SKU: HL.44001727
ISBN 9789043113250. UPC: 073999266153. 9.0x12.0x0.151 inches.
The BAND TIME series consists of a number of books containing easy pieces suitable for youth band. BAND TIME Starter is intended for the first year of band playing and includes four-part pieces in many different styles. The difficulty of the pieces increases in parallel with the material covered in the first part of the Look, Listen & Learn method. The first three works, however, are three-part pieces in order to accommodate the limited range of notes available at this stage. The BAND TIME series is suitable for various combinations of instruments provided that the parts are divided in a sensible way (for concert band, fanfare band or brass band). The material for altosaxophone, trombone and baritone/euphonium/bass clarinet is divided into parts 1 and 2 in order to cover all voices using the most popular instruments. De serie Band Time is ontwikkeld om kinderen vroeg kennis te laten maken met het samenspel in een blaasorkest. Band time Starter maakt dit al in het eerste jaar mogelijk. Deze uitgave bevat vierstemmige stukken in diversestijlen- de eerste drie stukken zijn drie stemmig, aangespast aan de vaardigheden van de beginnende leerling. De moeilijkheidsgraad en de muzikale inhoud zijn gebasseerd op Horen, Lezen & Spelen. In de partituur staatuitgelegd hoe u de serie optimaal benut en hoe de instrumentatie in uw specifieke bezetting het best kan worden toegepast. Op de los verkrijgbare cd worden de stukken door een harmonieorkest voorgespeeld, zodat de leerlingen thuiseen goede indruk krijgen van hoe de stukken klinken. Ze kunnen zelf meespelen of ernaar luisteren. Dit zal de motifatie (en het studieresultaat) bevorderen.Parallel zu den ersten Stunden Instrumentalunterricht werden die jungen Musiker mit den Stucken dieser Sammlung fur das Spielen im Anfangerorchester motiviert. BAND TIME Starter eignet sich fur das erste Jahr im Blasorchester und enthalt vierstimmige Stucke in vielen verschiedenen Stilen. Der allmahlich fortschreitende Schwierigkeitsgrad entspricht dem Stoff der Blaserschule Horen, lesen und spielen Band 1, kann aber auch gut unabhangig davon eingesetzt werden. Die ersten drei Stucke passen sich mit ihren lediglich drei Stimmen dem noch begrenzten Tonumfang an, uber den die Schuler in diesem Stadium verfugen. Aus dem gleichen Grund weichen manchmaldieselben Stimmen fur unterschiedliche Instrumente leicht voneinander ab. Geringfugige Abweichungen erklaren sich ausserdem aus manchen besonderen Bedingungen bei einem bestimmten Instrument, zum Beispiel schwierige Tonfolgen. Passend zu der Reihe ist eine CD erhaltlich, mit deren Unterstutzung die Schuler zu Hause mit richtiger Orchesterbegleitung spielen konnen. Ein schnellerer Erfolg ist damit gesichert!
SKU: HL.44013270
This concerto for baritone saxophone was commissioned by saxophonist Makoto Asari, who is a close friend of the composer. VONGOLE ! consists of three movements Spumante (Sparkling wine), Bianco (White) and Rosso (Red). It is a unique and welcome addition to the baritone saxophone repertoire.
SKU: CN.09971
Written with the virtuoso in mind, this piano concerto is perfect for the modern ensemble. The first movement exudes an urgency scored in the rhythms and harmonies throughout, while the second movement, Elegy, reflects on the memory of a friend. The final movement barrels along with spirit and drive, utilizing mixed meter and a full compliment of percussion to bring you to the breathtaking conclusion.
SKU: CN.09970
SKU: RM.CALM02261-BA
ISBN 9790231022612.
CD Chorals - Carillon (5'58), Legende (3'55), Finale (3'19).
SKU: RM.CALM02261-CO
SKU: BT.DHP-1145403-010
English-German-French-Dutch.
