SKU: AP.36-A611901
ISBN 9798892700450. UPC: 659359520426. English.
Alexander Glazunov (1865-1936) composed the beautiful Serenade No. 2 in F Major, Op. 11 in 1884, before his creative crisis of 1890. For a small orchestra, it was premiered in 1885, his friend and mentor Nicolai Rimsky-Korsakov conducting. Instrumentation: 2.1.2.2: 2.0.0.0: Str (9-8-7-6-5 in set).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A611902
UPC: 659359870934. English.
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
SKU: CN.R10011
Cast your self into a storm at sea with this fantastic piece from John Ireland. Turbulent rhythmic motives launch the work to blend into a more lyrical melody contrasting the opening. Don't be fooled though; the first rhythmic motive provides the underlay, a reminder that the calm surface of the sea is only masking the swirling water underneath!A Maritime Overture was written in 1944 and published in 1946. This edition was published in 1988. The score was prepared from the composer's full draft by Norman Richardson, and uses the same material as Tritons - a Symphonic Prelude for orchestra dating from the early 1900s. The development of the material however is different in each piece. The work is conceived in F major - but it is 24 bars before Ireland establishes this tonality. Fortissimo chords of B-flat major open the work, and the Overture hovers between G minor and B-flat as a restless rhythmic motif is introduced. As soon as F major is finally established it is contradicted as the music fragments, but the key is allowed a further 4 bars to consolidate before more lyrical interplay leads to a second idea, introduced by flutes and oboes in C major. Marked 'espressivo e ben cantando' this is a complete contrast to the opening, although the first rhythmic motif provides the underlay - a reminder after the opening storms that the calm surface of the sea is only masking the swirling water underneath. A Maritime Overture has a freer approach to form than say the first movement of a symphony might allow, enabling Ireland to introduce a totally new central section marked 'poco meno mosso' in F minor. A bold cornet (not trumpet) heralds this new idea, in a passage marked 'with freedom' and perhaps for the only time there is a true tranquility in the sextuplet accompaniment. Thus the restlessness is suspended, but not for long, as the opening storm returns and a recapitulation allows the F major theme and the second theme - this time in the sub-dominant (B-flat) - to reassert themselves.
SKU: HL.4008643
ISBN 9798350114997. UPC: 196288189664.
During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing†exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.
SKU: HL.4007483
UPC: 196288058175.
SKU: AP.37798S
UPC: 038081436265. English.
Beethoven wrote two Romances for violin and orchestra; his second one, the Op. 40 in G Major, was actually published in 1802, two years before the Op. 50 in F Major, even though the F Major Romance was composed four years earlier. The double stops of the violin solo are faithfully preserved in this arrangement, and careful attention to articulation and emphasis on melodic playing by every section of the band will make this piece an ideal choice to introduce the music of this master composer to young musicians.
SKU: CF.YPS28
ISBN 9780825848506. UPC: 798408048501. 9 X 12 inches. Key: Eb major.
Commissioned by a South Carolina Middle School Band, Eagle Lake March, has the stately character of the great British marches of Gustav Holst and Eric Coates. As with all good marches the main theme is memorably tuneful, and there is a fine collection of worthy counter melodies, as well. A modulation to F Major leads to a grandly scored and sonorous conclusion Duration: 4’ Keys: Eb, F Ranges: Trumpet – F; Horn – Eb; Trombone – Eb.
SKU: CN.R10170
The title derives from the sound created by imposing two major triads on top of each other, eg. the first brass chord of F major over G major, otherwise an eleventh chord. The whole piece is then worked out through these intervals, opening with a rush of flourishes and fanfares creating a lively atmosphere, moving to a middle slower section with a more angular melody. the opening is repeated and leads to a flying CODA with a cheeky interchange between Oboe and Piccolo.
SKU: CF.YPS72F
ISBN 9780825868085. UPC: 798408068080. 9 X 12 inches. Key: Bb major - f major - eb major.
A frosty, snowy day and a horse-drawn sleigh on its way to Grandma's house are the visions that Christmas Bells evokes. Memorable melodies and the jingling sounds of sleigh bells function as a holiday Currier and Ives portrait set to beautiful music.
