The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3

In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3

The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3

En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3

The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.” His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.” Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2, Rain Stick, Snare Drum and more. - Grade 3

SKU: CF.CPS209

Composed by Sean O'Loughlin. SWS FS. Carl Fischer Concert Performance Series. Set of Score and Parts. With Standard notation. 8+8+4+8+8+8+4+4+4+4+4+4+8+8+8+4+4+3+3+2+3+8+2+1+2+16+24 pages. Duration 5 minutes, 32 seconds. Carl Fischer Music #CPS209. Published by Carl Fischer Music (CF.CPS209).

ISBN 9781491147658. UPC: 680160905157. 9 x 12 inches.

The Past is Always Present begins with a reverent melody for solo flute that invokes voices from the past. This theme becomes the cornerstone of the entire work leading the listener on a journey that is at times reflective and at others bold and broad. Perfect for contest and festival performance, this piece contains all of the signature styling that has made Sean O'Loughlin's works some of the most popular for bands today.

Concert Band - Grade 2

SKU: AP.49511

Composed by Steve Hodges (ASCAP). Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Developing Band Series. Form: Chorale. Score and Part(s). Duration 2:48. Alfred Music #00-49511. Published by Alfred Music (AP.49511).

ISBN 9781470649623. UPC: 038081570402. English.

Upon completion of an activity, an event, or other meaningful experiences, there is a time for reflection for what has been accomplished and what is to follow. This lyrical piece features a memorable melody that is presented by all sections of the band. These reflective presentations lead into a slightly faster minor section indicating the anticipation of plans for the future. The final presentation of the melody indicates a positive feeling of accomplishment and features a moving countermelody by the woodwinds leading to a quiet, contemplative ending. Check out Journey's End, composed by Steve Hodges. (2:48) This title is available in MakeMusic Cloud.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3 and more. - Grade 3.5

SKU: CF.CPS228

Composed by George Sweet. Concert Band (CPS). Set of Score and Parts. With Standard notation. 8+8+4+8+16+16+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+1+2+2+2+2+4+8+2+28+4 pages. Duration 4 minutes, 35 seconds. Carl Fischer Music #CPS228. Published by Carl Fischer Music (CF.CPS228).

ISBN 9781491152546. UPC: 680160910045.

Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was a large influencing factor for George Sweet in the composition of this piece. Richly scored for the modern concert band, Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.
Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was an influencing factor on the composition of the piece. Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.This begins with strict motor accompaniment. Take care to maintain equal balance among the different “moving parts” so that they blend to create a solid whole both here and throughout the piece. The primary thematic material is stated by the trumpets and horns at m. 12. This material is the basis for much of the harmonic and thematic material that follows. A slightly varied statement of the main theme is presented again at m. 26 with a different type of motor accompaniment. This leads to a B-section at m. 44, which is a bold fanfare-like presentation of the main material. Another series of variations on the main theme begins at m. 50 and incorporates many different textural and harmonic ideas in the accompaniment. Once again, be careful to not let any one “moving part” overwhelm another and keep the texture evenly balanced.  A second, broader presentation of the B-section occurs at m. 90 and leads to a subdued C-section at m. 100 with new melodic material presented in the trumpet. A whimsical march-like section pushes to the return of the introductory motor material at m. 131. A final heroic presentation of the main thematic material results in a somewhat ambiguous coda, which brings the piece to a dramatic conclusion.

Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani and more. - Grade 2

SKU: CF.YPS208F

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YPS208F. Published by Carl Fischer Music (CF.YPS208F).

ISBN 9781491152966. UPC: 680160910465.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

By Brian Balmages. Concert Band. FJH Symphonic Band. Full set (score and parts). Score only also available: S. Concert Band. Level: Grade 4. Score and set of parts. Composed 2008. Published by The FJH Music Company Inc.

Concert Band/Harmonie (Score) - Grade 5

SKU: HL.44012759

Composed by Philip Sparke. Anglo Music Concert Band. Softcover. Composed 2015. Anglo Music Press #AMP443140. Published by Anglo Music Press (HL.44012759).

UPC: 888680610456. 10.75x14.0x0.142 inches. English-German-French-Dutch.

