SKU: PR.11540224L
UPC: 680160633333. 11 x 14 inches.
Ewazen seemingly takes inspiration from an endless array of sights, environments, and events. It would be impossible for him to be exposed to the wonder of Angkor Wat and to not distill his impressions into music. In fact, he created four distinct impressions for wind ensemble. Performance notes are included, which help to describe the settings and the thoughts behind them.
SKU: PR.11540224F
UPC: 680160633319. 9 x 12 inches.
SKU: CF.CPS217
ISBN 9781491152430. UPC: 680160909933.
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.CPS108
ISBN 9780825874277. UPC: 798408074272. 9x12 inches. Key: F major.
Composer William Harbinson takes two Irish folk songs and weaves them together in a tapestry of sounds in a symphonic setting. This piece has contest/festival potential written all over it, as we are sure your music list committee will agree.
SKU: CL.012-4153-01
Here's a terrific and challenging British march for concert band, from the pen of one of the greatest brass bandsmen of the U.K.! Originally composed as a contest march for brass band, Centaur is now available in this concert band arrangement! An excellent march showpiece to demonstrate your band's virtuosity! This receives our highest recommendation!
SKU: CL.012-4153-75
Here's a terrific and challenging British march for concert band, from the pen of one of the greatest brass bandsmen of the U.K.! Originally composed as a contest march for brass band, Centaur is now available in this new concert band arrangement! An excellent march showpiece to demonstrate your band's virtuosity!
SKU: CL.012-4403-75
This lively Hungarian folk dance, originally set for solo violin and piano by Italian composer Vittorio Monti, has been arranged for solo instrument and concert band for the Barnhouse Spotlight series by Andrew Glover. This rhapsodical work allows the soloist to display great lyrical skills as well as technical virtuosity! Includes solo parts for violin or flute, b-flat clarinet (or any b-flat instrument in similar range), e-flat alto saxophone, or euphonium (bass clef). Band accompaniment parts grade 3; solo part grade 4+. A great way to feature your outstanding soloist or guest artist, and guaranteed to astonish your audience!
About C.L. Barnhouse Spotlight Series
The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments
SKU: CL.012-4063-01
Commissioned by Pennsylvania’s Nu Chapter of Phi Beta Mu (the International Fraternity of Band Directors), The Keystone is a concert/festival work written for the symphonic band by Robert W. Smith. Featuring fanfare motifs, soaring melodies, and driving harmonic effects, this impressive work is appropriate for any concert performance setting. Well scored and very effective!
SKU: CL.012-4063-75
Commissioned by Pennsylvania's Nu Chapter of Phi Beta Mu (the International Fraternity of Band Directors), The Keystone is a concert/festival work written for the symphonic band by Robert W. Smith. Featuring fanfare motifs, soaring melodies, and driving harmonic effects, this impressive work is appropriate for any concert performance setting. Well scored and very effective!
SKU: CL.012-4142-01
The Russian hymn Salvation Is Created was composed by Peter Tchesnokov in 1912. Transcribed many times over the century, it has become a standard in the repertoire for choir, orchestra and band. Composer Robert W. Smith has used this timeless melody to create a new interpretive statement for the concert band. From the soft and delicate opening phrases to the contrasting full band response, the piece progresses through multiple variations and treatments. The final section of the work presents the hymn in a more standard setting leading to a powerful conclusion. Suitable for contest/festival performance as well as any concert program, this may become a standard in the repertoire. An excellent programming choice.
SKU: CL.012-3459-01
Ed Huckeby's stirring new arrangement of a beloved classic is a terrific addition to any concert program with an important message. Starts out with a paraphrase of the main theme in 4/4 before presenting the entire melody in its original 3/4. The arrangement build to a strong dynamic ending that is sure to impress. An excellent concert opener or closer that is timeless in its appeal! Don't miss this one!
About Heritage of the March
Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: CL.026-4510-01
One of Ed Huckeby's most enduring band works, Ashland Park is an exceptional overture for mid-level bands, now available in Build-A-Band format for bands with limited or unbalanced instrumentations. An excellent choice for either concert or contest performances, or any performance situation.
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: CF.CPS181
ISBN 9781491142288. UPC: 680160630349.
This piece is built on original melodies that capture the essences of Celtic folk songs. This ballad is lush, richly scored and contains beautiful countermelodies. The expressive playing in this piece will provide contrast to the uptempo selections during a concert or festival performance.
