SKU: CF.CPS217F
ISBN 9781491153116. UPC: 680160910618.
The title, Aerius, is a Latin term meaning “soaring†or “rising aloftâ€. This piece is signature Carl Strommen at his best. The piece begins with a lush brass chorale that is developed before leading to an energetic presto section. The composition comes full circle and finishes with a majestic return of the chorale material from the opening. A welcome addition to the repertoire.The title Aerius is a Latin term meaning “soaring†or “rising aloft.†The students chose this title to signify the forward momentum and overall journey of their time in the high school band program. With new events and performances, and a first time commissioning a work, this piece signifies the great strides the band has made in recent years.The opening brass chorale section should be played very connected, observing the two-measure phrasing and breathing as one cohesive unit. The Presto section at m. 25 should be taken between 165-170 bpm. the vibraphone soloist should use medium-hard mallets with the pedal on. The sustained notes at m. 41 should be played way under the upper woodwinds to get the greatest effect as it builds in volume and intensity in m. 49, and again into m. 57.At m. 69, the percussion must sustain the pulse to the conductor’s tempo, careful not to add accents they’re hearing among the other sections. After the ritardando in m. 83, push the tempo at m. 85 slightly to where the woodwinds feel comfortable playing the triplet figure with appropriate breathing and phrasing.- Andrew Monsen, Hauppauge High School Band Director, June 2017.
SKU: CF.CPS217
ISBN 9781491152430. UPC: 680160909933.
SKU: BT.GOB-000904-140
Noel is based on the famous English Carol The First Noel. The age of this song is not clear.Some scientists argue that tis song is from early thirteenth century, others say that it's from the sixteenth century.The first publication was in 'Christmas Carols, Ancient and Modern', compiled by William B. Sandys. (London, 1833).The exact origin is unknown. By Norman influences on the text, with the result that the spelling of the song is not certified (Noel, Nowell), an individual will sometimes claim that France is the cradle of this song, but in general assumes that the First Noel 'for the first time somewhere in England sung.'Noel' is gebaseerd op de zeer bekende Engelse Carol 'the First Noel'. Over de 'leeftijd' van dit lied is men het niet eens. Zo zijn er geleerden die beweren dat het al vanaf begin dertiende eeuw gezongen werd, anderen zeggendat het lied vanaf de zestiende eeuw bestaat. De eerste publicatie plaats was in een verzamelbundel: 'Christmas Carols, Ancient and Modern', bijeengebracht door William B. Sandys. (Londen, 1833). Over de exacte herkomstis men het wel eens, deze is onbekend. Door Normandische invloeden op de tekst, wat tot gevolg had dat de spelling van het lied niet eensluidend is (Noel, Nowell), wil een enkeling nog wel eens beweren dat Frankrijk de bakermatvan dit lied is, maar over het algemeen wordt aangenomen dat 'the First Noel' voor het eerst ergens in Engeland gezongen is.
SKU: BT.GOB-000904-010
SKU: HL.4008730
ISBN 9798350119473. UPC: 196288195238.
The last decades we humans have witnessed a significant number of disturbing developments. If we look at the direct and persistent destructive influence of humans on nature: air and water quality are reducing, soils are depleting, crops are short of pollinators, coasts are less protected from storms, deforestation, the degradation of land, loss of biodiversity and pollution. In stark contrast we find the intelligence and boundless creativity of humans: what about all the high technological advancements? What lies ahead in the realm of Artificial Intelligence? Will we let machines make human decisions? What ethical issues arise there? This composition reflects the desperation and urgency of the human need for action. The music draws inspiration from the brutal natural forces that ravage our world as a direct consequence of human failure and selfishness. Are we heading towards a 'Judgment Day'? Or will humanity find a way to reverse negative trends towards a more livable, peaceful, and joyful environment for humans, animals, and nature? To underscore this message, composer Peter Knockaert opted for a highly classical idiom that has been used by many composers in classical music: the 'Dies Irae'. Traditionally, the Dies Irae is the third part of a requiem (funeral mass). The text used in 'Judgment DayÂ? (for optional choir) is coming from the original Latin text.
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SKU: HL.4008731
UPC: 196288195245.
SKU: KN.05600S
UPC: 822795056006.
