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, Horn in F 1/2, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Trombone 1/2, Euphonium, Baritone T.C., Tuba,) - grade 3.5

SKU: CN.S11295

Composed by Bruce Fraser. Score only. Duration 5:30. Published by G & M Brand Music Publishers (CN.S11295).

Greek Folk Dances captures the excitement of two dance styles the composer encountered while on holiday in the Greek Islands - the Hasapiko and the Syrto. The first is slow and dramatic dance that plods along showcasing the solo clarinet, while the second is a blazing fast fire dance that alternates between 4/4, 3/4 and 7/8.

The inspiration for these dances came from my first proper cruise in 2007, when we traveled around Greek islands and spent a week on the island of Corfu. Traditional music was all around us and we had the chance to watch and take part in some dancing. I began to formulate mu own ideas into two of the dance styles I had encountered - the Hasapiko and the Syrto. The Hasapiko is a butcher dance where the dancers put their arms around each other's shoulders and move in a slow side to side motion, dragging the insides of their feet on the ground. The music often speeds up, but not necessarily. The Syrto is much faster, again with arms around shoulders. Often a solo dancer breaks away, doing acrobatic dance tricks in the middle of the circle. I observed solo fire dancing among flames sprayed onto the ground using some flammable liquid. I have tried to capture some of the excitement of this. The Syrto can be in 3/4 time or 7/8 time, or a mixture of the two. I have used all three options in a gradual speeding up process charging towards a hugely energetic ending.

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 Peter Ilyich Tchaikovsky. Arranged by Joseph Compello. Concert band/stage band. For Flute, Oboe, Flute II, Clarinet I, Clarinet II, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn, Tenor, Euphonium, Bassoon, Treble Baritone, Tuba, Bells, Xylophone, Timpani, Snare Drum, Bass Drum, Triangle, Tambourine. Carl Fischer First Plus Performance Series. Classical. Level: very easy. Score and parts. 20 pages. Published by Carl Fischer.

Grade 3

SKU: CL.RWS-2048-00

Composed by Earp. Concert Band. Score and set of parts. Composed 2020. RWS Music Company #RWS-2048-00. Published by RWS Music Company (CL.RWS-2048-00).

This energetic work by Joseph Earp is wildly infectious. This light and lively musical statement, inspired by the Sandhill Cranes of Monte Vista, Colorado, is sure to make all want to dance. The tubas and low woodwinds will particularly enjoy performing their opening groove as it sets the tone for the great music to come. This will be a musician favorite and a highlight of your next concert performance. Enjoy!

Composed by Gene Milford. Score and part(s). 32 160 pages. Duration 5 minutes, 2 seconds. Carl Fischer #CPS0180. Published by Carl Fischer (CF.CPS180).

Concert Band Alto Saxophone, Baritone (Treble Clef), Baritone Saxophone, Bass Clarinet, Clarinet I, Clarinet II, Flute, Horn, Oboe, Percussion I, Percussion II, Tenor Saxophone, Trumpet I, Trumpet II, Tuba - Grade 1

SKU: CF.BBS50

Composed by Andrew Balent. This edition: complete set. FS-SWS. Carl Fischer Beginning Band Series. Classical. Score and Set of Parts. With Standard notation. 10+1+8+1+8+1+2+4+6+6+6+4+2+2+4+3+16 pages. Duration 1 minute, 35 seconds. Carl Fischer Music #BBS50. Published by Carl Fischer Music (CF.BBS50).

ISBN 9780825808135. UPC: 798408008130. 9 X 12 inches. Key: C minor.

(Full Score and Parts). By Elliot Del Borgo. Concert Band. For Flute, Oboe, Clarinet I, Clarinet II, Alto Clarinet, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn, Tenor I, Tenor II, Euphonium, Bassoon, Tuba, Percussion I, Percussion II, Percussion III. Carl Fischer Young Band Series. Grade 2-2.5. Score and Set of Parts. Standard notation. 24 pages. Published by Carl Fischer

Cowboy Dances For Wind Ensemble. Composed by Carter Pann (1972-). Premiered in Carnegie Hall, New York City. Contemporary. Score and part(s). With Standard notation. Composed 2006. 260 pages. Duration 8 minutes. Theodore Presser Company #115-40226. Published by Theodore Presser Company (PR.115402260).