The Clarinet Concerto is the highpoint of Satoshi Yagisawa’s ‘Concerto Series’, which also includes Suite Concertante for Piano and Wind Orchestra, Trumpet Concerto, Trombone Concerto and Saxophone Concertino, as well asConcertino for Solo Percussion and Wind Orchestra. Yagisawa’s characteristic theme in the second movement enjoys great popularity and is therefore often performed separately as Intermezzo.Het Clarinet Concerto vormt het hoogtepunt van Satoshi Yagisawa’s Concerto Series, waar ook zijn Suite Concertante for Piano and Wind Orchestra, Trumpet Concerto, Trombone Concerto, Saxophone Concertino enConcertino for Solo Percussion and Wind Orchestra deel van uitmaken. Met name Yagisawa’s karakteristieke thema uit het tweede deel is populair. Daarom wordt dat vaak als afzonderlijk stuk uitgevoerd, onder de titelDas Clarinet Concerto bildet den Höhepunkt der Concerto-Reihe“ von Satoshi Yagisawa, zu welcher außerdem folgende seiner Werke zählen: Suite Concertante for Piano and Wind Orchestra, Trumpet Concerto, Trombone Concerto, SaxophoneConcertino sowie das Concertino for Solo Percussion and Wind Orchestra. Yagisawas charakteristisches Thema im zweiten Satz erfreut sich besonderer Beliebtheit und wird daher als Intermezzo oft einzeln aufgeführt.Cette composition représente l’apogée de la série de concertos de Satoshi Yagisawa, qui comprend aussi une Suite concertante pour piano et orchestre, un Concerto pour trompette, un Concerto pour trombone, un Concertino poursaxophone et un Concertino pour percussion solo et orchestre d’harmonie. En raison de sa grande popularité, le thème émouvant du deuxième mouvement, qui est intitulé Intermezzo, est souvent interprété indépendamment.Il Clarinet Concerto fa parte della Concert Series“ di Satoshi Yagisawa, che include le seguenti opere: Suite Concertante for Piano and Wind Orchestra, Trumpet Concerto, Trombone Concerto, Saxophone Concertino e anche Concertino forSolo Percussion and Wind Orchestra. Il tema caratteristico di Yagisawa nel secondo movimento gode di una popolarit speciale e viene quindi spesso eseguito da solo come intermezzo.
SKU: SU.80600691
Set of solo saxophone partsSax Quartet & Band or Orchestra (Sax Parts) Composed: 2000 Published by: E.B. Marks Also available: Piano Reduction Score - 80600690 Band parts on rental from Theodore Presser Co.
SKU: SU.80600690
Sax Quartet & Band or Orchestra (Piano Reduction) Composed: 2000 Published by: E.B. Marks Also available:Solo Quartet Parts - 80600691.
SKU: BT.DHP-1033337-170
A4 (210X297) inches.
Missa Brevis is a major work for choir and brass band for performance in church or in the concert hall. For this mass, there are many performance possibilities depending on the musicians available. In addition to the standard orchestration ofchoir and band a brass quartet can also play the choral parts. For this it is desirable for the brass quartet to be positioned separately from the rest of the band (on a gallery, for example), so that the idea of two choirs is heard. It is alsopossible to perform the work with brass band and organ. A truly flexible religious masterpiece. Choral parts available separately.Missa Brevis, geschreven voor koor en blaasorkest, werd gecomponeerd in opdracht van de Conseil Départemental pour la Musique et la Culture de Haute-Alsace (dir. Philippe Pfisterer) in Guebwiller (Frankrijk), ter gelegenheid van het duizendstegeboortejaar van paus Leo IX. In zijn geboorteplaats, Ãâ°guisheim (Elzas, Frankrijk), vond op 23 juni 2002 de première van deze mis plaats onder leiding van de componist. Het betrof een live-registratie voor de Franse televisiezender France 2. Demisdelen Kyrie, Gloria, Credo, Sanctus, Benedictus en Agnus Dei lenen zich uitstekend voor zowel de katholieke als de protestantse liturgie. Er zijn voor deze mis diverse uitvoeringsmogelijkheden mogelijk, aangezien er sprake is van eenvariabele bezetting. Een instrumentale uitvoering behoort uitdrukkelijk tot de mogelijkheden, indien het scherp koper de koorpartijen vertegenwoordigt. In deze optie is het wenselijk dat het scherp koper zich separaat opstelt van de rest van hetorkest (bijvoorbeeld op een galerij), zodat het idee van dubbelkorigheid wordt benaderd. Bij een uitvoering voor groot koor werkt het scherp koper zeer goed als ondersteuning. In dat geval kan de dynamiek van het koper iets worden aangepast,aangezien deze in eerste instantie bedoeld is voor een instrumentale versie. Ook kan men ervoor kiezen het scherp koper helemaal weg te laten ten gunste van het koor. Bij begeleiding van kleinere koren kan men kiezen voor een klein ensemble uit hetorkest. Dit kan ook een naar wens samengesteld kwartet zijn. Voor de uitvoering van deze mis ligt het voor de hand een van deze opties te kiezen. Als alternatief is echter ook een uitvoering mogelijk met een combinatie van deze opties (vocaal/instrumentaal) - niet slechts vanuit een artistiek motief (afwisseling), maar ook vanuit een praktisch motief, voor het geval dat het koor bijvoorbeeld slechts twee delen heeft ingestudeerd. Bij een volledige bezetting kan de dirigent deinstrumentatie naar believen afwisselen. Hierbij kan ook het scherp koper in de begeleiding een rol krijgen (in plaats van ondersteuning van het koor). Zo zijn de volgende combinaties mogelijk:
