(score). Curnow Concert Band Full Set. Size 9x12 inches. Published by Hal Leonard.

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*) - grade 5

SKU: CN.R10004

Composed by John Ireland. Band Music. Score and parts. Duration 10:30. Published by G & M Brand Music Publishers (CN.R10004).

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

Concert Band (Score) - Grade 5

SKU: HL.4003160

Composed by Robert Buckley. MusicWorks Grade 5. Duration 840 seconds. Published by Hal Leonard (HL.4003160).

UPC: 884088651367. 10.0x14.0x0.236 inches.

Free Running is an exciting, high velocity tour-de-force that will keep both musicians and the audience on the edge of their seats. Inspiration for the work came from the pointillistic paintings of Seurat (who created images by using tiny spots of primary colors on his canvas) and from Parkour, a form of urban acrobatics in which participants, known as free runners, use the structures of the rural landscape to perform catlike leaps and sprints. The resulting creation is a non-stop piece of music made up of only staccato notes in a constant rhythm moving through different sections of the ensemble. Free Running was commissioned by the Troy University Symphony Band for the 2011 Alabama Music Educators Association Convention. Ideal for concert or festival use, it is guaranteed to leave the audience breathless! Dur: 5:10.

(March). Composed by Alan Lee Silva. For concert band (flute, oboe (opt. flute 2), clarinet 1 in Bb, clarinet 2 in Bb, bass clarinet in Bb, bassoon, alto saxophone in Eb, tenor saxophone in Bb, baritone saxophone in Eb, trumpet 1 in Bb, trumpet 2 in Bb, horn in F, trombone, euphonium t.c. in Bb, euphonium b.c). Young Performance Series. Score and parts. Duration 2 minutes, 26 seconds. Published by Carl Fischer

Orchestra Concert Band

SKU: PR.446412560

For Orchestra. Composed by Ellen Taaffe Zwilich. This edition: Orchestra version. Sws. Contemporary. Full score. With Standard notation. Composed 2010. 28 pages. Duration 12 minutes. Theodore Presser Company #446-41256. Published by Theodore Presser Company (PR.446412560).

ISBN 9781598063738. UPC: 680160596003. 9x12 inches. Key: A major.

Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall a each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements. I. Fanfare The opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall -- each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience. II. Reminiscence and Celebration The 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.
Fanfare; Reminiscence and Celebration is in 2 movements.I. FanfareThe opening of a concert hall is always an exciting event, introducing the hall to the performers and the performers to the hall — each testing the capacities of the other. I decided to have the ensemble greet and salute the new Ruby Diamond Hall with a Fanfare that includes offstage brass players in 3 different locations in the audience.II. Reminiscence and CelebrationThe 2nd movement begins in a reflective mood. As I thought about Ruby Diamond Hall, where I had performed as a teenager, I remembered people, particularly many mentors with whom I have performed here, who are gone, but whose gifts and spirits are still with us. The theater has a beautiful tradition of leaving one light bulb burning all night long for the spirits of the actors who have graced that stage. While I wanted my 2nd movement to acknowledge that sense of continuity of past and present, the piece ends in celebration of the new. Perhaps all artists feel a strong connection with the past, but we work in and for the present and we build for the future.

Composed by Todd Stalter. Concert Band; Performance Music Ensemble. Young Symphonic. Score. Alfred Music #00-49106S. Published by Alfred Music

By Ralph Ford. Concert Band. For Concert Band. Concert Band. Belwin Beginning Band. Novelty. 1 (Very Easy) (grade 1). Score. 16 pages

Grade 3

SKU: CL.012-4934-00

Composed by Romeyn. Concert Band. Score and set of parts. Composed 2022. Opus III Wind Orchestra Publications #012-4934-00. Published by Opus III Wind Orchestra Publications (CL.012-4934-00).

From the pen of Rob Romeyn comes this powerful and dramatic programmatic work that sounds straight out of a blockbuster movie soundtrack! The music begins with a delicate statement presented by a solo flute, answered by a solo clarinet soaring above transparent harmonies, leading to a beautiful expressive section. From here, the music takes off with an aggressive display of emotion and power, captivating the audience with high intensity. Multiple sections of the ensemble are featured melodically and harmonically as we continue our journey. Many changes in dynamics, harmonic structure, textures, and varied scoring techniques not only enhance the excitement, but make this an outstanding teaching piece. After a breathtaking climax, the expressive section returns, more developed this time. The piece then ends aggressively, sure to have your audience on the edge of their seat until the last note. Don't miss this significant addition to the concert band repertoire!

By Lady Gaga. Arranged by Sean O'Loughlin. Young Concert Band. Softcover. Published by Hal Leonard

Composed by Travis J. Weller. Concert Grade 3-3.5. Score and parts. Wingert-Jones Publications #CBW2305. Published by Wingert-Jones Publications

By Larry Neeck. For concert band. Grade 3. Score and set of parts. Duration 3 minutes, 49 seconds. Published by C.L. Barnhouse

Composed by George Sweet. Young Band. Score and part(s). 24 172 pages. Duration 2 minutes, 29 seconds. Carl Fischer #YPS0145. Published by Carl Fischer (CF.YPS145).

Concert Band Concert Band - Grade 0.5

SKU: FJ.B1804S

Score Only. Composed by Timothy Loest. Concert Band. FJH Starter Series. Light Concert; Novelty; Programmatic. Score. The FJH Music Company Inc #98-B1804S. Published by The FJH Music Company Inc (FJ.B1804S).

English.

Take your audience on a forbidden tour of a former grand house that now sits in darkness. Anxious articulations, daunting dynamics, and spine-chilling sound effects will have everyone on the edge of their seats. Only six notes, but be careful... no one really knows what evil lurks behind the boarded-up windows and creaky staircases!

About FJH Starter Series

Introduction to Beginning Band - Ideal for the first several months of instruction. These pieces are a comfortable length for students (about a half page of music) and are playable with as few as five instruments. All instruments are limited to a 6-note diatonic range. Several supplemental exercises are included to help teach different elements of each piece. Grade .5

Concert Band Concert Band - Grade 0.5

SKU: FJ.B1804

Composed by Timothy Loest. Concert Band; MakeMusic Cloud. FJH Starter Series. Light Concert; Novelty; Programmatic. Score and Part(s). The FJH Music Company Inc #98-B1804. Published by The FJH Music Company Inc (FJ.B1804).

UPC: 241444416808. English.

Take your audience on a forbidden tour of a former grand house that now sits in darkness. Anxious articulations, daunting dynamics, and spine-chilling sound effects will have everyone on the edge of their seats. Only six notes, but be careful... no one really knows what evil lurks behind the boarded-up windows and creaky staircases!

About FJH Starter Series

Introduction to Beginning Band - Ideal for the first several months of instruction. These pieces are a comfortable length for students (about a half page of music) and are playable with as few as five instruments. All instruments are limited to a 6-note diatonic range. Several supplemental exercises are included to help teach different elements of each piece. Grade .5

Grade 2

SKU: CL.RWS-1814-01

Composed by Bankston. Young Concert Band. RWS Developing Band Series. Extra full score. Composed 2018. Duration 2 minutes, 16 seconds. RWS Music Company #RWS-1814-01. Published by RWS Music Company (CL.RWS-1814-01).

From the downbeat to the final note, your band will create musical suspense with this action packed thriller by Brian Bankston. This is a great opportunity to reinforce rhythmic and dynamic control. Into The Wolves’ Den will keep your audience on the edge of their seat as your players deliver an energetic and dynamic performance. Warning: Your band is going to love this piece and ask for it over and over!