Reflections on an Old Japanese Folk Song is based on the tune Suiryo-Bushi, which comes from the shamisen tradition and opens with two contrasting statements of the melody followed by several variations each in an own style based uponthe same tune, or sometimes only fragments of it. In one of the variants, the pentatonic scale is used. The final section is in the form of a scherzo, which eventually forms the accompaniment to a final presentation of the folk tune.

Reflections on an Old Japanese Folk Song is gebaseerd op het liedje Suiryo-Bushi, dat afkomstig is uit de shamisen-traditie en opent met twee contrasterende statements van de betreffende melodie, gevolgd door verschillende variatieshierop, in diverse stijlen, steeds gebaseerd op hetzelfde liedje of fragmenten eruit. In een van de variaties wordt de pentatonische toonladder gebruikt. Het slotgedeelte begint met een scherzo, dat uiteindelijk de begeleiding vormt van een laatsteuiteenzetting van het volksliedje.

Das Stuck Reflections on an Old Japanese Folk Song basiert auf der Melodie des Volksliedes Suiryo-Bushi, das in der Tradition des japanischen Saiteninstruments Schamisen steht. Es beginnt mit zwei gegensatzlichen Darstellungen derMelodie, gefolgt von verschiedenen Variationen: jede in einem eigenen Stil, aber alle auf der gleichen Melodie oder auf Fragmenten der Melodie beruhend. In einer Variation wird auch die pentatonische Tonleiter verwendet. Im Scherzo, demSchlussteil des Stuckes, erklingt das Volkslied schliesslich zum letzten Mal.

Reflections on an Old Japanese Folk Song est base sur la melodie Suiryo-Bushi, qui est issue de la tradition de shamisen. L'oeuvre commence par deux versions differentes de la melodie, suivies par plusieurs variations sur le theme enentier ou en partie, chacune dans son propre style. La section finale est dans la forme d'un scherzo, qui prend le role d'accompagnement a la fin, lors de la derniere presentation du theme folklorique.

Reflections on an Old Japanese Folk Song, basata su un motivo di Suiryo-Bushi, originariamente concepito per shamisen, strumento a corde tipico della tradizione musicale giapponese. La struttura del brano e del tutto peculiare, basata sulladalla reiterazione melodica di un tema o frammenti di esso, con l'inserimento di brevi variazioni. In una delle varianti, e usata la scala pentatonica. La sezione finale e nella forma dello scherzo.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Tambourine, Timpani, Triangle and more. - Grade 1

SKU: CF.BPS123F

Composed by Sean O'Loughlin. Beginning Band (BPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #BPS123F. Published by Carl Fischer Music (CF.BPS123F).

ISBN 9781491152775. UPC: 680160910274.

Embolden?is a dramatic work for the developing ensemble that embodies the definition of the word: to give someone courage or confidence. The piece begins with a melody of long, broad strokes. As the melody develops, lots of imitation encourages each section to play independent lines. The piece is a strong choice for the developing band's concert or festival performance.
Embolden is a dramatic work for the developing ensemble that embodies the definition of the word: to give someone courage or confidence. The piece starts with a melody with long, broad strokes. There is plenty of imitation as well to encourage independence of lines. After some development, the piece moves to a contrasting softer section at m. 32. Bring a more legato approach to this section. The broad melody returns at m. 54 in the lower voices with some rhythmic accompaniment by the upper voices. A powerful presentation at m. 61 provides the momentum for a decisive ending.
Embolden is a dramatic work for the developing ensemble that embodies the definition of the word: to give someone courage or confidence. The piece starts with a melody with long, broad strokes. There is plenty of imitation as well to encourage independence of lines. After some development, the piece moves to a contrasting softer section at m. 32. Bring a more legato approach to this section. The broad melody returns at m. 54 in the lower voices with some rhythmic accompaniment by the upper voices. A powerful presentation at m. 61 provides the momentum for a decisive ending.