SKU: AP.46660
UPC: 038081532752. English.
A march written predominately in a minor key? Crazy! This unique and fun-to-play march explores the tonal centers of F minor and D-flat major. Chock-full of rhythmic and dynamic elements, this is a great teaching piece that will be an exciting component of any concert or contest program.
SKU: AP.46660S
UPC: 038081532769. English.
SKU: CF.CPS27
ISBN 9780825847813. UPC: 798408047818. 9 X 12 inches. Key: F major.
Dotted rhythms, colorful percussion writing, and a fresh melodic style characterize this concert work by the gifted Sean O’Loughlin. A dynamic and stirring piece, Cascades is a perfect selection for contest and festival use. Duration: 4’35 Key: F Ranges: Trumpet – Bb; Horn – G; Trombone – G.
SKU: CF.YPS200
ISBN 9781491152201. UPC: 680160909704. Key: D minor.
Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.†This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march.Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.†This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.†It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange!
SKU: CF.YPS200F
ISBN 9781491152881. UPC: 680160910380.
SKU: CF.FPS66
ISBN 9780825867712. UPC: 798408067717. 9 X 12 inches. Key: F major.
This triumphant work by composer Alan Lee Silva will be a perfect selection for your next contest or festival performance. Atlantic Crossing contains all the signature flowing lines and warm harmonies that have made Silva's music so popular and fresh. Silva takes a completely new approach to composing music for concert band, so we guarantee this is unlike anything you've ever heard before.
SKU: CF.YPS56
ISBN 9780825862045. UPC: 798408062040. 9 X 12 inches. Key: F major.
A fresh new composition in the Lydian mode by composer Alan Lee Silva. This piece flows effortlessly and exudes a myriam of colors that are possible from a young concert band. This will be the piece your audience talks about for years to come.
SKU: CF.FPS66F
ISBN 9780825867729. UPC: 798408067724. 9 X 12 inches. Key: F major.
SKU: HL.4004273
UPC: 888680067106. 9x12 inches.
The music of Handel is considered the culmination of the Baroque period of music history, and his Water Music (1717) has endured in popularity for nearly 300 years! Performed from a barge traveling on the River Thames, King George I is said to have liked the music so much that he ordered it repeated several times. Originally three suites each consisting of multiple movements, Johnnie Vinson has skillfully adapted this arrangement for young players using “Alla Hornpipe” from the Suite in D Major, and the “Air” and “Allegro” from the Suite in F Major. Duration: 4:20.
SKU: CF.CPS14
ISBN 9780825843624. UPC: 798408043629. 9 X 12 inches. Key: F major.
Next to Stars and Stripes Forever, this march, universally known as The March King, is probably the best-known march by John Philip Sousa (1854-1932). From its energetic opening through the memorable 1st strain, the tuneful second and memorable trio, this is a beloved example of march writing at its best. A perfect introduction to the 6/8 march style, this very playable version will be a great warm-up march for contest and festival. Duration: 3'.
SKU: CF.CPS92F
ISBN 9780825870514. UPC: 798408070519. Key: F major.
An uplifiting new composition to open a concert program by composer Ed Kiefer. Brass fanfares and flourishes leading into multi-meter woodwind melodies make this a distinctive piece for your next performance.
SKU: CF.CPS92
ISBN 9780825870507. UPC: 798408070502. Key: F major.
SKU: CF.CPS114F
ISBN 9780825884924. UPC: 798408084929. 9 x 12 inches. Key: F major.
Andrew Balent arranging John Philip Sousa is a winning combination in itself, and this popular march has been scaled down sensitively and carefully for the younger band. Inspired by the friendship between the United States and their allies overseas, Sousa composed this march after hearing the phrase, A sudden thought strikes me; let us swear eternal friendship. The touching patriotism and bold happiness of this work will make your group shine.
SKU: CF.YPS56F
ISBN 9780825862052. UPC: 798408062057. 9 X 12 inches. Key: F major.
