(March). For concert band. Carl Fischer First Plus Performance Series. Grade 1.5. Score and parts. Duration 2:13. Published by Carl Fischer

Band Concert Band - Grade 3

SKU: CF.CPS263

Composed by Carl Strommen. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+4+4+6+6+6+6+4+8+1+1+4+5+32 pages. Duration 4 minutes, 38 seconds. Carl Fischer Music #CPS263. Published by Carl Fischer Music (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.” 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.

Concert Band - Grade 3

SKU: AP.47414

Composed by Michael Kamuf. Concert Band; Performance Music Ensemble; Single Titles. Belwin Concert Band. Meters. Score and Part(s). 280 pages. Duration 3:45. Belwin Music #00-47414. Published by Belwin Music (AP.47414).

UPC: 038081546049. English.

This bold and exhilarating original work for concert band combines mixed meters, lyrical themes, and powerful harmonies, taking your musicians and audiences on a thrilling musical journey. The compelling, energetic grooves in the alternating 3/4 and 4/4 sections look and sound complex, but are repetitive and easily mastered. Perfect as a concert or festival opener or closer! (3:45).

Concert Band/Harmonie and Clarinet Solo - Grade 3

SKU: BT.DHP-1125390-010

For Clarinet and Concert Band / Harmonie. Composed by Satoshi Yagisawa. Solo Spectrum. Set (Score & Parts). Composed 2013. De Haske Publications #DHP 1125390-010. Published by De Haske Publications (BT.DHP-1125390-010).

9x12 inches. English-German-French-Dutch.

Intermezzo is the second movement of Satoshi Yagisawa’s Clarinet Concerto. The concerto was first performed by Higashi-Hiroshima Wind Ensemble in Hiroshima, Japan in 2010 with guest performer Shinsuke Hashimoto, clarinettist with the Hiroshima Symphony Orchestra and was conducted by Atsushi Kageyama. Inspiration for this work came from the fact that both Satoshi Yagisawa and Shinsuke Hashimoto graduated from Musashino Academia Musicae.Clarinet Concerto>/I> is the pinnacle of Satoshi Yagisawa’s “Concerto Series” which also features his Suite Concertante for Piano and WindOrchestra, Trumpet Concerto, Trombone Concerto, Saxophone Concertino, andConcertino for Solo Percussion and Wind Orchestra.Yagisawa’s characteristic heartfelt theme in the second movement is especially popular and consequently—entitled Intermezzo—it is often performed independently.Soloist: Grade 4

Intermezzo is het tweede deel van Satoshi Yagisawa’s Clarinet Concerto. Het concert als geheel werd in 2010 onder leiding van dirigent Atsushi Kageyama door het ensemble in première gebracht, samen met gastklarinettist Shinsuke Hashimoto - die werkzaam is bij het Hiroshima Symphony Orchestra. De inspiratiebron voor het werk is het gegeven dat Satoshi Yagisawa en Shinsuke Hashimoto beiden hebben gestudeerd aan de Musashino Academia Musicae.Clarinet Concerto vormt het hoogtepunt van Satoshi Yagisawa’s Concerto Series, waar ook zijn Suite Concertante for Piano and Wind Orchestra, Trumpet Concerto, Trombone Concerto, Saxophone Concertinoen Concertino for solo Percussion and Wind Orchestra deel van uitmaken.Met name Yagisawa’s karakteristieke doorvoelde thema uit het tweede deel is populair. Daarom wordt dat ook vaak als afzonderlijk stuk uitgevoerd, onder de titel Intermezzo.Soloist: Grade 4

Intermezzo ist der zweite Satz aus Satoshi Yagisawas Clarinet Concerto. Dieses wurde vom Bläserensemble Higashi-Hiroshima in Hiroshima (Japan) für das 20. Jahreskonzert in Auftrag gegeben. Es wurde von diesem Ensemble mit dem Gastsolisten Shinsuke Hashimoto, dem Klarinettisten des Hiroshima Symphony Orchestra, unter der Direktion von Atsushi Kageyama uraufgeführt. Satoshi Yagisawa ließ sich zu diesem Werk vom gemeinsamen Abschluss mit Shinsuke Hashimoto an der Academia Musicae Musashino inspirieren. Clarinet Concerto bildet den Höhepunkt von Satoshi Yagisawas Concerto-Reihe“, zu welcher außerdem folgende Werke zählen: Suite Concertante for Piano andWind Orchestra, Trumpet Concerto, Trombone Concerto, Saxophone Concertino sowie das Concertino for Solo Percussion and Wind Orchestra.Das charakteristische, innige Thema aus dem zweiten Satz erfreut sich besonderer Beliebtheit und wird daher als Intermezzo oft einzeln aufgeführt.Solostimme: Schwierigkeitsgrad 4