By Steve Hodges. Concert Band. Concert Band; Part(s); Score. Challenger Band Series. Form: Ballade. Grade 1.5. 118 pages. Published by Alfred Music Publishing

Grade 3

SKU: CL.012-2828-00

Overture For Band. Concert Band. Classics Series. Audio recording available separately (item CL.WFR138). Score and set of parts. Composed 1996. Duration 5 minutes, 27 seconds. Opus III Wind Orchestra Publications #012-2828-00. Published by Opus III Wind Orchestra Publications (CL.012-2828-00).

Legacy is an outstanding composition that is a perfect choice for concert or contest presentations. Most appealing melodies, contemporary harmonies and exciting rhythms combine to make impressive music that students will love rehearsing and performing and audiences will thoroughly enjoy. This is one of Swearingen’s best and that means it’s extremely nice!!!

About C.L. Barnhouse Classics Series

Under the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time!

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.CPS225F

Composed by Larry Clark. Concert Band (CPS). Full score. With Standard notation. 32 pages. Carl Fischer Music #CPS225F. Published by Carl Fischer Music (CF.CPS225F).

ISBN 9781491153192. UPC: 680160910694.

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 - Grade 3

SKU: CL.012-4147-01

Arranged by Bond. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR376). Extra full score. Composed 2012. Duration 3 minutes, 7 seconds. Opus III Wind Orchestra Publications #012-4147-01. Published by Opus III Wind Orchestra Publications (CL.012-4147-01).

This rich arrangement of a popular traditional American melody is aimed at the younger band who wish to showcase their development of a warm sound and expressive phrasing. The palette of colors changes throughout to allow each section to shine as the melodic responsibilities are passed around the various sections of the ensemble. As the piece ebbs and flows from subtle splashes of light to dramatic presentations of the melody, the overall effect is contemporary and picturesque in its essence while remaining accessible to less experienced bands. While performance markings are indicated, the arranger would encourage directors to flavor their interpretation of the score with personal choices of expression, flexibility of tempo and dynamic contrast.

Concert band - Grade 3

SKU: CL.012-4147-75

Arranged by Bond. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR376). Oversized, spiral-bound score. Composed 2012. Duration 3 minutes, 7 seconds. Opus III Wind Orchestra Publications #012-4147-75. Published by Opus III Wind Orchestra Publications (CL.012-4147-75).

This rich arrangement of a popular traditional American melody is aimed at the younger band who wish to showcase their development of a warm sound and expressive phrasing. The palette of colors changes throughout to allow each section to shine as the melodic responsibilities are passed around the various sections of the ensemble. As the piece ebbs and flows from subtle splashes of light to dramatic presentations of the melody, the overall effect is contemporary and picturesque in its essence while remaining accessible to less experienced bands. While performance markings are indicated, the arranger would encourage directors to flavor their interpretation of the score with personal choices of expression, flexibility of tempo and dynamic contrast.

Arranged by Steve Hodges. Arr. Steve Hodges. For Concert Band. Concert Band. Alfred Concert Band. Level: 3 (Medium) (grade 3). Conductor Score and Parts. 2 pages. Published by Alfred Publishing.

Concert Band - Grade 1.5

SKU: AP.50895

Composed by Robert Sheldon. Concert Band; Performance Music Ensemble; Single Titles. Alfred Concert Band - PerformancePlus+. Programmatic. Score and Part(s). Duration 2:15. Alfred Music #00-50895. Published by Alfred Music (AP.50895).

ISBN 9781470668495. UPC: 038081587363. English.

Travel can be an enriching experience. Seeing new and distant places can expand your horizons, making you more mindful of other people's cultures and values while providing wonderful memories of interesting places. Voyages, by Robert Sheldon, is a musical representation of this experience as we visit a far-off land represented by moody modal melodies and driving percussion rhythms. (2:15)

The PerformancePlus+ series is an innovative addition to the ever-expanding MakeMusic Cloud interactive library. These engaging selections are presented with educational resources designed to enrich the rehearsal process and create outstanding performances. Including:

• Assignment, recording, and assessment tools within MakeMusic Cloud
• Piece-specific exercises focused on skills and techniques
• Printable sheet music (with a standard MakeMusic Cloud subscription)
• Educational tips and suggestions to support learning

Available in print and digital formats.