Concert Band (Score) - Grade 4

SKU: HL.44013293

Concert Band Score. Composed by Philip Sparke. Anglo Music Concert Band. Classical. Softcover. 35 pages. Duration 275 seconds. Anglo Music Press #AMP462140. Published by Anglo Music Press (HL.44013293).

UPC: 888680908898.

Watch Your Step! was commissioned by Stadtmusik Biel from Switzerland and is dedicated to the mayor of Biel/Bienne, Erich Fehr. The title was chosen to represent Biel as the watch-making capital of Switzerland. Watch Your Step! is one part of a series of 'up tempo' Sparke marches such as Slipstream, The Bandwagon and Jubiloso. After a bright opening, a syncopated first theme is played, firstly by clarinets and saxophones, and then by the full band. A bass strain is followed by a contrasting second subject, which is played twice. The bass melody returns to herald a truncated version of the main theme, before the opening fanfare reappears as a coda.

Concert Band Concert Band - Grade 1

SKU: XC.DCB1904

March. Composed by Matthew R. Putnam. Da Capo Band Series. Concert Marches. Set of parts. Excelcia Music Publishing #DCB1904. Published by Excelcia Music Publishing (XC.DCB1904).

UPC: 812598031850. 9 x 12 inches.

In the various branches of the military, one of the first things that a young recruit learns how to do is to march in step. This march is written in the standard three-part form, with no break strain and is perfect for contest or festival adjudication.

Beginning Band - Grade 1 - Score and Parts. By Philip Sparke. De Haske Concert Band Full Set. Size 9x12 inches. Published by DeHaske Publications.

Concert Band/Harmonie and Trumpet Trio - Grade 1

SKU: BT.AMP-036-140

Composed by Philip Sparke. Debut Series (Anglo). March. Score Only. Composed 2003. Anglo Music Press #AMP 036-140. Published by Anglo Music Press (BT.AMP-036-140).

Composer Philip Sparke has long been fascinated by history’s pioneers. In all fields of human activity, there has been someone with enormous vision who has made the first step into the unknown. Explorers have found new lands, doctors have discovered new medicines and scientists are pushing the bounds of technology ever further. But there was always one ‘pathfinder’, someone who was not afraid of the unknown, who dared to go one step further than anyone before him. The march is dedicated those pioneers who have risked everything for the sake of their vision.

Pathfinders March - zu deutsch Pfadfindermarsch - wurde zu Ehren der Pioniere der Geschichte, wie Entdecker, Forscher und Mediziner, komponiert. Sie alle sind die so genannten Pfadfinder, die es als erste wagten, unerforschte Wege zu beschreiten. Der imponierende Marsch, der das Trompetenregister herausstreicht, bringt Glanz in jedes Repertoire und überzeugt sowohl Musiker als auch das Publikum.

Philip Sparke est un grand passionné de l’histoire des pionniers. Dans tous les secteurs d’activité humaine, il y a eu un visionnaire qui a franchi le pas vers l’inconnu. Les explorateurs ont découvert de nouvelles terres, les médecins ont développé de nouveaux remèdes et les scientifiques repoussent sans cesse les limites de la technologie. Mais il y a toujours eu un pionnier, un être sans peur de l’inconnu, qui a osé franchir le pas supplémentaire que nul n’a osé franchir auparavant. Cette marche est dédiée ces pionniers qui ont tout risqué pour réaliser leur rêve.

(Excerpts from Movement 1). By Wolfgang Amadeus Mozart. Arranged by Stephen Bulla. (Score and Parts). Curnow Concert Band Full Set. Published by Curnow Music.

Arranged by Stephen Bulla. For Concert Band (Score and Parts). Hal Leonard Concert Band Series. Grade 4. Published by Hal Leonard

Concert Band/Harmonie - Grade 3

SKU: BT.GOB-000752-010

Composed by Andreas Ludwig Schulte. Set (Score & Parts). 160 pages. Gobelin Music Publications #GOB 000752-010. Published by Gobelin Music Publications (BT.GOB-000752-010).

The young have the future. This is the statement made at the beginning of ‘Like a Child’ by Andreas Ludwig Schulte.
The opening radiates strength and ambition, but one is also made to wonder which direction will be chosen, which choices will have to be made.
After the introduction the first steps on the path of life are taken, still somewhat unsteadily (the 3/4th time used illustrates this uncertainty). However, the child has now set off and will meet the future with an open mind, unafraid, even though experience will teach it how easily it can be hurt.
Fortunately, it is sometimes allowed to be vulnerable and it discovers there will always be someone to offer shelter,support and love. (Adagio)
The last part breathes a far greater independence. Youth is able to face the future, it can even take on the whole world!

Wie de jeugd heeft, heeft de toekomst. Met dit statement begint deze compositie van Andreas Ludwig Schulte.
Het begin straalt kracht en ambitie uit. Maar welke kant gaat het op, welke keuzes moeten gemaakt worden?
Na de inleidingworden de eerste schreden op het levenspad gezet, het is nog wat onzeker (de driekwarts maat voelt een beetje wankel). Toch gaan we daarna op pad, onbevangen, met open vizier de toekomst tegemoet al blijken er toch noch kwetsbaremomenten te bestaan.
Gelukkig mogen we dat soms ook zijn en dan is er altijd wel iemand bij wie we geborgenheid, steun en liefde ontvangen. (Adagio)
Het laatste deel straalt al veel meer zelfstandigheid uit. Laat maarkomen die toekomst, we kunnen de wereld aan!

