Concert Band - Grade 3.5

SKU: AP.35392S

Composed by Scott Director. Concert Band; Performance Music Ensemble; Single Titles. Belwin Concert Band. Form: Overture. Score. 40 pages. Belwin Music #00-35392S. Published by Belwin Music (AP.35392S).

UPC: 038081420752. English.

Moon Phases 81 is a dynamic and innovative interpretation of the mystery, grandeur, and power of the moon. Take a trip to the mysterious dark side of the moon, experience the brilliance of a full moon, and feel the power of a lunar percussion with this bold, passionate, and fiery piece. Masterful scoring contributes to this dynamic depiction of lunar phases. Sure to capture the imagination of your band and listeners alike!

Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Double Bass, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5

SKU: CF.CPS225

Composed by Larry Clark. Concert Band (CPS). Set of Score and Parts. With Standard notation. 12+12+6+12+24+24+6+4+6+6+6+6+8+8+8+4+4+6+6+6+8+2+1+6+2+4+10+32+4 pages. Duration 6 minutes, 9 seconds. Carl Fischer Music #CPS225. Published by Carl Fischer Music (CF.CPS225).

ISBN 9781491152515. UPC: 680160910014.

Tartan Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*) - grade 5

SKU: CN.R10004

Composed by John Ireland. Band Music. Score and parts. Duration 10:30. Published by G & M Brand Music Publishers (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.

By Edvard Grieg (1843-1907). Arranged by Brian Beck. Concert Band. Concert Band; Part(s); Score. Alfred Concert Band. Form: March; Transcription. Masterwork Arrangement; Romantic. Grade 3. 246 pages. Published by Alfred Music Publishing

Concert Band - Grade 2.5

SKU: AP.43104S

Composed by Roland Barrett. Concert Band; Performance Music Ensemble; Single Titles. Belwin Young Band. Form: Overture. Programmatic. Score. 32 pages. Duration 4:30. Belwin Music #00-43104S. Published by Belwin Music (AP.43104S).

UPC: 038081504520. English.

In the final days of November, as the nights grew longer and the vicious North winds began to pound the embattled city, the kingdom was rapidly nearing its darkest hour. As enemy forces threatened from every side, the exhausted council gathered in the great hall for one final desperate meeting. With all hope waning, with all other options exhausted, and with one last chance to save his people, the king summoned all remaining forces and invoked The Seventh Resolution. A contemporary bold work! (4:30).

Young concert band - Grade 2

SKU: CL.011-4116-01

Composed by Romeyn. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR376). Extra full score. Composed 2012. Duration 3 minutes, 8 seconds. C.L. Barnhouse #011-4116-01. Published by C.L. Barnhouse (CL.011-4116-01).

Kaboom! is an aggressive work for young band that is sure to capture the incredible energy and passion of young musicians. It begins with an explosion of sound and power. The tension then subsides before building to a thunderous climax of driving rhythms and contemporary, fresh sounding harmonies. Memorable melodic themes, stark musical contrasts and the dark, foreboding middle section will make this work a favorite for concert and festival use. This is the type of piece your students will love to rehearse, and it's sure to be the hit of any concert!

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.

By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin Symphonic Band. Level: grade IV. Conductor Score. 48 pages. Published by Alfred Publishing.

Concert band - Grade 3

SKU: CL.012-4166-75

Composed by Shaffer. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR379). Oversized, spiral-bound score. Composed 2013. Duration 5 minutes, 22 seconds. Opus III Wind Orchestra Publications #012-4166-75. Published by Opus III Wind Orchestra Publications (CL.012-4166-75).

Freedom Rising was written in commemoration of the 150 anniversary of Quantrill's raid on the unsuspecting town of Lawrence, Kansas where the residents bravely fought to defend their town from the forces of pro-slavery western counties. Opening with a dark and haunting woodwind choir, the composition quickly journeys into the raging battle that took place that fateful August day in 1863. The slower middle section is a powerful hymn expressing the hope of all townspeople for a successful defense to this sneak-attack. The dramatic powerful conclusion leaves us with the knowledge that this community fought desperately for the freedom of all people. A powerful piece that brings to life this brief but important period in American history.

Concert band - Grade 3

SKU: CL.012-4166-01

Composed by Shaffer. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR379). Extra full score. Composed 2013. Duration 5 minutes, 22 seconds. Opus III Wind Orchestra Publications #012-4166-01. Published by Opus III Wind Orchestra Publications (CL.012-4166-01).

Freedom Rising was written in commemoration of the 150 anniversary of Quantrill’s raid on the unsuspecting town of Lawrence, Kansas where the residents bravely fought to defend their town from the forces of pro-slavery western counties. Opening with a dark and haunting woodwind choir, the composition quickly journeys into the raging battle that took place that fateful August day in 1863. The slower middle section is a powerful hymn expressing the hope of all townspeople for a successful defense to this sneak-attack. The dramatic powerful conclusion leaves us with the knowledge that this community fought desperately for the freedom of all people. A powerful piece that brings to life this brief but important period in American history.

By Rob Romeyn. For young concert band. Command Series. Grade 2.5. Score and set of parts. Duration 3 minutes, 8 seconds. Published by C.L. Barnhouse

Composed by Gary Fagan. Concert Band. Concert Band; Part(s); Score. Alfred Debut Series. Grade 1. 122 pages. Published by Alfred Music

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 4:30. Published by Manhattan Beach Music.

Composed by Bob Buckley. Opus III Wind Orchestra series. Audio recording available separately (item CL.WFR375). Score and set of parts. Composed 2012. Duration 6 minutes, 12 seconds. Published by Opus III Wind Orchestra Publications

By Todd Phillips. For young concert band. Command Series. Grade 2. Score and set of parts. Duration 2 minutes, 25 seconds. Published by C.L. Barnhouse