Grade 3

SKU: CL.012-2021-01

Composed by T. Root. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR196). Extra score. Composed 1987. Duration 5 minutes, 47 seconds. Opus III Wind Orchestra Publications #012-2021-01. Published by Opus III Wind Orchestra Publications (CL.012-2021-01).

The two pieces which comprise Cameo Suite’’ come from diverse backgrounds, one American and the other English. The Nightingale’’ is a traditional English folksong about unrequited love. The Glendy Burk’’ was composed by Stephen Foster and is a riverboat song depicting the life and times of the riverboat Glendy Burk’’ on the Mississippi.

About Heritage of the March

Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

(Score and Parts). By Henry Mancini. For Violin, Full Orchestra. Henry Mancini Concert Library. Published by Hal Leonard (

(Level 6). Arranged by John W. Schaum. For Piano. Piano - Schaum Method Supplement; Piano Supplemental. Schaum Publications Christmas Cameos. Christmas; Winter. Advanced. Book. Published by Alfred Music Publishing

SKU: LO.99-3116L

Composed by Brad Nix. Choral. Sacred Anthem, All Saints' Day, Eastertide, General. Performance/accompaniment CD. Lorenz Publishing Company #99/3116L. Published by Lorenz Publishing Company (LO.99-3116L).

UPC: 000308133134.

Brad Nix has created a joyous, energetic original setting of two enduring hymn texts that includes a brief cameo from the familiar MARION hymn tune.

Jazz Ensemble saxes have opt. flute doubles - Grade 3

SKU: KN.52705S

Composed by John LaBarbera. Kendor Archive Editions. Kendor Music Inc #52705S. Published by Kendor Music Inc (KN.52705S).

Recorded in 1971 by Buddy Rich on the album A Different Drummer, this beautiful, even-8ths ballad features cameo written solos for trumpet, alto sax, and trombonelead alto takes the only improvised solo in the chart. When the main solo work ends, the ensemble builds into a strong, dramatic climax before quieting down for a soft solo trumpet flourish and gentle finish. Duration 3:50.

Books and Journals

SKU: UT.QC-4

Edited by Roberto Illiano and Rohan H. Stewart-MacDonald. Paperback (Soft Cover). Quaderni Clementiani. Essays by Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanova, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDo. Classical. Books and Journals. 568 pages. Ut Orpheus #QC 4. Published by Ut Orpheus (UT.QC-4).

ISBN 9788881094783. 6.5 x 9.5 inches.

Saggi di Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanová, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDonald, Marie Sumner Lott


The career of Jan Ladislav Dussek (1760-1812) was notable for its peripateticism. Starting out in his native Bohemia Dussek spent periods of time in Germany and the Netherlands, settling in London for about ten years in the 1790s, progressing to Hamburg and ending his days in Paris. Although his activities centred on the piano, like so many musicians of his day Dussek branched out from performing and composing to encompass teaching, publishing and instrument retail, with varying success. A plethora of reviews and biographical accounts attest to Dussek’s renown throughout Europe as a pianist and composer, particularly when it came to sensitive and cantabile playing; and he interacted with some of the most eminent musicians, artists and political figures of his time. Dussek’s reputation declined sharply in the nineteenth century, however, and with the exception of isolated revivals of his work, for instance in London in the mid-nineteenth century, he has remained on the verge of obscurity in the minds of many musicians and music-lovers until the present day: even his well-known innovation of placing the piano sideways-on to the audience to display his striking profile is often mistakenly attributed to Franz Liszt. Although Dussek has provided the subject of a number of student dissertations over the years, in the published literature he has largely been restricted to cameo appearances or brief entries in historical surveys.
The bicentennial anniversary of Dussek’s death provides a fitting occasion for bringing together scholars from all parts of the world to produce the first multi-author, multi-lingual study of the composer. Several chapters deal with aspects of Dussek’s biography and iconography that receive only sparse treatment elsewhere; others survey the different branches of his output, including the piano sonatas, the piano concertos, the chamber music with and without harp and the three String Quartets, Op. 60, which are currently enjoying a revival via recordings and a new edition.
This book has two fundamental aims. One is to stimulate renewed interest in, and debate about, a less than celebrated – one might say unjustly neglected – figure. The other aim is to approach Dussek’s multi-facetted, geographically diverse career as an interface between ourselves and the music business at the beginning of the nineteenth century, whose complexity and vicissitudes emanated from the sociological dynamics and political events with which Dussek was, to an almost unique degree, inextricably associated. The highs and lows of Dussek’s career, the surviving contemporary accounts of Dussek the performer and composer, and the letters he exchanged with colleagues in several nations vividly portray the struggles of a worldly, ambitious, versatile and extremely perspicacious musician striving to carve out a place of eminence and material security for himself. This meant negotiating the complex progression, underway at this point in history, from the patronage system to the emergence of the artist as a socially and financially autonomous entity.

