SKU: CF.CPS16F

ISBN 9780825843679. UPC: 798408043674. 9 X 12 inches.

Robert Thurston’s enormously attractive writing for band and his sure command of contemporary harmonic and rhythmic devices give this three movement composition by terrific band and audience appeal. Thurston's fondness for mixed meters will keep players on their toes. The 2nd movement (moderato) in particular has a memorable folk-like lilt and charm. The whole piece is bound together by the use of the motto C-E-C, the initials of the composer's teacher, the late great band writer Charles E. Carter, in whose memory Festive Dances was written. Duration: 7'.

SKU: CL.012-4969-01

Take a musical journey back to merry olde England with Suite of English Country Dances! The movements bear the names and capture the personalities of Robin Hood, Polly Oliver/Jenny Jones and a roguish country lad, The Curly Headed Plowboy. Pierre La Plante is a master at scoring folksongs for concert band, and this delightful work showcases his virtuosity at its best. A thoroughly enjoyable programmatic selection for performers and audiences alike, this work is certain to become yet another Pierre La Plante band classic. Our highest recommendation!

SKU: CL.012-4969-00

Take a musical journey back to merry olde England with Suite of English Country Dances! The movements bear the names and capture the personalities of Robin Hood, Polly Oliver/Jenny Jones and a roguish country lad, The Curly Headed Plowboy. Pierre La Plante is a master at scoring folksongs for concert band, and this delightful work showcases his virtuosity at its best. A thoroughly enjoyable programmatic selection for performers and audiences alike, this work is certain to become yet another Pierre La Plante band classic. Our highest recommendation!

SKU: CN.S11268

Time Present, Past and Future.... the melodic themes of this dance travel from the 5/4 meter of the present day, to the 3/4 waltzes of the past, to the 6/8 accented phrases of the future. Players will recognize the themes as they explore the variations and new meters to each dance.

Dances of Time was commissioned by the National School Band Association and first performed on 10 June 2000 at the Adrian Boult Hall, Birmingham Conservatoire, University of Central England, by the Aldridge School Wind Band , conducted by the composer. Time Present, Past and Future.... the melodic themes of this dance travel from the 5/4 meter of the present day, to the 3/4 waltzes of the past, to the 6/8 accented phrases of the future. Players will recognize the themes as they explore the variations and new meters to each dance.

SKU: MH.1-59913-070-X

ISBN 9781599130705.

Program Notes: Stylistically diverse -- tranquil, spirited pastoral, sensitive, energetic -- exhibiting a remarkable palette, the five movements of SINFONIA IX form a unique symphonic statement. Movement I, Prelude, is about contrasts: A lazy, smooth, motive in brasses alternates with, and then joins, an active and detached motive in woodwinds. The spirited Movement II, Morley's Ghost, is an intricate canonic collage and homage to that venerable theoretician & composer, Thomas Morley. By contrast, movement III, Dialog, speaks in a relaxed, lyrical, and pastoral language as it develops its gently rising and falling motives. Movement IV, Waltz, innocently celebrates the joys of childhood with a lilting melody and rondo form. For the rousing Finale, Movement V begins with a martial call of repeated-notes, heralding a headstrong journey of power and excitement. Like a number of the composer's other works, SINFONIA IX is based on earlier material: A brass sextet, written in 1966 when the composer was nineteen years old, forms the raw material for the first, third and fifth movements, while a later work, Martin's Waltz (a children's piece for flutes and clarinets composed in 1975) is the basis of the fourth movement. The second movement, however, is a fanciful contrapuntal commentary on Thomas Morley's 16th-century canzonet, Fire and Lightning. SINFONIA IX is dedicated to John Raforth, a distinguished band director and music educator at West High School in Madison, Wisconsin. The work was commissioned by his friends and former students, and was completed in 1977. Its first publication some twenty years later is a result of the increasing attention paid by university band directors to the earlier Sinfonias, particularly Sinfonia III (Hymns and Dances); Sinfonia V (Sinfonia Sacra et Profana); and now, Sinfonia IX. Whereas the first two works are wind ensemble compositions that have been championed equally by the concert band, Sinfonia IX is the composer's first college-level Sinfonia written especially for concert band. Ensemble instrumentation: 1 Piccolo, 8 Flute 1-2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bb Bass Clarinet, 2 Bassoon, 4 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 3 Trombone 1, 3 Trombone 2, 3 Baritone B.C., 2 Baritone T.C., 4 Tuba, 3 String Bass, 2 Timpani, 5 Percussion.

SKU: AP.48144

ISBN 9781470653651. UPC: 038081550749. English.

This piece has an attitude! A bit jazzy, a little sassy, and a touch of glitz and glam certainly sets this piece apart. Fast-paced rhythmic riffs in a minor key alternate with soaring melodies in a major key. A thoughtful and expressive lyrical section provides contrast. (5:00) This title is available in MakeMusic Cloud.

SKU: AP.48144S

ISBN 9781470653668. UPC: 038081550756. English.

This piece has an attitude! A bit jazzy, a little sassy, and a touch of glitz and glam certainly sets this piece apart. Fast-paced rhythmic riffs in a minor key alternate with soaring melodies in a major key. A thoughtful and expressive lyrical section provides contrast. (5:00) This title available in MakeMusic Cloud.

SKU: AP.44152S

UPC: 038081505251. English.

The dance music of the Renaissance inspired this two-movement work. An opening Pavane sets the stage with its dignified processional. A lively Galliard brings the piece to a conclusion showcasing brass and woodwind choirs in both major and minor keys. (2:20).

SKU: HL.4005891

UPC: 888680940898. 9.0x12.0x0.019 inches.

In 17th-century London, it was common for stage productions to have short dances performed between acts. This tuneful dance for second year players is written with a sense of whimsy typical of that time, and includes fun parts for all sections of the band. Dur: 1:55.

SKU: BT.DHP-1012918-010

Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.

Tchaikowsky ist berühmt für seine rein instrumentalen Kompositionen. Er ist jedoch auch als Opernkomponist nicht zu unterschätzen.Viele seiner OPern werden immoernoch regelmäßig auf der ganzen Welt aufgeführt, wie zum Beispiel Pique Dame und Eugen OneginEugen Onegin wurde in den Jahren 1877 bis 1878 komponiert und von Tschaikowsky selbst zunächst nicht als Oper, sondern als lyrische Szenen betitelt. Der lyrische Charakter ist im ganzen Werk vorherrschend. Zwei Stellen kontrastieren jedoch deutlich mit dieser Lyrik: zwei Ballszenen ,für die Tschaikowsky einen Walzer uns eine Polonaise schrieb.Nach einem weniger bekannten Allegro Dansant als Eröffung,stellt dieses Arrangement vor allem den oben genannten Walzer in den Vordergrund, welcher guten Herzens als ein schönes russisches Gegenstück zu Charles Gounods Faustwalzer bezeichnet werden kann. In der Oper wird dieser Walzer von einer Militärkapelle gespielt. Das Arrangement schließt mit der erwähnten pompösen Polonaise, die den letztzen Akt eröffnet: die ideale Musik, um ein Bild des Hochadels im Salon eines Petersburger Palastes zu zeichnen.