Concert band (THR1 B)

SKU: HL.49021119

For the first cooperation. Composed by Georg Abraham Schneider. Edited by Willy Schneider. This edition: Folding. Sheet music. Blaserkreis. Individual part. 4 pages. Schott Music #BLK 101-17. Published by Schott Music (HL.49021119).

ISBN 9790001119191.

Flote in C (Oboe oder Klarinette in C), Klarinette in Es, Klarinette I und II in B, Flugelhorn I und II in B, Horn I und II in Es, Trompete I und II in B, Tenorhorn I, II und III in B, Posaune (Bassschlussel), Posaune (Violinschlussel), Bariton (Bassschlussel), Bariton (Violinschlussel), Tuba (Bassschlussel), Tuba (Violinschlussel), Schlagzeug.

Concert band (BFL)

SKU: HL.49013373

For the first cooperation. Edited by Willy Schneider. This edition: Saddle stitching. Sheet music. Blaserkreis. Classical. Condensed Score. 8 pages. Schott Music #BLK 101-10. Published by Schott Music (HL.49013373).

ISBN 9790001119122.

Flote in C (Oboe oder Klarinette in C), Klarinette in Es, Klarinette I und II in B, Flugelhorn I und II in B, Horn I und II in Es, Trompete I und II in B, Tenorhorn I, II und III in B, Posaune (Bassschlussel), Posaune (Violinschlussel), Bariton (Bassschlussel), Bariton (Violinschlussel), Tuba (Bassschlussel), Tuba (Violinschlussel), Schlagzeug.

(Movement 1 from the Vaughan Williams Suite) By Robert W. Smith. Conductor's score and set of performance parts for concert band (3 - 1st flute, 3 - 2nd flute, 1 - 1st oboe, 1 - 2nd oboe, 2 - bassoon, 3 - 1st clarinet, 3 - 2nd clarinet, 3 - 3rd clarinet, 1 - alto clarinet, 2 - bass clarinet, 1 - contralto clarinet, 2 - 1st alto saxophone, 2 - 2nd alto saxophone, 1 - tenor saxophone, 1 - baritone saxophone, 3 - 1st trumpet, 3 - 2nd trumpet, 3 - 3rd trumpet, 2 - 1st horn in F, 2 - 2nd horn in F, 2 - 1st trombone, 2 - 2nd trombone, 2 - 3rd trombone, 2 - euphonium, 1 - baritone (treble clef), 4 - tuba, 3 - mallet percussion, 1 - timpani, 4 - percussion I, 2 - per

Band concert band - Grade 4

SKU: CF.SPS53

Composed by Harry Carroll. Arranged by Jerry Nowak. SWS FS. Patriotic. Set of Score and Parts. With Standard notation. 2+8+8+4+8+8+8+4+4+4+4+4+4+6+6+6+4+4+4+4+6+6+6+6+4+8+4+1+2+20 pages. Duration 3 minutes, 26 seconds. Carl Fischer Music #SPS53. Published by Carl Fischer Music (CF.SPS53).

ISBN 9780825888540. UPC: 798408088545. 9x12 inches. Key: F minor.

The standard popular song by Harry Carroll is given a full-blown pops concert style treatment by arranger Jerry Nowak. In the hands of a master arranger, this classy ballad will delight audiences and give your musicians the opportunity to flex their jazz muscles. This is perfect for a pops concert or for community bands.

Arranged by Mark Williams. Arr. Mark Williams. For Concert Band. Concert Band. Challenger Band Series. Patriotic. Conductor Score & Parts. 1 pages. Published by Alfred Publishing.

Concert Band - Grade 1

SKU: AP.48172S

Composed by George Gershwin and Ira Gershwin. Arranged by Michael Story. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Pop Beginning Band. Classic Pop; Jazz. Score. 16 pages. Duration 1:45. Alfred Music #00-48172S. Published by Alfred Music (AP.48172S).

ISBN 9781470657161. UPC: 038081554945. English.

This timeless George and Ira Gershwin jazz classic has been covered by dozens of popular artists. The song remains one of the most recognizable melodies from the 20th century. In a charismatic contemporary arrangement, I Got Rhythm is accessible to first-year students and will be an upbeat addition to any program. (1:45).

(Ivan). By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin Beginning Band. Level: Very Easy (grade I 1/2). Conductor Score, Parts & CD. 200 pages. Duration 2:13. Published by Alfred Publishing.

Concert Band - Grade 1

SKU: AP.45965S

Composed by Robert Sheldon. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Sound Innovations for Concert Band. Score. 8 pages. Alfred Music #00-45965S. Published by Alfred Music (AP.45965S).