Composed by Dennis Fisher. For concert band (Flute, Oboe, Bassoon, Bb Clarinet 1, 2, 3, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, Horn in F 1/2, Trombone 1/2, Euphonium, (Baritone T.C.), Tuba, Timpani, Percussion 1 (snare drum, bass drum, triangle), Perc). Grade 3. Score only. Duration 3:10. Published by C. Alan Publications

From the Opera "Bandanna" - Full Score. By Daron Hagen. Arranged by Mark Spede. Concert band/stage band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Trumpet III, Trumpet IV, Horn I, Horn II, Horn III, Horn IV, Tenor I, Tenor II, Bass Trombone, Euphonium, Tuba, Double Bass, Timpani, Tambourine, Claves, Marimba, Glockenspiel, Guiro, Castanet, Ratchet, Tam-Tam, Piano, Vibraphone, Snare Drum, Bass Drum, Suspended Cymbal, Drum Set, Shaker, Triangle, Tenor Drum, Tom-Tom. Carl Fischer P

By Bruce Fraser. For 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, Horn in F 1/2, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Trombone 1/2, Euphonium, Baritone T.C., Tuba,). Grade 3.5. Score and parts. Duration 5:30. Published by C. Alan Publications

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 9:00. Published by Manhattan Beach Music.

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Oboe, Piccolo, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trumpet 1, Trumpet 2, Trumpet 3, Tuba, Xylophone and more. - Grade 3-3.5

SKU: CF.CPS66F

Composed by Joseph Compello. SWS. Carl Fischer Concert Performance Series. Full score. With Standard notation. Carl Fischer Music #CPS66F. Published by Carl Fischer Music (CF.CPS66F).

ISBN 9780825864742. UPC: 798408064747. 9 X 12 inches. Key: C major.

Inspired by the Slavonic Dances of Czech master Antonín Dvořák, Joseph Compello has written his own Furiant, a Bohemian dance, usually in triple meter with frequently shifting accents. This dazzling little original piece makes much of the contrast between 6/8 and 3/4. This variety of rhythmic pulse gives the piece tremendous energy and momentum. Slavic Scherzo is a selection that will energize the band and delight the audience in equal measure.

Concert Band/Harmonie and Piano

SKU: BT.BMP8091417

Composed by Leroy Anderson. Arranged by Jörg Murschinski. Set (Score & Parts). Composed 2008. Beriato Music #BMP8091417. Published by Beriato Music (BT.BMP8091417).

A lot is known about the American composer Leroy Anderson. This son of Swedish immigrants played the piano, organ, accordion, trombone, tuba and double bass. He spoke several languages fluently and graduated from Harvard with first-class honours.While on military service, the army also commissioned him to write a manual on Icelandic grammar.He already started writing musical arrangements as a student, and from his 30th year arranged and composed for the Boston Pops Orchestra. Such melodiesas Serenata, The Typewriter, Sleigh Ride and Bugler�s Holiday made him world famous. His best-known work, Blue Tango, reached number one in the US charts in 1952, and it sold more than a million copies. In 1975, a year after hisdeath, he was given a star at the Walk of Fame in Hollywood.Most of his works last no longer than three minutes, about the maximum length of a single at that time. One work that lasts longer is his 1953 Piano Concerto in C for piano and orchestra.The first performance was in Chicago, conducted by the composer and with Eugene List at the piano. However, after three performances he was no longer happy with the work and withdrew it. He always intended to revise it, but never got round to it. Itwas only in 1989 that the Anderson family decided to republish the work.This three-part composition is on the one hand characterised by a careless elegance, but on the other one can hear the influence of Rachmaninoff, Copland, Gershwin, and evenBeethoven and Mozart, as well as the Viennese classics.Anderson used the sonata form for the first movement. It ends with a cadenza that carries us on into the second part (in e minor). The third part is a typically cheerful American folk dance in2/4 time, a so-called Hoe Down, with a lilting, lyrical passage as its middle section. At the end comes a solo passage followed by a rapid close.In this piano concerto, Anderson combines a rigidly classical form of composition with simple andappealing themes and elements from light music. So this work is a perfect synthesis of light music and what is called serious music, in the same way as Gershwin�s Rhapsody in Blue. A work that can be played equally well in a concerthall, at an open-air concert or even a pop concert.

