SKU: HL.4002996

UPC: 884088505936. 9.0x12.0x0.071 inches.

Alfred Reed (1921-2005) was one of America's most prolific and frequently performed composers. The Hounds of Spring was composed in 1980 and was inspired by the poem “Atalanta in Calydon” by Algernon Charles Swinburne. In this concert overture, Reed captures the elements of youthful exuberance and tenderness of love expressed in the poem. Remaining true in form and intent to the original, Robert Longfield has masterfully shortened and adapted this work for younger bands. Dur: 5:30.

SKU: AP.50921S

ISBN 9781470667856. UPC: 038081586731. English.

The Ringmaster, by Jon Bubbett, is a spirited, fun-loving march written in the circus style of those composed in the late 1800s and early 1900s. Its happy and carefree energy brings back memories of three-ring circuses, trapeze artists, and clowns. As the Master of Ceremonies, the ringmaster was decked out in a bright red tailcoat trimmed in gold and a black top hat. Their job was to direct the audience's attention to the various rings where the acts took place, sometimes interact with the clowns, and build excitement for the next act. The Ringmaster reminds us of the frenetic energy of the circus, meant for ladies and gentlemen, boys and girls, children of all ages! (2:30).

SKU: HL.4002918

UPC: 884088453671. 10.5x14 inches. John Williams/trans. Jay Bocook.

Referring to the 1975 blockbuster Jaws, director Steven Spielberg states that John Williams' music “was clearly responsible for half the success of the movie.” This suite features two of the signature musical sequences. In “Out to Sea,” the trio of shark hunters led by police chief Martin Brody (played by Roy Scheider) heads into open water to find the menacing beast. This is followed by the “Shark Cage Fugue,” a classically inspired and sophisticated accompaniment to a tense underwater scene in which Hooper (portrayed by Richard Dreyfuss) comes face-to-face with the great white in an all-too-fragile suspended cage.

SKU: CF.CPS225F

ISBN 9781491153192. UPC: 680160910694.

Tartan Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

SKU: CF.SPS71

ISBN 9781491143544. UPC: 680160901043. Key: G minor.

Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.
Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,” Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind” blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship” or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower” sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska” is a partner dance where the dancers spin each other (släng in Swedish “to sling or toss”) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska” dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .

SKU: CF.YPS212

ISBN 9781491152317. UPC: 680160909810. Key: C minor.

Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.
Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.” They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.  That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.

SKU: CF.YPS215F

ISBN 9781491153024. UPC: 680160910526.

Beyond the Crest is an exciting piece that captures the essence of Sean O'Loughlin's popular style. The piece opens with a slow, soaring melody that develops throughout the composition. Pulsating eighth notes build the tension and intense harmonies drive the piece to a satisfying and dynamic ending.
Beyond the Crest was commissioned by the Lakeshore Bands of Stevensville, Michigan, and dedicated to Philip and Cindy Huff, Directors of Bands, in honor of their retirement. The piece captures the excitement and achievement that defined Philip and Cindy Huff's illustrious careers. The piece opens with a slow, soaring melody that will become the basis of the entire composition. It builds to an intense chord at m. 13 that sets off into the fast section at m. 14. This section begins with some eighth-note pulses. The woodwinds have more eighth notes than the rest of the ensemble to create an echo effect. Bring out the dynamics to highlight this. The main melody comes in at m. 33, which is a faster version of the opening melody. It is complimented by some eighth-note punches and lush chords. The woodwinds take over at m. 43 with a much broader accompaniment in the lower voices. The lower voices get their chance at the melody at m. 54. The echo effect returns at m. 68 to start the cycle over again but this time with some new wrinkles. Measure 77 transports to a new tonal center and then brings it back to a broad presentation at m. 85. The eighth notes return to bring the piece to an exciting end.

SKU: CF.CPS214

ISBN 9781491152409. UPC: 680160909902.

Adventure Express is about a train heading out to the old west, seeking new adventures and new opportunities. The piece focuses on the beautiful country sides, breathtaking vistas and the hard work of building a new land. It is a contest style piece by budding composer John Pasternak. It is tuneful and well-scored. Perfect for your next contest/festival performance.
Adventure Express is about a train heading out to the old west, seeking new adventures and new opportunities. The piece focuses on the beautiful countrysides, breathtaking vistas and the hard work of building a new land.The beginning of the piece should have a very marcato feel. Measure 18 should have a lighter feel than the beginning, with the snare drum playing the part of the rail cars going over the tracks. Be sure to pay attention to the accents in the trumpet, xylophone and snare drum lining up with the accents played by the rest of the ensemble. At m. 55, the xylophone should ring out and should be played with intention. At m. 71, the piece returns to a marcato style, and remains until the end of the piece. There are a few sudden dynamic changes that are crucial for effect, so pay close attention to those changes.