Intermezzo est le deuxième mouvement extrait du Concerto pour Clarinette de Satoshi Yagisawa. Le concerto a été créé en 2010 par l’Orchestre d’Harmonie d’Higashi-Hiroshima sous la direction d’Atsushi Kageyama avec la participation de Shinsuke Hashimoto, clarinettiste de l’Orchestre Symphonique d’Hiroshima. Cette oeuvre s’inspire du fait que Satoshi Yagisawa et Shinsuke Hashimoto sont tous deux diplômés du Conservatoire de musique de Musashino.Le Concerto pour Clarinette représente l’apogée de la série de concertos de Satoshi Yagisawa, qui comprend aussi une Suite concertante pour piano et orchestre, un Concerto pour trompette, unConcerto pour trombone, un Concertino pour saxophone et un Concertino pour percussion solo et orchestre d’harmonie.En raison de sa grande popularité, le thème émouvant du deuxième mouvement, qui est intitulé Intermezzo, est souvent interprété indépendamment.Soliste: Degré de difficulté 4.

Concert Band - Grade 5

SKU: HL.4003158

Composed by Samuel R. Hazo. MusicWorks Grade 5. Hymn, Sacred. 16 pages. Published by Hal Leonard (HL.4003158).

UPC: 884088651343. 10.5x14 inches.

Commissioned by the award-winning Kalamazoo (MI) Concert Band, Alleluia is a convergence of hauntingly emotive themes that culminate in breath-taking builds. The Kalamazoo Gazette described it as the “pinnacle of the concert” in which it was premiered, adding that Hazo's master composition takes the listener from “...bells and chimes to full Hosannas. The result was transfiguring! It first fades like a sunset, then explodes in white light, bringing the audience to their feet.” Written for mature ensembles, this work will have a powerful impact on the performers as well as all who hear it. Duration: 7:55.

(March). By David Shaffer. Young Concert Band. Command. Grade 2.5. Score and set of parts. Composed 2000. Duration 0:02:34

Score and Parts Concert Band; Wind Orchestra (Score & Parts) - Grade 5

SKU: HL.4008644

Wind Orchestra, Grade 5, 12:45 Score and Parts. Composed by Johann Sebastian Bach. Arranged by Franco Cesarini. Editions Franco Cesarini. Classical, Fugue. Softcover. Duration 765 seconds. Hal Leonard #EFC004-CBHA. Published by Hal Leonard (HL.4008644).

ISBN 9798350115024. UPC: 196288189695.

The Passacaglia is a set of instrumental variations based on an ostinato bass. Bach's Passacaglia and Fugue in C-minor for organ represents the pinnacle of what had been achieved in this compositional form at that time. In Franco Cesarini’s arrangement for large wind orchestra, the particularly careful interpretation of the original piece enables him to exploit all the sound colors at his disposal, and in this sumptuous guise Bach's work also takes on a grandiose dimension, albeit tinged with late-Romanticism. The exposition of the beautiful theme begins in the bass part, immediately creating a solemn and serious atmosphere which is accentuated by the intensely pathetic character of the first variations. Up to the tenth variation it remains confined to the bass, but in subsequent ones it also passes to the soprano and alto register. The integrity of the theme is also embellished with elegant arpeggios, in whose lower and higher extensions the theme can be distinguished. Towards the end it returns to the bass in an impressive thickening of the polyphonic texture that swiftly re-establishes the key of C-minor. The “Thema fugatum” which follows immediately does not constitute a Fugue in its own right, rather it is nothing but the twenty-first and most extensive variation of the Passacaglia. This time Bach uses only the first half of the theme, superimposing a rhythmic countersubject that considerably enlivens the entire development of the composition. The polyphonic discourse becomes increasingly dense, until the building tension peaks in a powerful “Neapolitan sixth” chord, followed by a sudden pause. This culminating moment then leads to the coda and final cadence on a bright C-major chord.