Issued in 1966, the enduring popularity of this novelty number for young bands can best be explained by its appealing simplicity and practical flexibility. All that's needed is at least one low instrument to cover the bass part (trombone, baritone, tenor sax, tuba, bass clarinet) and any combination of higher instruments for the treble part. Musically it's a 12-bar blues featuring a staccato walking bass line for low winds punctuated by a rhythmic, repeated-pitch pattern for upper winds. Beginners who can play just two notes can even play along, and the final chorus offers some dramatic options by having the band stand the first time through, then playing it one more time! as an encore after applause. Duration 2:00.
SKU: AP.36-A604401
ISBN 9798892702560. UPC: 659359671388. English.
Leroy Anderson (1908-1975), ever-popular in the concert hall for his light orchestral pieces, found a great musical ally in the Boston Pops Orchestra under its director, Arthur Fiedler. Premiering many of his works, they introduced to the world such gems as Sleigh Ride, Jazz Pizzicato, and The Syncopated Clock. In the 1950s, Anderson began to record his music under the Decca label, and out of these sessions came a short piece for orchestra, THE FIRST DAY OF SPRING, first recorded on June 25, 1954. A solo horn introduces the melody, which drifts through the orchestra into an idyllic finish. An American Pops classic in it's original scoring, this work is part of the Anderson Classics Series by E.F. Kalmus. Instrumentation: 2.2.2.2: (3Sax-AAT): 4.3.3.1: Timp: Str (9-8-7-6-5 in set).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: CF.CPS224
ISBN 9781491152508. UPC: 680160910007.
Rainbow in the Clouds is based on an old traditional spiritual, possibly an African-American song from the 19th century, entitled God Put a Rainbow in the Clouds. Composer Carol Brittin Chambers was inspired by poetic Maya Angelou to create of setting of this beautiful song. It is lush and beautiful throughout and will highlight the musicianship of your students. This would serve as a welcome change of pace piece on your program for concert or contest.Rainbow in the Clouds was commissioned by the Pflugerville Middle School Wind Ensemble in Pflugerville, Texas, directed by Shauna Satrom. The piece premiered in May 2017, in memory and celebration of Luis Ham, who was an Assistant Principal at Pflugerville Middle School.This piece is based on an old traditional spiritual, possibly an African-American song from the nineteenth century, entitled God Put a Rainbow in the Clouds. The first time I heard reference to this song was in a Maya Angelou video, in which she sings a portion of it: “When it looked like the sun wouldn’t shine anymore, Oh, God put a rainbow in the clouds.†In the video, Dr. Angelou honors those who have demonstrated kindness to her in the past, and she suggests that we all try to be a blessing to others. The Pflugerville community believed that Mr. Ham, with his positive outlook, was definitely a “rainbow in the clouds†for other people.The piece begins with a full ensemble introduction, followed by a woodwind treatment of the first verse with a fairly reserved tempo and straight eighth-note rhythm. When brass pick up the melody on the second phrase, we start to hear the song more like the original spiritual, with dotted-eighth, sixteenth rhythms. The middle section of the piece at m. 22 begins to move at a slightly quicker tempo, and the mood becomes lighter. This section becomes a call-and-response between a euphonium solo and upper woodwinds. The final section of the piece involves everyone playing together joyously and full, eventually winding down with two more solo statements in flute and euphonium.Note to the Conductor:Use this piece to introduce or reinforce the following musical concepts:Lyrical, expressive playing varied stylesSolo responsibilitiesKey changes, tempo changes.
SKU: CF.CPS224F
ISBN 9781491153185. UPC: 680160910687.
SKU: AP.35399S
UPC: 038081409337. English.
Originally composed in 1909 to be included in one of the ceremonies of the Knights of St. John with a bold outside instrumentation, Strauss later scored the work for full orchestra. As the title implies, Douglas Wagner's condensed arrangement presents major themes in a concert setting for the first time for concert band that may also appropriately be used during a commencement ceremony or any occasion that involves a procession. This title is available in MakeMusic Cloud.
SKU: CL.028-4333-01
Got the end of the year empty budget blues? Program your beginning band's spring concert with this great value of four beginning band selections in one bargain-priced package! Includes: PATRIOTS ON PARADE MARCH by Ken Harris AS THE EAGLE FLIES by James Swearingen SONG OF THE TELEGRAPH by David Shaffer TACO TIME by Ed Huckeby.