1. clarinet choir (van Es-klarinet tot basklarinet)
2. clarinet choir saxofoons
3. zacht koper (bugels, hoorns, euphoniums, bassen)
4. scherp koper (2 trompetten / 2 trombones)
5. dubbelrieten (eventueel fluit, eventueel contrabas)
6. tutti
7. alle hout
8. alle koper
In een uitvoering voor brassband en koor is het in de meeste gevallen aan te bevelen de optie voor scherp koper weg te laten. Het koor zingt zelfstandig, begeleid door een volledige brassband. In een instrumentale uitvoering kunt u denken aan eencombinatiekwartet (twee cornetten en twee trombones) brassband.Koorpartijen apart verkrijgbaar.Missa Brevis, eine Messe für Brass Band und Chor ad libitum, kann in diversen variablen Spielstärken aufgeführt werden. Zahlreiche mögliche Instrumentenkombinationen diverse mögliche Kombinationen mit großen oder kleineren Chören, lassen eineVielzahl von verschiedenen Aufführungen dieser Messe zu. So kann z. B. ein Blechbläserquartett, von der Kirchenempore herab spielend, die Chorpartien übernehmen. Darüber hinaus ergeben sich durch die Orgelbegleitung weitere Aufführungsvarianten. EineAufstellung der Wahlmöglichkeiten wird vom Komponisten mitgeliefert. Die wunderschöne Musik aus der Feder von Jacob de Haan garantiert in jedem Fall einen gelungenen Auftritt!Chorstimmen separat erhältlich. Missa Brevis est une messe pour Orchestre dââ¬â¢Harmonie et Choeur composée la demande du Conseil Départemental pour la Musique et la Culture de Haute-Alsace (Dir. : Philippe Pfisterer) de Guebwiller en France, lââ¬â¢occasion des célébrations dumillénaire de la naissance du Pape Léon IX Ãâ°guisheim. La création mondiale a eu lieu le 23 juin 2002 sous la direction du compositeur, et a été diffusée en direct sur la chaîne de télévision nationale France 2. Les différentes parties de cettemesse (Kyrie, Gloria, Credo, Sanctus, Benedictus et Agnus Dei) conviennent autant la liturgie catholique quââ¬â¢ la liturgie protestante. Missa Brevis peut être interprétée dans différentes combinaisons instrumentales. Ellepeut être jouée dans une version purement instrumentale, où les cuivres prennent en charge la partie vocale. En tel cas, il est conseillé de placer les cuivres lââ¬â¢Ã©cart de la formation (sur une estrade, par exemple) de façon reproduire lââ¬â¢idée dedeux groupes indépendants. Dans le cadre dââ¬â¢une interprétation avec un grand Choeur, les cuivres jouent un rôle de soutien. Leurs nuances doivent alors être adaptées dans la mesure où elles ont été écrites, lââ¬â¢origine, pour une version instrumentale.Il est également possible de ne pas faire intervenir les cuivres et de privilégier le Choeur. Pour accompagner de petits ensembles vocaux, il faut opter pour une formation instrumentale réduite voire même un Quatuor (instrumentation au choix). Pourlââ¬â¢interprétation de cette messe lââ¬â¢un des choix proposés ci-dessus sââ¬â¢impose. Il existe néanmoins une alternative qui consiste interpréter cette oeuvre en combinant ces options (vocales / instrumentales). Cela peut être bénéfique tant dââ¬â¢un point devue artistique (variante) que pratique dans le cas où le Choeur nââ¬â¢a travaillé que deux mouvements de la messe. Si le chef dispose de deux formations complètes (Choeur et Orchestre dââ¬â¢Harmonie), il peut varier lââ¬â¢instrumentation selon ses préférences. ce moment-l , il peut confier un rôle dââ¬â¢accompagnement et non de soutien aux cuivres de sa formation. Les combinaisons suivantes peuvent être formées :
1. Choeur de Clarinettes (de la Clarinette Mib la Clarinette Basse)
2. Choeur de Clarinettes Saxophones
3. Cuivres (Bugles, Cors, Barytons / Euphoniums, Basses)
4. Cuivres (2 Trompettes / 2 Trombones)
5. Instruments anches doubles (Fl te et Contrebasse cordes optionnelles)
6. Tutti
7. Tous les Bois
8. Tous les Cuivres
Dans le cadre dââ¬â¢une interprétation par un Brass Band accompagné dââ¬â¢un Choeur, il est préférable de supprimer lââ¬â¢option 1 (Choeur Cuivres Orchestre dââ¬â¢Harmonie) car le Choeur étant autonome. Dans une version instrumentale pour Cuivres, il estpossible de former la combinaison suivante : Quatuor (2 Cornets / 2 Trombones) et Brass Band.Partitions pour chà âur disponibles séparément.Parti per coro disponibili a parte.
