For Symphonic Band or Wind Ensemble,for Symphonic Band or Wind Ensemble. By David Maslanka. Concert band/stage band. For Piccolo, Flute, Oboe, Clarinet, Bass Clarinet (in BB), BB Contrabass Clarinet, Bassoon, Contra Bassoon, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Horn, Trumpet, Cornet, Tenor, Euphonium, Tubas, Piano, Percussion I, Xylophone, Small Snare Drum, Anvil, Large Woodblock, Tom-Toms, Bongo, Small Brass Bell, Percussion II, Vibraphone, Xylophone, Bongo, Medium Tom-Tom, Large Tom-Toms, Tenor Drum, Bass Drum, Snare Drum, Small Snare Drum, Wood Block, Temple Blocks, Small Suspended Cymbal, Percussion III,

Concert Band/Harmonie - Grade 1.5

SKU: BT.CMP-0777-04-010

Composed by Graydon A. Toms. Esprit Series. Original Light Music. Set (Score & Parts). Composed 2004. Curnow Music #CMP 0777-04-010. Published by Curnow Music (BT.CMP-0777-04-010).

You can almost smell the aardvarks! Oh, no, wait. The kids had P.E. just before band rehearsal. Never mind.Seriously though, this cheerful and engaging new piece by Graydon Toms is a sure winner for every Grade 1 1/2 band. Big areas of contrast between the upper Woodwinds and the Brass and Saxophone combination ensure that each player feels important to the group, while an easy change of tempo near the end helps the piece sound harder than it plays.Whimsical!

Petit détour dans les steppes de l’Afrique subsaharienne la rencontre d’un mammifère étrange au caractère imprévisible, l’oryctérope. Cette parade bigarée offre de nombreux contrastes sonores entre les bois aigus, les cuivres et le pupitre des saxophones. Aardvark Parade donne votre prestation une touche d’originalité et de fraîcheur.

For Symphonic Band. Composed by Michael Daugherty (1954-). Michael Daugherty Music. Contemporary. Softcover. 96 pages. Published by Hal Leonard (HL.4004651).

By Larry Henry. Concert Band. Concert Band. Alfred Debut Series. Contemporary; Light Concert; Novelty. Grade 1. Conductor Score and Parts. 134 pages. Published by Alfred Music Publishing

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.

By William Windham. By William Windham. For Concert Band. Concert Band. Belwin Beginning Band. Level: Very Easy (grade I). Conductor Score & Parts. 182 pages. Published by Alfred Publishing.

By Len Orcino. Concert band. Young Concert Band. Elementary Series. Audio recording available separately (item CL.WFR342). Lighter. Grade 1.5. Score and set of parts. Composed 2005. Duration 2 minutes, 31 seconds. Published by C.L. Barnhouse (CL.015-3427-. Score and Parts. Lighter.

Grade 1

SKU: AP.98-RWS190101

Composed by Bankston. Young Concert Band. Extra full score. Composed 2019. RWS Music Company #RWS-1901-01. Published by RWS Music Company (AP.98-RWS190101).

Feature your percussion section with this exciting composition for beginning band by Brian Bankston. Repeated rhythmic figures for timpani, tom-toms, shakers, clave, bass drum and crash cymbals create a powerful musical statement that supports the dramatic yet achievable wind parts. Utilizing the first six notes with basic rhythms, this piece will have your band feeling confident and ready to play in any performance setting.

Full Score and Parts. By Sean O'Loughlin. Concert 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, Euphonium, Tuba, Xylophone, Bells, Chimes, Timpani, Snare Drum, Bass Drum, Suspended Cymbal, Large Tom-Toms, Triangle, Tam-Tam. Carl Fischer Concert Performance Series. Level: Grade 3-3.5. Score and Set of Parts. 32 pages. Published by Carl Fischer.

By Frank Ticheli. Concert band. Suitable for the most advanced high school bands, community, college, university, and professional bands. Level: Grade 6. Conductor Full Score. Duration 21:00. Published by Manhattan Beach Music.

Composed by Larry Clark. Score and part(s). With Standard notation. 24 162 pages. Duration 4 minutes, 52 seconds. Carl Fischer #YPS0180. Published by Carl Fischer (CF.YPS180).

Grade 1.5

SKU: CL.015-3427-01

Composed by Orcino. Young Concert Band. Elementary Series. Audio recording available separately (item CL.WFR342). Extra full score. Composed 2005. Duration 2 minutes, 31 seconds. C.L. Barnhouse #015-3427-01. Published by C.L. Barnhouse (CL.015-3427-01).

A delightful tune for very young players at an Ellaphante tempo. Very easy since horn parts consist only of quarter, half and whole notes. Percussion includes parts for snare and bass drums plus an easy part for tom-toms and a slightly more difficult wood block part. A great way to present your youngest students in a very positive light and sure to be an audience favorite!

By Timothy Loest. FJH Starter Series. Because Aruba Tuba is a tuba feature, tuba players should be positioned front and center. To establish a solid beat, maracas should be played with alternating up and down wrist strokes, and the claves and cowbell should be held chest high so that their sound projects. Bongos should be mounted and played with rattan sticks, with the smaller drum positioned on the player's right. If bongos are unavailable, timbales, pitched toms, or snare drums with snares off may be used. A simplified snare drum part is also included. Score for this title: B1290S. Extra part for this title: B1290P. Concert Band. Level: 0.5. Score and Set of Parts. Published by The FJH Music Company Inc.