SKU: KJ.WB217F

a delicate and delightful feature for three solo flutes or the entire flute section!

Barcarole for flutes is a flute feature for three solo flutes. (If desired, the solo can be played by six flutes.) both the first and the last section are in unison for the solo flutes while the middle section is divisi. The piece should be performed with the band accompaniment clearly in the background. If needed, the conductor should reduce the number of players to achieve proper balance.

The piece begins with a smoothly flowing melody in the oboe and fist clarinet, accompanied by a countermelody in the alto saxophones, then flows into a lyrical melody for the solo flutes. The low woodwinds and low brass punctuate the sensitive and delicate melody with a rhythmical accompaniment. The ensemble builds in a sweeping sound toward the end of the first section. The middle section contains rhythmical variety within the flute solo as well as in an agitated accompaniment before returning to the original melody. After the return of the original melody, the brass and low woodwind accompaniment builds to a point before falling back to finish with the gentle hush of the flute solo.

SKU: AP.98-RWS210400

Start your concert with a bold statement of musical energy. Shimmering woodwinds introduce a brilliant brass statement that both performer and listener will find inspiring. Every section will be actively engaged in the music making from the opening measure to the final powerful brass chord.

SKU: KJ.WB461F

UPC: 84207044704.

The name Nebraska is derived from a Native American word meaning flat water. It refers to the Platte River, the shallow, wide river that traverses the state. Inspired by the beauty and pastoral grandeur of the American prairie, composer Nolan Schmit takes us on a journey featuring majestic brass and lyrical woodwinds. Flatwater Sketches correlates with Book 3, page 12.

Flatwater Sketches (Video)

SKU: KJ.WB94

This stately march in turn gives trumpets, woodwinds and low brass a chance to play the melody. Percussion is prominent throughout, giving that military march feel. An extraordinary march selection! Correlates With Best In Class Bk. 1 Page 20 / SOE Bk. 1 Page 25.

SKU: KJ.B395F

The primary ideas of this work are stated by the woodwinds and horns in the introduction and germinate from two basic ideas: the rhythmic figure and the melodic interval of a tritone. Ostinato and lyric melodies help develop these ideas until the work recaps the opening section. A truly wonderful contemporary selection!

SKU: RU.10283

9 x 12 inches.

The title of this march, The Trombone Section, is rather misleading, for it is not the trombones that have the most technical parts, but rather the trumpets and upper woodwinds. Composed in 1920, the opening of the march makes a great concert opener. A bold and technical fanfare is followed by a more relaxed, yet still technical first strain, which is in turn followed by a very driving second strain. The trio features a wonderful obligato scored in first trumpet and woodwinds, while the trombones carry the melodic material. The march works well as various tempos between 108 and 144 beats per minute depending upon the technical facility of the ensemble.

SKU: CF.CPS217F

ISBN 9781491153116. UPC: 680160910618.

The title, Aerius, is a Latin term meaning “soaring” or “rising aloft”.  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.