(March). By Edwin Franko Goldman (1878-1956). Edited by Edward S. Lisk. Concert Band. For Flute I, Piccolo, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Cornet I, Cornet II, Cornet III, Trumpet I, Trumpet II. Carl Fischer Classic Band Editions. The West Point Band and Hell-Cats premiered the unpublished version of the march late in the summer of 1935. Classical. Full Score. Standard notation. Composed 5-May-35. 16 pages

Concert March. By Harold Bennett. Edited by Frederick Fennell. Arranged by Frederick Fennell. Concert band/stage band. For Flute, Oboe, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Contralto Clarninet, Contrabass Clarinet, Bassoon, Soprano Saxophone, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Cornet I, Cornet II, Cornet III, Cornet IV, Horn I, Horn II, Horn III, Horn IV, Tenor I, Tenor II, Tenor III, Baritone (Bass Clef), Tuba, Double Bass, Kettle Drums, Snare Drums, Bass Drums, Bells. Carl Fischer Classic Band Edition. Score and parts. 8 pages. Published by Carl Fischer.

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.

Grande Marcia Italiana - Full Score and Parts. By Julius Fucik. Edited by Frederick Fennell. Arranged by Mayhew Lake. Concert band/stage band. For Piccolo, Flute, Oboe, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Contralto Clarninet, Contrabass Clarinet, Bassoon, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Cornet I, Cornet II, Cornet III, Cornet IV, Horn I, Horn II, Horn III, Horn IV, Tenor I, Tenor II, Tenor III, Euphonium, Tuba, Double Bass, Kettle Drums, Glockenspiel, Triangle, Snare Drum, Bass Drum, Cymbal. Carl Fischer Classic Band Edition. Score and parts. Opus 214. 16 pages. Published by Carl Fischer.

By Sean O'Loughlin. Concert band/stage band. For Flute I, Flute II, Oboe, Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Bassoon, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Trumpet III, Horn I, Horn II, Tenor I, Tenor II, Baritone (Treble Clef), Baritone (Bass Clef), Tuba, Chimes, Bells, Marimba, Vibes, Timpani, Snare Drum, Bass Drum, Crash Cymbal, Suspended Cymbal, Tom-Tom, Triangle, Whip, Tam-Tam, Log Drums. This edition: Medium Easy Band. Carl Fischer Performance Series. Classical. Full Score - Large. 32 pages. Published by Carl Fischer.

(for Tuba and Symphonic Band). Composed by Michael Daugherty (1954-). For Concert Band (Full Score). Michael Daugherty Music. Grade 5-6. Softcover. Published by Hal Leonard

For Concert Band. Composed by Michael Daugherty (1954-). Michael Daugherty Music. Softcover. Published by Hal Leonard (HL.4004650).

Composed by John N. Klohr. Concert Band. For Flute I, Flute II, Clarinet I, Clarinet II, Clarinet III, Oboe, Bassoon, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Cornet I, Cornet II, Cornet III, Horn, Tenor, Tenor III, Euphonium, Baritone, Contrabass, Drums, Timpani. Classical. Score and Set of Parts. Standard notation. 5 pages. Theodore Presser Company #125-34005. Published by Theodore Presser Company

Full Score. Composed by Michael Daugherty (1954-). Michael Daugherty Music. Softcover. 120 pages. Published by Hal Leonard

Concert Band Bass Trombone, Contrabass, Drums, Piano, Trombone 1, Trombone 2, Trombone 3, Trumpet 1, Trumpet 2, Trumpet 3, Trumpet 4, alto Saxophone 1, alto Saxophone 2, baritone Saxophone, tenor Saxophone 1, tenor Saxophone 2

SKU: PR.165000940

Composed by Peter Schickele. Score and Set of Parts. With Standard notation. Theodore Presser Company #165-00094. Published by Theodore Presser Company (PR.165000940).

UPC: 680160534074.

Jolly Old ST. Nicholas, Good King Wenceslas, Jingle Bells - Full Score. By Anonymous. Arranged by Joseph Compello. Concert Band. For Flute, Oboe, Flute II, Clarinet, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet, Horn, Tenor, Euphonium, Bassoon, Tuba, Bells, Timpani, Snare Drum, Drums, Wood Blocks, Triangle, Sleigh Bells. Carl Fischer Beginning Performance Series. Level: Grade 1. Full Score. 12 pages. Published by Carl Fischer.