Band Concert Band - Grade 2

SKU: CF.YPS200

Composed by Matthew R. Putnam. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+2+2+5+2+2+4+4+6+3+3+2+1+3+16+4+4+2+2 pages. Duration 2:15. Carl Fischer Music #YPS200. Published by Carl Fischer Music (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!

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (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.

Concert band - Grade 4-5

SKU: P2.W0004

Composed by James Grant. Published by Potenza Music (P2.W0004).

Tribute: Those Who Serve, scored for Grade 4/5 band, is dedicated to the bravery, heroism and sacrifice of First Responders. The music is based on an earlier work for orchestra, called Tribute, commissioned by conductor Michael Gagliardo and the Etowah Youth Symphony Orchestra to commemorate the events of September 11, 2001. I composed the original Tribute in the spring of 2002 while in residence at Copland House in Cortlandt Manor, NY, where Aaron Copland lived and worked the last thirty years of his life. With gratitude to Copland House and as my own tribute to Mr. Copland, the orchestral version of Tribute opened and closed with the composer's initials A.C. featured in the strings as major chords on A and C. Mercifully, the current version for band has been transposed up a half-step to the key of B-flat. A central section in D-flat features robust quotes from Copland's Fanfare for the Common Man, a work that is at the spiritual core of Tribute: Those Who Serve.Tribute: Those Who Serve invites us to pause and reflect on the daily acts of valor exhibited by the many First Responders in our local communities--law enforcement officials, firefighters, search and rescue teams, emergency medical technicians and citizen volunteers, to name but a few. My hope is that Tribute: Those Who Serve will inspire community and school bands nationwide to hold events to honor the brave women and men who serve with consummate commitment and determination in our local communities, selflessly standing tall in times of local and national crisis.

Concert Band (Score) - Grade 3

SKU: HL.4003881

Composed by Rick Kirby. MusicWorks Grade 3. Concert. 48 pages. Published by Hal Leonard (HL.4003881).

UPC: 888680010089. 9x12 inches.

Depicting three contrasting and intriguing settings from early American lore, Rick Kirby masterfully brings these images to life in this suite for band. The first movement tells the legend of The Phantom Drummer with unique orchestrational effects. The second movement, The Lady's Lament, mourns the loss of loved ones in the Revolutionary War, and the suite concludes with the lively dance Virginia Two-Step. Rich in stylistic and tonal variety, this is an appealing work for concert or festival use. Duration: 8:00.

Concert Band Concert Band - Grade 1

SKU: FJ.B1634S

Score Only. Composed by Timothy Loest. Concert Band. FJH Beginning Band. It's man versus machine in this robotic dubstep thriller. Cordless drill, toy voice changer, and optional synthesized bass create a futuristic soundscape that will be the hit of your next concert. Incredibly approachable, yet full of drama with powerful i. Light Concert; Novelty. Score. Duration 2:00. The FJH Music Company Inc #98-B1634S. Published by The FJH Music Company Inc (FJ.B1634S).

English.

It's man versus machine in this robotic dubstep thriller. Cordless drill, toy voice changer, and optional synthesized bass create a futuristic soundscape that will be the hit of your next concert. Incredibly approachable, yet full of drama with powerful imagery. The cybernetic revolt has begun!

About FJH Beginning Band

Appropriate within the first year of instruction and beginning of the second year. Clarinets do not go above the break, and there is limited use of accidentals. Plenty of doublings in the lower voices. Grade 1.

Concert Band - Grade 5

SKU: HL.44007324

Grade 5 - Score and Parts. Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Score Only. Composed 2007. Duration 720 seconds. Anglo Music Press #AMP214. Published by Anglo Music Press (HL.44007324).

UPC: 884088245214. 9.0x12.0x1.232 inches. English(UK)/Deutsch/Francais/Nederlands.

Colorado Springs was commissioned by the United States Air Force Academy Band, Lieutenant Steve Grimo, Commmander/Conductor. Colorado Springs, home of the USAF Academy, is set in spectacular landscape towards the southern end of the Rocky Mountains and is a popular tourist resort for skiing and hiking. The Academy plays an important part in the life of the area and serves as a base for the USAFA Band, one of the professional bands forming part of the musical life of the U.S. Air Force. The suite is in three movements: 1. The Springs (fanfare) - “The Springs” is the local residents' name for the town, and this first movement starts with a stirring fanfare for brass and percussion, opening with bold unison horns. The rest of the brass join in and woodwind add decorative figures. After a short change of style, the opening material reappears to close the movement. 2. Seven Falls - Seven Falls is a spectacular waterfall near to the town which cascades 181 feet in seven distinct steps down a solid cliff of pikes peak granite. In this movement, high woodwinds describe the sparkling water as it descends to a popular lookout post near the bottom of the falls. 3. Pikes Peak - To the north-west of the town and reaching an altitude 14,110 feet, Pikes Peak is the farthest east of the big peaks in the Rocky Mountain chain, which contributed to its early fame among explorers and pioneers, and made it the symbol of the 1859 Gold Rush to Colorado with the slogan, “Pikes Peak or Bust.” It is the second-most visited mountain in the world behind Japan's Mount Fuji. This atmospheric movement describes the majesty of the mountain and is based around the fanfare from the first movement. Opening on a solitary bassoon, it is not long before the main theme appears under bubbling woodwinds. The music reaches a passionate climax at which point the opening fanfare reappears to bring the whole work to a close.