SKU: CF.BPS117

ISBN 9781491152034. UPC: 680160909537.

Aurora Eclipsed was inspired by the solar eclipse of 2017.  During a solar eclipse, a beautiful and fascinating aurora sometimes forms around the moon creating an eerie outline. This “ring of fire” is actually the sun’s outer edges being revealed for the human eye. An aggressive composition younger students will enjoy playing over and over again.
I wrote Aurora Eclipsed while looking outside at 2017’s solar eclipse. I find space and celestial bodies so fascinating. To think of how small we are compared to the scale of even just the moon is impressive.During a solar eclipse, a beautiful and fascinating aurora sometimes forms around the moon creating an eerie outline. This “ring of fire” is actually the sun’s outer edges being revealed for the human eye. About the work:Unlike most of my young-band pieces, Aurora Eclipsed begins at its peak tempo. The rhythmic pattern in m. 2 is repeated throughout the piece and is used in the melody in order to help facilitate the teaching of eighth-note patterns. The melodic pattern changes slightly at m. 25, while remaining just as repetitious as the previous pattern, giving everyone ample opportunity for exposure. At m. 25 the directions call for euphonium and bassoon only. This is merely a color choice and can easily be used with trombones to fill the need or to help strengthen your students' playing. The use of sfz is not used very much in this level of music, but I thought with the addition of the accents that it would be a great opportunity to teach this colorful effect.

SKU: CF.YPS198F

ISBN 9781491152867. UPC: 680160910366.

All the While was inspired by a very special person in Tyler Arcari's life. Director's will be happy to find many opportunities for emotional and passionate playing with plenty of fun in the middle for young bands.  All the While gives students a number of chances to work on expressive playing during the beginning and ending sections, and offers a light rhythmic middle section for contrast.
Program Notes:All the While is a bit of a personal piece for me. I was inspired to write it by a very special person in my life. It might be a young-band piece but I feel that it has the capacity for great emotion and passionate playing as well as a little fun in the middle. Sometimes it is difficult to tell people how you feel, even if you have known them for a long time. I think sometimes we say in our heads that “I have felt this way for a long time,” and all the while never being able to put it to words.About the work:The piece opens with a flute and alto saxophone duet. This melody trades off at m. 10 with the addition of new voices and harmonies building in intensity all the way to m. 28. I personally like to use extended phrases in this section, though it looks like it would just utilize four-measure phrases. I feel this adds to the momentum building in dynamic intensity. Measure 28 is a subito change beginning with a prominent Timpani solo. The following section should be played as lightly as possible to avoid a lumbering feel. In mm. 68- 70, the agogic accents should not be very heavy, but more pointed in their momentum to m. 70.Measures 70–76 should be taken with metric liberty bringing out all of the moving parts in the low brass. The low brass really adds the foundation of momentum for the rest of the band here. Measure 76 to the end, though a repetition of material from the beginning, should be played as the high point of the piece and familiar conclusion.

SKU: AP.36-A604401

ISBN 9798892702560. UPC: 659359671388. English.

Leroy Anderson (1908-1975), ever-popular in the concert hall for his light orchestral pieces, found a great musical ally in the Boston Pops Orchestra under its director, Arthur Fiedler. Premiering many of his works, they introduced to the world such gems as Sleigh Ride, Jazz Pizzicato, and The Syncopated Clock. In the 1950s, Anderson began to record his music under the Decca label, and out of these sessions came a short piece for orchestra, THE FIRST DAY OF SPRING, first recorded on June 25, 1954. A solo horn introduces the melody, which drifts through the orchestra into an idyllic finish. An American Pops classic in it's original scoring, this work is part of the Anderson Classics Series by E.F. Kalmus. Instrumentation: 2.2.2.2: (3Sax-AAT): 4.3.3.1: Timp: Str (9-8-7-6-5 in set).

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: CL.011-3828-01

This sparkling march from the pen of Len Orcino brings all the thrilling sights, sounds and scents of the wonderful world of the circus. Modest technical demands make this bright march well within reach of developing young bands. Step right up, ladies and gentlemen, children of all ages, to the Three Ring Circus!.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.