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.4004311
UPC: 888680071349. 9x12 inches.
This lyric works provides an opportunity for your band to experience the musical style of Chopin in an effective setting for second year players. Featuring legato phrases, darker sonorities, and an engaging harmonic progression, this piece offers musical rewards for the young level. Duration: 2:40.
SKU: BT.CMP-0804-04-040
Mozart belongs to everyone! The experience of actually playing Mozart's music makes him real and more than just a name we associate with old music. Stephen Bulla's arrangement of the first movement of what may arguably be Mozart's greatest symphony has a great deal of authenticity. Much more than many just the tune type transcription/ arrangements, Mr. Bulla's work ambitiously explores a good portion of Mozart's miraculous musical development, so that your musicians can begin to understand the true genius of the Classical icon. Those who know Mozart will appreciate the integrity of the transcription. Those who don't know Mozart have a wonderful treat in store!A classic!In de zomer van het jaar 1788 schreef Mozart drie symfonieën tijdens een periode van ruim zes weken. Zijn Symfonie nr. 40 in G mineur (KV 550) was een van die grootse werken. Deze bewerking van het eerste deel van die symfoniegetuigt van de gratie van de componist, evenals zijn inventiviteit en zijn gevoel voor humor, dat altijd weer doorklinkt in zijn mooie muziek.Wolfgang Amadeus Mozart war zeit seines leider nur kurzen Lebens ein äußerst produktiver Komponist. Im Sommer 1788, drei Jahre vor seinem Tod, schrieb er innerhalb von gut sechs Wochen drei Sinfonien. Die Sinfonie Nr. 40 in g-Moll ist eine davon. Stephen Bulla bearbeitete nun Auszüge aus dem ersten Satz dieses Werkes für Blasorchester. In seinem Arrangement arbeitete er trefflich die Anmut, den Erfindungsgeist und den unwiderstehlichen Humor, der Mozarts Musik zu eigen ist, heraus.
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: 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.
SKU: BT.CMP-1011-06-040
9x12 inches. English.
Developing an intimate understanding of the worldâ??s greatest musical accomplishments is an important part of a music education. Every musician should have the joy of playing the music of Mozart, and the G-minor Symphony (Number 40) is one of Mozartâ??s signature works, and one of the greatest musical achievements of all time. Stephen Bulla has carefully and effectively brought the themes of the G-minor Symphony finale to the concert band stage with this delightful transcription/arrangement. Your band wonâ??t be playing a â??band arrangementâ?- theyâ??ll be playing MOZART! Donâ??t forget the opportunity for a music history lesson built into this piece.Masterful!
SKU: CF.SPS33F
ISBN 9780825867903. UPC: 798408067908. 9 X 12 inches. Key: G minor - c minor.
This setting of the hauntingly beautiful Appalachian folk song/carol was originally written for choir by Ruth Elaine Schram and published by Carl Fischer in 2007 (CM9001). It has now been scored for concert band and can be perfomed by band alone or with the Schram choral setting, giving you some great performance options. I Wonder As I Wander is a musically satisfying representation of this lovely Christmas carol.
SKU: CF.SPS71
ISBN 9781491143544. UPC: 680160901043. Key: G minor.
Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,†Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind†blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship†or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower†sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska†is a partner dance where the dancers spin each other (släng in Swedish “to sling or tossâ€) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska†dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .
SKU: CF.CPS216
ISBN 9781491152423. UPC: 680160909926.
Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections. This fanfare composition would be perfect for opening a concert. It has bold brass fanfare figures over textural woodwinds to start and then takes the listener on a sonic journey through a variation of harmonic colors, tambural and textural shifts.Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections. The first, a rather celebratory and triumphant fanfare in Bb major begins with the upper woodwinds and percussion creating a sound-screen, that is a busy texture consisting of a flurry of repeated notes over which the horns and alto saxophones present the opening theme. The sound-screen should be carefully balanced and give way to the melody at m. 5, which should be played extremely marcato. The timpani solo beginning in m. 11 must not be understated. A brief percussion interlude separates a restatement of the opening theme, this time with the addition of the trumpet, tenor saxophone, and euphonium, and a counter melody by the low winds. The percussion interlude is playful, light, but full of vigor and energy. An Ab in the low winds pulls the harmony towards G minor in m. 40 to start the second section, a more serious fanfare. Here, the marimba repeats an ostinato that is complemented by the bass drum and woodblock. The upper woodwinds with the xylophone and snare drum dance over the stern secondary fanfare. A longing call lead by the trombones, interrupted by a subtle snare drum beckons to the clarinets and horn who begin the third section of the piece at m. 68. This haunting melody in C minor is legato, and starkly contrasts all which came before it. A relentless concert tom-tom played with hard mallets keeps the momentum persistent, and a heartbeat-like pulse is felt from the tuba and baritone saxophone. The melody rises towards m. 84 when the brass harken back to the fanfare style before fading back into another lush woodwind strain.A recapitulation of the low winds’ call is heard at m. 100 which in this occasion intensifies into an emphatic statement by the battery percussion instruments. Now in Eb major, the opening fanfare theme is heard again once more before fading into the beginning of the piece’s conclusion.To end, the counter melody from the opening section duels with chromatic tension above before swelling to an arrival in the original key of Bb major. The full ensemble celebrates the piece’s resolution, and after a few crunchy power chords the journey is completed.
