SKU: 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.

SKU: 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.

SKU: 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!

SKU: CF.J707F

ISBN 9780825806155. UPC: 798408006150. 9 X 12 inches. Key: G minor.

Originally written as part of the Commissioned Works for School Bands sponsored by Carl Fischer on the occasion of the one hundredth anniversary of the firm Ginger Marmalade has become one of the best known of serious twentieth-century works for school band. A humorous program number that plays with the listener's expectations, it is technically simple, but uses unusual sound resources (clapping hands, rapping heels, novel percussion sounds) o produce a work that delights the ear and challenges the mind. Often cited as a cornerstone of the young band repertoire (it is on both the UIL - Texas and NYSSMA required music lists) we are pleased to issue this delightful piece as part of our Carl Fischer Classic Band Edition.

SKU: CL.012-3872-75

Composer Robert W. Smith has enjoyed his sojourns in the great state of Texas each summer since 1985. In a recent visit to the southwest with his family, he was inspired to sketch three impressions of the Lone Star State. Desert Dawn opens the work with Native-American overtones depicting the warmth of the sunrise over a beautiful southwestern vista. Anyone ever visiting San Antonio will delight in the Paseo Del Rio depicting the light and lively Riverwalk of this great city. The energetic and powerful Longhorns concludes the work with a sense of joy while celebrating this uniquely American way of life. Suitable for concert and festival performance, Southwest Summer will be a valued addition to your next program.

SKU: CL.LDP-7141-01

A big, brawny piece imaging places in Texas. This work contains four big tunes that require lots of good players (including a pianist) and lots of percussion (including a starter’s pistol)! There’s nothing else quite like this bold piece! Movements: I. Coyote Call (2:10) II. Vinegarroons (1:14) III. The Grand Courthouse Clock (3:11) IV. The Greater Milam County Armadillo Race (3:30).

SKU: FJ.B1193

UPC: 674398212811. English.

This new contemporary work was premiered at the 2002 Midwest Clinic and is an excellent way to make use of all your percussionists. After an eerie introduction, a haunting melody is presented that continues throughout. This is definitely a unique and refreshing style which is very welcome at this grade level. Strongly consider this work from Texas composer and middle school band director, Jason Nitsch.

About FJH Young Band

Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

SKU: AP.49513S

ISBN 9781470649593. UPC: 038081570372. English.

Kick off your shoes, jump in, and ride down Comegys Creek. This North Texas creek is named after Dr. C. G. Comegys, a prominent family who lived in Mckinney, TX in the early 1900s. Composer and fellow Texan, Brian Beck captures the southern rowdiness of frolicking in the water with friends and family. Comegys Creek is a fun piece that will expand your student's harmonic vocabulary and is perfect for introducing and reinforcing accidentals that create interesting harmonies, all within a comfortable range. It also explores the many permutations of the 8th and 16th note combinations, as well as introduces and reinforces 7/8 time signature. Groups performing this piece will become multi-meter masters in no time! (2:24).

SKU: CF.CPS224F

ISBN 9781491153185. UPC: 680160910687.

Rainbow in the Clouds is based on an old traditional spiritual, possibly an African-American song from the 19th century, entitled God Put a Rainbow in the Clouds.  Composer Carol Brittin Chambers was inspired by poetic Maya Angelou to create of setting of this beautiful song. It is lush and beautiful throughout and will highlight the musicianship of your students.  This would serve as a welcome change of pace piece on your program for concert or contest.
Rainbow in the Clouds was commissioned by the Pflugerville Middle School Wind Ensemble in Pflugerville, Texas, directed by Shauna Satrom. The piece premiered in May 2017, in memory and celebration of Luis Ham, who was an Assistant Principal at Pflugerville Middle School.This piece is based on an old traditional spiritual, possibly an African-American song from the nineteenth century, entitled God Put a Rainbow in the Clouds. The first time I heard reference to this song was in a Maya Angelou video, in which she sings a portion of it: “When it looked like the sun wouldn’t shine anymore, Oh, God put a rainbow in the clouds.” In the video, Dr. Angelou honors those who have demonstrated kindness to her in the past, and she suggests that we all try to be a blessing to others. The Pflugerville community believed that Mr. Ham, with his positive outlook, was definitely a “rainbow in the clouds” for other people.The piece begins with a full ensemble introduction, followed by a woodwind treatment of the first verse with a fairly reserved tempo and straight eighth-note rhythm. When brass pick up the melody on the second phrase, we start to hear the song more like the original spiritual, with dotted-eighth, sixteenth rhythms. The middle section of the piece at m. 22 begins to move at a slightly quicker tempo, and the mood becomes lighter. This section becomes a call-and-response between a euphonium solo and upper woodwinds. The final section of the piece involves everyone playing together joyously and full, eventually winding down with two more solo statements in flute and euphonium.Note to the Conductor:Use this piece to introduce or reinforce the following musical concepts:Lyrical, expressive playing varied stylesSolo responsibilitiesKey changes, tempo changes.