UPC: 038081529707. English.

This musical escape will take your audience to a quiet place during your next performance. Simple, elegant lines combine with rich harmonies and counterpoint to provide an uplifting moment of repose. (1:55) Correlates to Book 1, level 6. This title available in MakeMusic Cloud.

Composed by Steven Reineke. Concert Band. Opus III Series. Audio recording available separately (item CL.WFR352). Oversized spiral-bound score. Composed 2007. Duration 8 minutes, 28 seconds. Published by Opus III Wind Orchestra Publications

Concert Band - Grade 1

SKU: AP.43089S

As Recorded by Nico & Vinz. Composed by Abdoulie Jallow, Nicolay Sereba, Vincent Dery, and William Larsen. Arranged by Victor Lopez. Concert Band; Performance Music Ensemble; Single Titles. Pop Beginning Band. Pop; Radio. Score. 16 pages. Duration 2:00. Alfred Music #00-43089S. Published by Alfred Music (AP.43089S).

UPC: 038081500362. English.

The hottest song of summer and it seems to be retaining the heat with no indication of cooling down. A perfect tool to teach counting and rhythm, this soul-infused tune features distinctive African rhythms and a unique world music twist. Let the students and audience embrace world culture at your next concert. (2:00).

Band Concert Band

SKU: PR.46500013L

For Wind Ensemble. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013L. Published by Theodore Presser Company (PR.46500013L).

UPC: 680160600151. 11 x 14 inches.

I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

Concert Band - Grade 4

SKU: HL.44010712

Brass Band - Score Only. Composed by John Williams. Arranged by Philip Sparke. Anglo Music Concert Band. Movies. Set (Score and Parts). Composed 2004. Anglo Music Press #AMP068030. Published by Anglo Music Press (HL.44010712).

UPC: 884088519414.

Saving Private Ryan is certainly one of Steven Spielberg's most powerful films. The brilliant John Williams score creates part of this power. Hymn to the Fallen one of the most powerful and emotional melodies which appears during the closing credits, evokes a feeling of hope and strength amid the overall tone of reverence. Philip Sparke has transcribed this moving work for brass band using John Williams original orchestral score as the source. For added effect this work can also be performed with a wordless chorus, with parts being available separately.

A terrific Brass Band arrangement of Johnm Williams' Hymn To The Fallen from the paramount and DreamWorks motion picture Saving Private Ryan - by Philip Sparke.

Saving Private Ryan is beslist een van de meest indrukwekkende films van Steven Spielberg. De effecten van zijn grootse fotografie en de uitmuntende acteerprestaties in de film creeren samen een emotioneel schokeffect, metname in de laatste momenten van de film, aldus John Williams in zijn voorwoord bij de orkestscore van de filmmuziek. Deze transcriptie van Philip Sparke benadert de originele score zo dicht mogelijk. De optionele koorpartijen zijnafzonderlijk verkrijgbaar.

Kaum ein Film hat die Wirren des zweiten Weltkriegs je ehrlicher und in so erschutternden und eindrucksvollen Bildern dargestellt, als Steven Spielbergs Der Soldat James Ryan. Die Musik zu dem monumentalen Epos stammt vom grossen amerikanischen Filmmusikkomponisten John Williams, der sein Werk den gefallenen Kriegshelden widmete. Hymn to the Fallen - eine Ehrerbietung an die Gefallenen - wurde von Philip Sparke getreu der Originalpartitur fur Brass Band bearbeitet. Optionale Chorstimmen sind separat erhaltlich.

Quand on pense a Steven Spielberg, on evoque facilement ses films a grand spectacle. Mais c'est occulter l'homme engage qui a signe plusieurs chef-d'oeuvres dont Saving Private Ryan (Il faut sauver le soldat Ryan) couronne par 5 Oscars. Avec Hymn To The Fallen, le generique de fin, John Williams nous offre un puissant hymne en memoire aux soldats qui ont sacrifie leur vie sur l'autel de la liberte lors du debarquement en Normandie, le 6 juin 1944. Une note d'humanite dans un ocean de noirceur et de violence.

Se si pensa a Steven Spielberg, si evocano allo stesso tempo i suoi film di grande successo. Spielberg e anche un regista che ha firmato molti capolavori tra i quali Saving Private Ryan (Salvate il Soldato Ryan) insignito di 5 Oscar. Con Hymn to the Fallen, John Williams ci offre un potente inno in memoria dei soldati americani che hanno sacrificato la loro vita durante lo sbarco in Normandia, il 6 giugno 1944.