SKU: SU.92090242
The Eastman Wind Ensemble is America's leading wind ensemble. Frederick Fennell first formulated the general concept of the wind ensemble at Eastman nearly 65 years ago. Under his leadership the group became known as the pioneering force in the wind ensemble movement in the United States and abroad. A. Clyde Roller served as conductor between 1962 and 1964, continuing the tradition established by Fennell. Donald Hunsberger became conductor in 1965 and led the ensemble for 37 years to international prominence. The ensemble's current director, Mark Davis Scatterday, was introduced as the fourth conductor of this prestigious group during the EWE's 50th anniversary celebration on February 8, 2002. Since its founding, the EWE has been the leader in elevating the wind repertory through recordings. Fennell's Mercury Recordings albums of the 1950s and early '60s are notable for their pioneering use of binaural, stereo, and 35mm recording techniques. These Living Presence recordings focused on standard band literature by the most respected classical composers -- heard for the first time in the newly balanced one-per-part instrumentation. They also centered on major repertory not found on traditional band programs, such as Mozart's Serenade in B-flat (the Gran Partita), Messiaen's Et exspecto resurrectionem mortuorum, and Stravinsky's Symphonies of Wind Instruments. Under Hunsberger, the EWE continued its progressive stance in recording techniques with participation in quadraphonic and digital recording. Since its founding, the ensemble has premiered more than 200 new works. The EWE and Mark Scatterday have continued this rich recording tradition with several CDs starting in 2005 with Danzante (featuring trumpet virtuosi James Thompson) on Summit Records. Track Listing Fandangos Sinfonia No 3 La Salsa: 1. Tumbao Sinfonia No 3 La Salsa: 2. Habanera Sinfonia No 3 La Salsa: 3. Danzas Sinfonia No 3 La Salsa: 4. Jolgorio Fanfarria Diferencias: 1. Fanfarria Diferencias: 2. Sonoro Diferencias: 3. Ritmico Diferencias: 4. Sonoro Diferencias: 5. Vigoroso The Phoenix from Carnaval.
SKU: PR.416414460
ISBN 9781598064766. UPC: 680160610631. 9x12 inches.
Roger Zare is living every young composer's dream. At a tender age, he has already been lauded by the best, and his compositions continue to earn awards. Green Flash, his first publication with Theodore Presser Company, was written in 2007 for the USC Thornton Symphony, received a BMI Student Composer award in 2007, was chosen to be read at the 2008 American Composers Orchestra Underwood New Music Readings, won the ASCAP Rudolf Nissim Prize in 2009, and has now won the 2012 Symphony in C Young Composers' Competition. For more about Green Flash and a YouTube video of the premiere performance, see the composer's website (www.rogerzare.com/greenflash.htm).A “green flash†is a rare atmospheric phenomenon that occurs as a sunset reaches its end. If conditions are just right, then a spark of green will hover on the horizon for a fleeting moment as the sun disappears. I first witnessed this subtle effect in Florida in 2005. Seeing the mythical event for the first time inspiredthis composition. Green Flash is a musical journey from daybreak to sunset. It focuses on the manipulation of colors and textures throughout its five sections. The musical events are designed to paint a picture of various scenes during the day. The piece begins with the heartbeat of the world emerging from the silentdarkness of the night. As night transitions to dawn, waves of color propagate from the repeating low C, building up through the harmonic series to become the vibrant colors of sunrise. Eventually all twelve notes of the chromatic scale are sounding together. Abruptly, a morning fog engulfs the scene. Out of the mist rises the only melodic theme in the work, played by a solo English horn, and later taken up by other solo winds. Once the fog dissipates, the sky fills with the playful dance of wispy cirrus clouds. A rainbow-like halo surrounds the sun, adding a burst of color to the scene. This carefree, optimistic cloud dance is invaded by a menacing front of cumulonimbus clouds. A storm rages at a frantic pace, but in its dying breath yields the most glorious of sunsets. Only as the last glint of sunlight disappears below the horizon, a faint sparkle of green lingers in the atmosphere.
SKU: HL.4007995
Symphonic Dimensions is a powerful opening piece with a continually recurring motif. Beginning with a festive fanfare in which the leitmotif is heard for the first time, it continues in a buoyant 12/8 meter. The themes alternate again and again, in various instrumentations, and end in an epic finale. Symphonic Dimensions can equally be played at the end of a concert as a rousing finale.
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