SKU: CN.R10193
With inspiration taken from composers Maurice Ravel, Arthur Benjamin and Charles Ives, Bourgeois take s a tongue-in-cheek approach to this challenging 3-movement work. While the work is infused with humor throughout, it still showcases his mastery of the wind band idiom.In 1972, I wrote a Sonata for Two Pianos for two friends who were piano teachers at Wellington College. When in 1995 I was asked to write a work for wind band, I returned to this Sonata and have re-arranged and in the new version renamed it Fantasy Triptych. There are three movements: 1. Le Tombeau d'Arthur Benjamin Ravel wrote 'Le Tombeau de Couperin,' Arthur Benjamin wrote 'Le Tombeau de Ravel' and so the temptation to write 'Le Tombeau d'Arthur Benjamin' was overwhelming. At the end of the movement there is an oblique reference to Benjamin's own 'Jamaican Rumba' which accompanies a quote from an old Spanish folk song 'Loro, enciende el hervidor de agua.' 2. Mr. Bolt goes for a ride in his motor car, and Monsieur Ravel turns in his grave. The movement is dedicated to an old friend, Geoffrey Bolt, who adores the music of Ravel. but at the time of writing was learning to drive. He always described his vehicle as a motor car. To describe him as an impatient motorist would be a gross understatement. The refined suavity of Ravel's music was in complete contrast to these early manifestations of road rage, hence the central angry outburst. 3. The War March of the Ostriches The music of Charles Ives was fascinating me at the time of writing this movement and some of the influence has rubbed off in this rondo-like march. At the end there is a quote from the very beginning of the first movement. The title was inspired by the amusing antics of a group of ostriches during a visit to Bristol Zoo.
SKU: CN.S11193
SKU: BT.DHP-1125390-140
9x12 inches. English-German-French-Dutch.
Intermezzo is the second movement of Satoshi Yagisawa’s Clarinet Concerto. The concerto was first performed by Higashi-Hiroshima Wind Ensemble in Hiroshima, Japan in 2010 with guest performer Shinsuke Hashimoto, clarinettist with the Hiroshima Symphony Orchestra and was conducted by Atsushi Kageyama. Inspiration for this work came from the fact that both Satoshi Yagisawa and Shinsuke Hashimoto graduated from Musashino Academia Musicae.Clarinet Concerto>/I> is the pinnacle of Satoshi Yagisawa’s “Concerto Series†which also features his Suite Concertante for Piano and WindOrchestra, Trumpet Concerto, Trombone Concerto, Saxophone Concertino, andConcertino for Solo Percussion and Wind Orchestra.Yagisawa’s characteristic heartfelt theme in the second movement is especially popular and consequently—entitled Intermezzo—it is often performed independently.Soloist: Grade 4 Intermezzo is het tweede deel van Satoshi Yagisawa’s Clarinet Concerto. Het concert als geheel werd in 2010 onder leiding van dirigent Atsushi Kageyama door het ensemble in première gebracht, samen met gastklarinettist Shinsuke Hashimoto - die werkzaam is bij het Hiroshima Symphony Orchestra. De inspiratiebron voor het werk is het gegeven dat Satoshi Yagisawa en Shinsuke Hashimoto beiden hebben gestudeerd aan de Musashino Academia Musicae.Clarinet Concerto vormt het hoogtepunt van Satoshi Yagisawa’s Concerto Series, waar ook zijn Suite Concertante for Piano and Wind Orchestra, Trumpet Concerto, Trombone Concerto, Saxophone Concertinoen Concertino for solo Percussion and Wind Orchestra deel van uitmaken.Met name Yagisawa’s karakteristieke doorvoelde thema uit het tweede deel is populair. Daarom wordt dat ook vaak als afzonderlijk stuk uitgevoerd, onder de titel Intermezzo.Soloist: Grade 4 Intermezzo ist der zweite Satz aus Satoshi Yagisawas Clarinet Concerto. Dieses wurde vom Bläserensemble Higashi-Hiroshima in Hiroshima (Japan) für das 20. Jahreskonzert in Auftrag gegeben. Es wurde von diesem Ensemble mit dem Gastsolisten Shinsuke Hashimoto, dem