Concert band (Flute 1, Flute 2, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1/2, Horn in F 1/2, Trombone 1/2, Euphonium, Baritone T.C., Tuba, Timpani, Percussion 1 (4 ) - grade 3

SKU: CN.S11203

Composed by Bruce Fraser. Band Music, closer. Score only. Duration 4:30. Published by G & M Brand Music Publishers (CN.S11203).

Freedom's Sword tells the tale of battle and reconciliation between two lands, deriving themes from the well-known Scottish song Ca' the yowes. Horn calls and pounding drums set the tone for the battle scenes while a dreamy alto saxophone solo creates an air of optimism.

This work was originally commissioned by Nigel Boddice for the West Lothian Schools Brass Band to play at the European Youth Brass Band Championships in 1997 entitled Devolution to celebrate the setting up of the new Scottish Parliament. It appears in this revised version for Concert Band with the title Freedom's Sword. The opening section recalls days gone by when the Scots and English fought many a battle. The themes are derived from the well-known haunting song Ca' the yowes. The horn calls and off-stage percussion sound of a distant battle and it gradually comes closer. The centre section creates a mood of reconciliation with a dreamy Alto Saxophone solo. The last section now looks ahead with optimism and various bright dance themes appear based on traditional Scottish reel tunes, one of which is a two-part vocal scat section The piece then heads for its conclusion including a full statement of the main theme.

Concert Band - Grade 3 - Score and Parts. Arranged by William Laseroms. De Haske Concert Band Full Set. Published by DeHaske Publications.

Concert band (Flute 1, Flute 2/Piccolo, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Trombone) - grade 3

SKU: CN.S11293

Composed by Peter Meechan. Score only. Duration 4:15. Published by G & M Brand Music Publishers (CN.S11293).

Inspired by the release of Nelson Mandela in the early 1990s, Hymn for Africa pays tribute to the sense of dignity and peace that he brought not only to South Africa, but around the entire globe. As the beautifully lush chorale unfolds, quietly undulating drums murmur in the distance and gradually build into a rousing climax.

Hymn for Africa was written as part of a project known as Brass Band Aid. When I was asked to compose a piece with relevance to Africa for the project, I began to think of all the things that I associate with Africa. I have vivid memories from my childhood of the hard-hitting news reports from the famines of the early/mid 1980's (and the concerts that followed). I also associate Africa with amazing animal life - the many species from snakes to birds to lions, with their many colours. But more than these associations, there is one memory that stands out amongst all others. The release of Nelson Mandela in the early 1990's had a profound effect not only in South Africa, but all over the continent of Africa, as well as the World as a whole. The fact that one man can achieve this with peace and great dignity will always be an inspiration, not only to me, but many, many millions of humans around the globe. Hymn for Africa is inspired by this sense of dignity and peace. A simple eight bar melody is the basis of the composition. A drone is then added, before a chorale, and finally a rousing climax when the percussion and full band enter. The piece dedicated to Bob and Briony Thompson in admiration.

Orchestra, Concert Band Concert Band - Grade 4

SKU: FL.FX071878

Composed by Gregory Frelat. Original Composition. Classical. Score and Set of Parts. FLEX Editions #FX071878. Published by FLEX Editions (FL.FX071878).

Instruments: Piccolo (1 part) Flutes 1&2 (4 parts) Oboe (2 parts) Bassoon (2 parts) Eb Clarinet (1 part) Bb Clarinet 1 (3 parts) Bb Clarinet 2&3 (4 parts) Bass Clarinet (1 part) Alto Saxophones 1&2 (2 parts) Tenor Saxophones 1&2 (2 parts) Baritone Saxophone (1 part) Bb Trumpet 1 (1 part) Bb Trumpets 2&3 (2 parts) F Horns 1&2&3&4 (4 parts) Trombones 1&2 (2 parts) Bass Trombone (1 part) C Euphonium B.C. 1&2 (2 parts) Bb Contrabass (1 part) Timpani (1 part) Cymbals and Triangle (1 part) Glockenspiel and Marimba(1 part) Tubular Bells (1 part) Drums (1 part) Bass Drum (1 part)
Additional Parts: Eb Horns 1&2&3&4& (2 parts) Bb Baritone / Euphonium T.C. 1&2 (1 part) C Baritone / Euphonium T.C. 1&2 (1 part) Bb Euphonium T.C. 1&2 (1 part) C Tuba (1 part) Bb Tuba (1 part); Difficuly Level: Grade 4.