Over de Amerikaanse componist Leroy Anderson is veel bekend. Deze zoon van Zweedse immigranten speelde piano, orgel, accordeon, trombone, tuba en contrabas. Hij sprak vloeiend verschillende talen en studeerde met grote onderscheidingaf aan Harvard en schreef tijdens zijn legerdienst in opdracht van het leger een handboek grammatica Ijslands.Al in zijn studententijd begon hij met het maken van arrangementen, en vanaf zijn 30ste arrangeerde en componeerde hijvoor het Boston Pops Orchestra. Melodieën zoals Serenata, The Typewriter, Sleigh Ride en Bugler's Holiday maakte hem wereldberoemd. Zijn bekendste werk Blue Tango stond in 1952 op nummer één in de VS Charts, ener werden meer dan een miljoen exemplaren van verkocht. Een jaar na zijn dood in 1975 kreeg hij een ster op de Walk of Fame in Hollywood.Zijn meeste werken duren niet langer dan drie minuten, ongeveer de maximumduur van een singletoen. Een werk dat wel langer duurt, is het pianoconcerto in C voor piano en orkest uit 1953. Het werd in Chicago gecreëerd onder zijn leiding met Eugene List aan de piano. Na drie uitvoeringen echter, was hij niet meer tevredenover zijn werk en trok dit terug. Hij had zijn leven lang de intentie het te herwerken doch kwam er niet meer toe. Pas in 1989 besliste de Anderson Familie zijn pianoconcerto toch opnieuw uit te geven.Dit driedelige werk wordtenerzijds getypeerd door een zorgeloze elegantie, maar anderzijds zijn invloeden van Rachmaninoff, Copland, Gerschwin en zelfs Beethoven en Mozart alsook de Weense klassiekers te horen.Voor de eerste beweging, past Anderson de sonatevormtoe. Op het einde volgt een cadenza die ons in het tweede deel (in mi klein) voert. Het derde deel is een typische Amerikaanse, vrolijke volksdans in 2/4, een zogenaamde Hoe Down met als middengedeelte een zangerige, lyrische