Klarinettisten des Hiroshima Symphony Orchestra, unter der Direktion von Atsushi Kageyama uraufgeführt. Satoshi Yagisawa ließ sich zu diesem Werk vom gemeinsamen Abschluss mit Shinsuke Hashimoto an der Academia Musicae Musashino inspirieren. Clarinet Concerto bildet den Höhepunkt von Satoshi Yagisawas Concerto-Reihe“, zu welcher außerdem folgende Werke zählen: Suite Concertante for Piano andWind Orchestra, Trumpet Concerto, Trombone Concerto, Saxophone Concertino sowie das Concertino for Solo Percussion and Wind Orchestra.Das charakteristische, innige Thema aus dem zweiten Satz erfreut sich besonderer Beliebtheit und wird daher als Intermezzo oft einzeln aufgeführt.Solostimme: Schwierigkeitsgrad 4 Intermezzo est le deuxième mouvement extrait du Concerto pour Clarinette de Satoshi Yagisawa. Le concerto a été créé en 2010 par l’Orchestre d’Harmonie d’Higashi-Hiroshima sous la direction d’Atsushi Kageyama avec la participation de Shinsuke Hashimoto, clarinettiste de l’Orchestre Symphonique d’Hiroshima. Cette oeuvre s’inspire du fait que Satoshi Yagisawa et Shinsuke Hashimoto sont tous deux diplômés du Conservatoire de musique de Musashino.Le Concerto pour Clarinette représente l’apogée de la série de concertos de Satoshi Yagisawa, qui comprend aussi une Suite concertante pour piano et orchestre, un Concerto pour trompette, unConcerto pour trombone, un Concertino pour saxophone et un Concertino pour percussion solo et orchestre d’harmonie.En raison de sa grande popularité, le thème émouvant du deuxième mouvement, qui est intitulé Intermezzo, est souvent interprété indépendamment.Soliste: Degré de difficulté 4.
SKU: BT.DHP-1125390-010
SKU: CN.R10004
A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.
SKU: MH.1-59913-064-5
ISBN 9781599130644.
I wrote Galloping Ghosts (A Ragtime March) to conclude a concert of my chamber music in New York City on October 28, 1986. It is the final part of a work called Rags for Divers Players. This work was written to show the variety possible within the standard rag form. I used all the players available for the finale -- two violins, viola, cello, bass, flute, oboe, clarinet, horn, bassoon, and piano. Since this is a rather unusual instrumental combination and not easy to reassemble, I decided to rescore the work for concert band. Galloping Ghosts is written in a standard march form but incorporates many of the syncopations found in ragtime. The uniquely American music called ragtime traces its history to African rhythms brought over by slaves. Over the years this music became welded to European musical forms such as the quadrille and the march. Drums and banjos and the minstrel tradition lent a special flavor, and from all these elements ragtime slowly evolved within the largely unknown black subculture of the late 19th century. In the late 1890's it emerged as a fully developed form in the classic piano solos of Scott Joplin (1869-1917). Joplin's 1899 hit, Maple Leaf Rag, was an overnight sensation and brought ragtime worldwide fame. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 and 2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 3 Bb Bass and Bb Contrabass Clarinet, 2 Bassoon 1 and 2, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 Horn 1 and 2 in F, 2 Horn 3 and 4 in F, 4 Trombone 1 and 2, 4 Bass Trombone, 2 Baritone (B.C.), 2 Baritone (T.C.), 4 Tuba, 1 String Bass, 1 Timpani, 1 Xylophone, 3 Percussion 1, 3 Percussion 2.
SKU: CL.011-3866-01
Wow! That's what your audiences will say when your saxophone section, sax quartet, or even your best alto soloist show off with this appealing new sax feature. With clever syncopations and creative use of the saxophone's most effective range, this piece provides a toe-tapping opportunity for your audiences to really have fun at your concert - and your saxes will absolutely love you for giving them a chance to shine!
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