SKU: CF.CPS216F
ISBN 9781491153109. UPC: 680160910601.
SKU: CF.CPS106F
ISBN 9780825874246. UPC: 798408074241. 9x12 inches. Key: G minor.
Arranger Andrew Balent takes the famous Dvořák piece and sets it for the modern concert band. What a great opportunity for bands to perform a fantastic classical piece that adapts so well in the hands of a master arranger! These are the types of arrangements that Balent is so famous for, given their seamless translation to concert band.
SKU: CF.YPS203
ISBN 9781491152232. UPC: 680160909735. Key: D minor.
Imagine Bach trying to compose in his studio while being pestered by a spider! Arachnophobia and Fugue exposes students to the Baroque style of music using dramatic contrasts, light articulation, chorale-style sections, and multiple references to Bach's works. The spider is represented by the xylophone and/or marimba supported by the flutes. As a humorous bonus, auxiliary percussion includes rolled-up newspapers to swat the pesky spider throughout the piece.Good music played well inspires the imagination. Imagine Bach trying to compose in his studio while being pestered by a spider! First and foremost this is educational music exposing kids to the Baroque style of music. Dramatic dynamic contrasts, light articulation, chorale-style, and multiple references to Bach’s works form the basis for the work. Toccata and Fugue in D Minor, Sleepers Wake, Little Fugue in G Minor, Sheep May Safely Graze, Dies Irae, and Come Sweet Death are the basis for this look into an imaginary situation with the Great Baroque Master. The spider is represented by either a solo xylophone or multiple xylophones and/or marimba (supported by the flutes.) As a humorous bonus auxiliary percussion use rolled up newspapers to swat the pesky spider throughout the piece in rhythm with the music.
SKU: CL.026-4371-01
A unique collection of great Mozart themes made playable for bands with limited or less than ideal instrumentation. From the opening theme of the Magic Flute to the rousing conclusion of the famous Symphony #40 in G Minor, this lively, yet very playable, arrangement will keep your audience engaged and give your performers a real sense of accomplishment. Wonderful!
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.CPS51F
ISBN 9780825859007. UPC: 798408059002. 9 X 12 inches. Key: G minor.
The letters in the title of this piece serve as its musical inspiration. The piece is designed as a concert opener and has qualities reminiscent of the great fanfares from composer John Williams. The music features tight harmonies with brass flourishes and soaring woodwind lines punctuated by timpani and percussion.
SKU: CF.CPS51
ISBN 9780825858994. UPC: 798408058999. 9 X 12 inches. Key: G minor.
SKU: CF.CPS116
ISBN 9780825884955. UPC: 798408084950. 9 x 12 inches. Key: G minor.
After an atmospheric opening, Bill Calhoun presents us with a contemporary concert overture in 3/4 time, easing into a lush middle section before the return of the introduction in a new key. Not only will your percussion section love their lively parts in this work, but your whole band gets a chance to play moving melody lines. This musical adventure is an asset to concert and festival programs.
SKU: HL.4002992
UPC: 884088505882. 9.0x12.0x0.067 inches.
Written entirely in 4/4 and using a single tempo throughout, Richard has created a marvelous work for young players that features logical pacing and variety along with a keen sense of rhythmic momentum. Using a recurring interlude for percussion and bluesy elements in the melody, this is effective as a concert piece and also just plain fun to play! Dur: 2:55.
SKU: CF.CPS58F
ISBN 9780825861581. UPC: 798408061586. 9 X 12 inches. Key: G minor.
Ancient Irish Hymn is based on the hymn St. Patrick's Breastplate written by Charles V. Stanford. Composer Sean O'Loughlin uses this heritage to create an authentic symphonic treatment of this beautiful hymn. It is a musical journey that is both sublime and breathtaking.
SKU: CF.BPS60
ISBN 9780825873713. UPC: 798408073718. 9x12 inches. Key: G minor.
A regal new piece from up and coming composer Bill Calhoun. Promenade can be defined as a ceremonious opening to a formal event and in this case, Promenade should provide an excellent opening to your band's first concert. Your beginning groups will sound marvelous with the strong scoring of this majestic offering; also an ideal piece for contest/festival performance.
SKU: CF.YPS75F
ISBN 9780825868146. UPC: 798408068141. 9 X 12 inches. Key: G minor.
Lush, reflective, and pensive best describe this emotional piece by composer Sean O'Loughlin. Ruminations is chock-full of opportunities for the young band to play expressively and to learn to stretch and pull a phrase. Playing slow, lyrical music is the best way to improve these skills and this year, this is the piece with which to do it.
SKU: AP.35337S
UPC: 038081408675. English.
Areopogus [ar-ee-op-uh-guhs], the hill of Ares (Mars), was a rocky hill located northwest of the Acropolis in ancient Athens, Greece. This original Ralph Ford work, created with eerie modal melodic content, was inspired by this alien hill. The work is composed in G minor; your ensemble will sound mature beyond their years. A dynamic contemporary original composition for your beginners!
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