Über den amerikanischen Komponisten Leroy Anderson lässt sich vieles berichten: Der Sohn schwedischer Immigranten spielte Klavier, Orgel, Akkordeon, Posaune, Tuba und Kontrabass, sprach neun Sprachen fließend, absolvierte mit einemMagna-cum-laude-Abschluss die Harvard Universität und verfasste während seiner Militärzeit im Zweiten Weltkrieg für die amerikanische Armee eine Grammatik des Isländischen. Schon während seiner Studentenzeit begann er zu arrangieren, ab Mitte der30er Jahre des letzten Jahrhunderts arrangierte und komponierte er für das Boston Pops Orchestra. Aus seiner Feder stammen so bekannte Werke der leichten Muse wie Serenata, The Typewriter, Sleigh Ride oder Bugler�s Holiday. Sein wohlbekanntestes Stück, Blue Tango, wurde als erste Instrumentalkomposition über eine Million Mal verkauft und belegte im Jahr 1952 Platz 1 der US-Charts. Für seine Verdienste um die Schallplattenindustrie erhielt er ein Jahr nach seinem Tod einenStern auf dem Walk of Fame in Hollywood.Charakteristisch für seine Werke ist die Dauer: die meisten sind rund drei Minuten lang � mehr passte nicht auf den damals gebräuchlichen Tonträger, eine Singleschallplatte. Nur wenige seinerKompositionen sprengen diesen Zeitrahmen. Dazu gehört sein Konzert C-Dur für Klavier und Orchester. Er komponierte es 1953, die Uraufführung fand unter seiner Leitung und mit Eugene List am Klavier im selben Jahr in Chicago statt. Da Anderson mit demWerk aber nicht zufrieden war, zog er es im Sommer 1954, nach nur drei Aufführungen, wieder ein. Er hatte zeitlebens die Absicht, es zu überarbeiten, allein, es kam nicht mehr dazu. Erst 1989 entschied sich die Anderson-Familie dazu, dasKlavierkonzert wieder zu veröffentlichen.Das dreisätzige Werk zeigt die Unbeschwertheit und Eleganz, die Andersons sämtliche Kompositionen auszeichnen. Dennoch findet man darin auch Anklänge an Komponisten wie Rachmaninoff, Copland, Gershwin, undeben Beethoven und Mozart, sowie die Wiener Klassiker. Der erste Satz folgt der Sonatenhauptsatzform. An seinem Ende steht eine Klavierkadenz, die direkt in den langsamen zweiten Satz (in e-Moll) überleitet. Der dritte Satz schließlich ist einwaschechter Hoe Down, ein fröhlicher amerikanischer Volkstanz im 2/4-Takt, in dessen Zentrum aber eine lyrisch-gesangliche Passage steht. Eine weitere Solo-Kadenz führt das Werk in einen spritzigen Schlussabschnitt.In seinem Klavierkonzertvereinigt Anderson einen klassisch-traditionellen Form- und Kompositionsstil mit Elementen der Unterhaltungsmusik und eingängigen Melodien, die schon immer sein Markenzeichen waren. Daher bildet dieses Werk eine perfekte Synthese von ernster undleichter Musik. Es passt � wie beispielsweise auch George Gershwins Rhapsody in Blue � gleichermaßen in einen vornehmen Konzertsaal, wie auch zur zwanglos-lockeren Atmosphäre einer sommerlichen Open-Air-Veranstaltung oder einesPops-Konzertes.

Nous savons beaucoup de choses sur le compositeur américain Leroy Anderson. Ce fils dimmigrants suédois jouait du piano, de lorgue, de laccordéon, du trombone, du tuba et de la contrebasse. Il parlait couramment plusieurs langues et était diplômé avec grande distinction de Harvard. Pendant son service militaire, il écrivit un manuel de grammaire islandaise commandé par larmée.Étudiant, il avait déj commencé faire des arrangements et dès l ge de 30 ans, il arrangeait et composait pour le Boston Pops Orchestra. Des mélodies telles que Serenata, The Typewriter, Sleigh Ride et Buglers Holiday lui valurent une renommée mondiale. Son uvre phare, Blue Tango, fut numéro un descharts américains en 1952 et se vendit plus dun million dexemplaires. Un an après sa mort en 1975, il eut droit son étoile sur le Walk of Fame Hollywood.La plupart de ses uvres nexcèdent pas trois minutes, soit peu près la durée maximale dun single lépoque. Son concerto en ut pour piano et orchestre de 1953 est quant lui plus long. Il fut créé Chicago sous sa direction avec Eugene List au piano. Après trois exécutions, Anderson nétait toutefois plus satisfait de son travail et le retira. Toute sa vie, il eut lintention de le remanier mais ne le fit pas. Ce nest quen 1989 que la famille Anderson décida de tout de m?me rééditer son concerto pour piano.Cette uvre en trois parties se caractérise par son élégance nonchalante mais aussi par linfluence de Rachmaninoff, Copland, Gershwin et m?me de Beethoven et Mozart, ainsi que des classiques viennois.Pour le premier mouvement, Anderson opte pour une sonate. la fin, une cadence nous conduit la deuxième partie (en mi mineur). La troisième partie est une danse populaire joyeuse et typiquement américaine en 2/4, une Hoe Down avec un passage lyrique et mélodieux en son milieu. la fin, un solo est suivi par une clôture rapide.Dans son concerto pour piano, Anderson unit une composition pure et classique des thèmes beaux et simples, sans oublier des éléments de la musique légère. Cette uvre.