By June Hershey, Don Swander. Arranged by Lloyd Conley. Score and full set of parts. Discovery Concert Band. Grade 1.5. Size 9x12 inches. Published by Hal Leonard.

Grade 3

SKU: CL.012-4711-00

Vaudeville Meets Texas. Composed by Wasson. Concert Band. Score and set of parts. Composed 2019. Opus III Wind Orchestra Publications #012-4711-00. Published by Opus III Wind Orchestra Publications (CL.012-4711-00).

Veteran composer John Wasson has crafted a brilliant Vaudeville and Broadway showstopper with The Bluebonnet Revue, a humorous musical salute to the great state of Texas. Every section in the band finds their moment in the spotlight in this exciting and fast-paced musical romp across the musical theater stage. Combining both humorous and lyrical treatments of original melodies with snippets of well-known Texas folksongs and a heavy dose of over the top percussion writing, this fun work is sure to provide a larger than life ending to your concert that will put a smile on every face! An instant classic!

Concert Band/Harmonie - Grade 2.5

SKU: BT.AMP-273-010

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Set (Score & Parts). Composed 2009. Anglo Music Press #AMP 273-010. Published by Anglo Music Press (BT.AMP-273-010).

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

The inspiration for this piece came from the address of the person who commissioned the work: Morse Street, Houston, Texas. It pays tribute to the immense skill of the engineers who succeeded in submerging a wire across the Atlantic to send messages in morse code from America to Europe. This technical ingenuity provided the perfect source of material for a transatlantic musical message. This work explores the vast expanse of the Atlantic and makes use of Irish melodies to celebrate the point where the cable enters into the Atlantic Ocean.

Die Idee zu diesem Stück entsprang aus der Adresse des Auftraggebers Morse Street, Houston, Texas, welche an die schier unglaubliche Leistung erinnert, eine Leitung für die Übertragung gemorster Nachrichten quer durch den Atlantik zu legen. Dieser technische Triumph bot sich als Thema für eine transatlantische musikalische Botschaft an. Die Musik vermittelt die endlose Weite des Atlantiks und es erklingen - dem Ausgangspunkt des Unterfangens zu Ehren - auch irische Themen.

Morse Street, Houston, Texas, l’indirizzo della societ che ha commissionato questo brano, evoca l’incredibile prodezza tecnica realizzata nel 1866: la posa del primo cavo telefonico sotto-marino attraverso l’Atlantico che permetter la trasmissione dei messaggi in codice Morse. Il brano inizia con una descrizione dell’impressionante distesa d’acqua dell’Atlantico. I temi dell’Allegro vivo ricordano i colori e i paesaggi irlandesi, punto di partenza di questa grande avventura tecnologica.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 6:40. Published by Manhattan Beach Music.

Concert band - Grade 4

SKU: CL.012-4523-75

Composed by J. Bell. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR391). Oversized, spiral-bound score. Composed 2017. Duration 5 minutes. Opus III Wind Orchestra Publications #012-4523-75. Published by Opus III Wind Orchestra Publications (CL.012-4523-75).

Red River Station is a bright and upbeat work emulating the style popularized by the soundtrack of the great American west. After the Civil War, cattle drives from Texas to Kansas included a stop at Red River Station along the Chisholm Trail, just before leaving Texas. The syncopated rhythms and pentatonic melodies bring to the life the vibrant and beautiful landscape and experience of riding horseback through the southwest. The energetic and inventive orchestration and exciting nature of this work make it an excellent fit for any concert, and a great contest or festival selection.

By Jared Spears. Band Music Press Concert Band. Score and full set of parts. Published by Band Music Press.

Concert Band Concert Band - late intermediate

SKU: RU.10322S

Composed by Charles Barnhouse. Edited by Timothy Rhea. Arranged by Edited by Timothy Rhea. Contest/Festival. Legacy of the March. Score. RBC Publications #10322S. Published by RBC Publications (RU.10322S).

9 x 12 inches.

Composed in 1907, Idaho is a fast paced circus march. It represents one of about fifty marches composed by C.L. Barnhouse. In this particular arrangement, the opening of the trio has been assigned to the percussion section, as they are often overlooked as an important melodic contributor in many standard quickstep marches. This arrangement of Idaho was prepared by Dr. Timothy Rhea for the Texas A&M University Wind Symphony for their 2011 performance at the Texas Music Educators Association Clinic & Convention.

Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3 and more.

SKU: PR.16500092L

For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L).

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

Composed by J.H. Bell. Concert Band Series. Audio recording available separately (item CL.WFR391). Score and parts. Composed 2017. Duration 5 minutes. Published by C.L. Barnhouse (CL.012-4523-00).