Clarinet. Arranged by Ton Derksen. This edition: 1053907400. De Haske Play-Along Book. Play Along. BOOK W/CD. 28 pages. Published by De Haske Publications.

Jazz Ensemble plus 2 flutes, oboe, 2 clarinets, bass clarinet, bassoon, F horn, tuba & bells - Grade 3

SKU: KN.52758S

Composed by Claude Debussy. Arranged by Sammy Nestico. Kendor Archive Editions. Kendor Music Inc #52758S. Published by Kendor Music Inc (KN.52758S).

According to the score notes for this pensive adaptation, the key to a warm and colorful rendition lies chiefly in an exceptional emphasis on dynamics. Playing in a smooth legato style and with vibrato at the climactic moments is highly recommended. A brief cameo for lead trumpet midway through is the only solo.

Jazz Ensemble standard jazz ensemble - Grade 3.5

SKU: KN.52765

Composed by Bob Mintzer. Kendor Jazz Archive Series. Bright Swing. Score and set of parts. Duration 5 minutes, 35 seconds. Kendor Music Inc #52765. Published by Kendor Music Inc (KN.52765).

As recorded by the Bob Mintzer Big Band on the Incredible Journey CD, this tune features the drummer in a series of short cameo fills that eventually culminate in an unaccompanied, expandable solo just before the closing chorus. An open solo section for winds (changes cued for trumpet and tenor sax) is also included, making this a strong program opener or closer for better bands. Duration 5:35.

Composed by Lloyd Larson. Choral. Sacred Anthem, Christmas. Octavo. Lorenz Publishing Company #10/5147L. Published by Lorenz Publishing Company

Concert Band Concert Band - Grade 2.5

SKU: FJ.B1761S

Score Only. Composed by Lauren Bernofsky. Concert Band. FJH Young Band. Chanukah; Holiday Pops. Score. Duration 3:30. The FJH Music Company Inc #98-B1761S. Published by The FJH Music Company Inc (FJ.B1761S).

English.

Christmas and Chanukah faiths collide in this hilarious yet musically satisfying work! Four popular Christmas melodies are set in four distinct and characteristic klezmer styles (with entertaining musical commentary along the way). Of course, the Dreidel Song makes a cameo appearance at the end. Tons of fun and wildly entertaining!

About FJH Young Band

Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

Concert Band Concert Band - Grade 2.5

SKU: FJ.B1761

Composed by Lauren Bernofsky. Concert Band. FJH Young Band. Chanukah; Holiday Pops. Score and Part(s). Duration 3:30. The FJH Music Company Inc #98-B1761. Published by The FJH Music Company Inc (FJ.B1761).

UPC: 241444397930. English.

Christmas and Chanukah faiths collide in this hilarious yet musically satisfying work! Four popular Christmas melodies are set in four distinct and characteristic klezmer styles (with entertaining musical commentary along the way). Of course, the Dreidel Song makes a cameo appearance at the end. Tons of fun and wildly entertaining!

About FJH Young Band

Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

SKU: LO.99-3862MD

Composed by Bill Gaither. Arranged by Jay Rouse. Choral. Sacred Anthem. Performance/accompaniment CD (split-track). Medallion Music #99/3862MD. Published by Medallion Music (LO.99-3862MD).

UPC: 000308149685.

This thoughtfully arranged selection from Jay Rouse is engaging from the very first note. An alto solo, the inclusion of all three verses from the Gaither version, and a cameo snippet of Because He Lives make this faith-filled song a natural choice for worship.

Jazz Ensemble plus 2 flutes, oboe, 2 clarinets, bass clarinet, bassoon, F horn, tuba & bells - Grade 3

SKU: KN.52758

Composed by Claude Debussy. Arranged by Sammy Nestico. Kendor Jazz Archive Series. Ballad. Score and set of parts. Kendor Music Inc #52758. Published by Kendor Music Inc (KN.52758).

According to the score notes for this pensive adaptation, the key to a warm and colorful rendition lies chiefly in an exceptional emphasis on dynamics. Playing in a smooth legato style and with vibrato at the climactic moments is highly recommended. A brief cameo for lead trumpet midway through is the only solo.