+2+2+2+2+6+8+3+32+32+15+15+15 pages. Carl Fischer Music #CM8752IN. Published by Carl Fischer Music (CF.CM8752IN).

UPC: 798408047276. Key: C major. English. Sy Miller, Jill Jackson.

Let There Be Peace on Earth has long been a favorite of church, community and school choirs across this country. From the first few measures of the introduction, a tone of reverence and dignity is heard. The arrangement gradually builds in strength arid intensity, sensitively supporting the beauty of the text. A half-step modulation in the second verse moves to the climactic ending, which echoes the phrase, Let there be peace! This is truly a song for our time.

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

Full orchestra

SKU: LO.30-3593L

Composed by Mary McDonald. Choral. Sacred Anthem. Orchestral score and parts. Lorenz Publishing Company #30/3593L. Published by Lorenz Publishing Company (LO.30-3593L).

UPC: 000308150506.

Orchestral Score and Parts for With All Your Heart (10/5148L) Based on Proverbs 3:5–6, this earnest ballad explores what it means to trust in the Lord with all your heart. This inspiring collaboration between Mary McDonald and Rose Aspinall is enhanced by Michael Lawrence’s sensitive orchestration.