SKU: CF.YPS195
ISBN 9781491147474. UPC: 680160904976. 9 x 12 inches. Key: Eb major.
Dream Engine is a concert overture in classic ABA form. Opening with a tuneful melody that weaves throughout the ensemble over staccato accompaniments, the piece then evolves into a contrastingly lyrical and beautifully lush B section. As with the rest of Clark's work, Dream Engine blends musicality with teachability and is perfect for your next contest or festival.
SKU: CL.026-4541-00
An impressive piece at this grade level featuring syncopation and mixed meters. The lush and beautiful slow section adds contrast to the exciting rhythmic drive. Skillfully arranged for bands with less than ideal instrumentation, this outstanding piece is perfect for concert and festival use and is sure to make your band sound its best! Highly recommended!
SKU: CL.026-4541-01
SKU: CL.026-4336-01
Ed Huckeby’s Build-A-Band version of his Abington Ridge is a spirited contest piece that has just the right combination of changing meters and syncopation to make it a must for your next festival or concert. This version makes this wonderful composition playable by very small bands and it will sound great as long has you have the four parts covered. Optional percussion and keyboard parts can add to the overall effect. Highly recommended.
SKU: CL.026-3950-01
Adapted for the Barnhouse Build-A-Band Series from the original band arrangement of the same title, Themes from the Nutcracker is a perfect selection for any holiday concert. This splendid arrangement includes an introduction based on the Overture and the main themes from the March, the Arabian Dance and the Russian Dance. Playable by any instrumentation as long as the five basic parts are covered, it's very playable and sure to be the hit of any holiday concert!
SKU: CL.026-4226-01
This exciting and very popular David Shaffer composition will sound great when you group performs this outstanding arrangement from the Barnhouse Build-A-Band Series! Designed for groups with severe instrumentation issues or for very small bands, it is playable as long as you have the four main parts covered by the instruments of your choice. Includes optional piano, percussion and mallet percussion parts. Full of energy and solid sounding, Last Ride of the Pony Express is perfect for any concert or contest situation and your students will love performing it.
SKU: CL.026-4228-01
Ed Huckeby's Overtura has long been a popular favorite of bands around the world, and this solid sounding arrangement from the Barnhouse Build-A-Band Series is sure to be a favorite with bands that have instrumentation issues or a small number of players. Will sound impressive as long you have the four main parts covered by the instruments of your choice and it is sure to impress your audiences at any concert or contest performance. Includes optional piano, mallet percussion and percussion parts which help enhance the overall sound. Outstanding!
SKU: CF.YPS208
ISBN 9781491152287. UPC: 680160909780. Key: D minor.
A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song. After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension. This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL 2017.
SKU: ML.013313060-S
As a young man, Andrew Pearce had fond memories of playing cornet in the local Youth Brass Band, where he first experienced the power and beauty of brass music. After completing 'The Maestro' concertino for Philip Cobb, he decided to write a more gentle and lyrical piece for him, which paid homage to his musical roots in the Salvation Army. 'Interlude' is ideal for a proficient solo cornet player in any brass band: tuneful, reflective and elegiac with lots of expression.Andrew Pearce heeft goede herinneringen aan zijn jeugd bij de lokale Brass Band waar hij zijn eerste positieve muzikale ervaringen had. Na zijn compositie 'The Maestro' voor Philip Cobb besloot hij een meer warm en gedragen stuk voor hem te schrijven wat een homage is geworden aan het orkest van Het Leger des Heils waar hij vroeger in speelde. Interlude is perfect voor een bedreven solocornet, melodieus, reflecterend en elegisch met veel expressie.
SKU: CF.YPS116
ISBN 9780825888069. UPC: 798408088064. 9x12 inches.
In any conflict, there is always a turning point which determines the outcome. The phrase is often used to describe epic wars throughout history, and the music of Turning Point reflects the weight and drama that comes with these key historical moments. Composer Sean O'Loughlin takes the listener on a musical journey filled with dramatic twists and turns. This piece will serve as your young band's turning point in their development to becoming a solid musical ensemble.
SKU: CF.CPS263
ISBN 9781491161524. UPC: 680160920150.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone “teewinet,†meaning “many pinnacles.â€Â Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight “swing†and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
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