Grade 3

SKU: CL.012-3311-00

Composed by Huckeby. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR328). Score and set of parts. Composed 2003. Duration 5 minutes, 30 seconds. Opus III Wind Orchestra Publications #012-3311-00. Published by Opus III Wind Orchestra Publications (CL.012-3311-00).

A programmatic work based on historical events from three centuries of Southern history. These musical vignettes create three moods which vividly represent Charleston 1774, Atlanta 1864, Nashville 1937. Wonderful music that provides an excellent opportunity for collaboration in a multi-discipline teaching setting. VERY EFFECTIVE!

About Heritage of the March

Full-sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style

Full Score Concert Band (Score) - Grade 2-3

SKU: HL.4002924

Composed by Johnnie Vinson. Flex-Band Grade 3. Folk. 32 pages. Published by Hal Leonard (HL.4002924).

UPC: 884088457105. 9.0x12.0x0.064 inches.

This arrangement for flexible instrumentation is a setting of three traditional Czech melodies displaying a wide range of moods and styles. Includes: Walking at Night; Meadows Green and Spring, The Madcap.

By Huckeby. For concert band. Concert Band. Symphony Band Series. Grade 3. Score and parts. Composed 2010. Duration 6 minutes, 29 seconds. Published by C.L. Barnhouse

Concert Band/Harmonie and Bass Clarinet Solo - Grade 6

SKU: BT.DHP-1053797-010

Three Moods for Bass Clarinet and Symphonic Band. Composed by Jan Van der Roost. Solo Spectrum. Solo & Concerto. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053797-010. Published by De Haske Publications (BT.DHP-1053797-010).

9x12 inches. English-German-French-Dutch.

At last the bass clarinet can shine in this major new solo work for bass clarinet and concert band. This composition begins with a rather mysterious opening passage with atmospheric sounds and effects. The soloist plays - preferably backstage - a number of fragments and melodic patterns, without actually “starting” the piece. After this somewhat hesitant introduction, a lively, cheerful allegro entitled Con Giocondita (with joy) bursts out. It is swarming with irregular meters, changing tempos, and polyrhythm, through which the listeners (and sometimes also the musicians) constantly get the feeling that they are being tossed around. The second movement brings rest andpeace making careful use of sound colours. The upbeat finale, titled Con Allegria (with cheerfulness), is the most significant movement for the soloist. This is a challenging piece of music that demands great virtuosity, but with the correct performer it will be a real highpoint in any concert..

In een mysterieuze openingspassage zijn atmosferische klanken te horen. Dan barst er een vrolijk allegro los: Con Giocondita (met vreugde). Een intiemer tweede deel, Con Tristezza (met droefheid), brengt rust. Het orkestspeelt hier een belangrijke rol en laat allerlei klankkleuren horen in de dialoog met de solist. De onstuimige finale getiteld Con Allegria (met vrolijkheid) vraagt grote virtuositeit van de solist, het orkest doet opnieuwmeer dan alleen begeleiden. Na een korte cadens worden de drie voorafgaande thema’s in omgekeerde volgorde herhaald en een spannend slot beëindigt dit contrastrijke werk.

Freude, Traurigkeit und Fröhlichkeit sind die drei Stimmungen, die Jan Van der Roost in diesem Werk für Bassklarinette und Blasorchester in ebenso vielen Sätzen vertonte. Während die Freude in einem rhythmischen, energiereichen und lebhaften Allegro zum Ausdruck kommt, setzt der zweite, langsamere Satz lyrische und melodische Akzente. Das schnelle Finale ist eine große Herausforderung an den Solisten. Auch das Blasorchester spielt in diesem musikalisch erfinderischen Werk eine weit mehr als begleitende Rolle.

Tre Sentimenti (Trois sentiments) pour Clarinette Basse et Orchestre d’Harmonie est un carrefour inédit de sentiments contrastés (l’exubérance, la tristesse, l’allégresse) et d’idées musicales captivantes.

Grade 3

SKU: CL.012-2503-01

Composed by Niehaus. Concert Band. Command Series. Audio recording available separately (item CL.WFR319). Extra full score. Composed 1993. Duration 4 minutes, 57 seconds. Opus III Wind Orchestra Publications #012-2503-01. Published by Opus III Wind Orchestra Publications (CL.012-2503-01).

A marvelous medley of Hanukkah tunes skillfully arranged by Lennie Niehaus. Includes Hanukkah, O Hanukkah, Maoz Tzur and Mi Y’Malel. Fun to play and a sure hit at your next holiday concert.

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.

Grade 2

SKU: CL.LDP-7285-00

Composed by Broege. Concert Band. Score and set of parts. Composed 2010. Daehn Publications #LDP-7285-00. Published by Daehn Publications (CL.LDP-7285-00).

There is a lot of variety and contrast compressed into this work for young band. Instrumental colors suggest moods from declamatory to foreboding to playful; textures range from sostenuto to staccato. An excellent opportunity to invite your students to invent story lines or scenarios to be shared with your audience.

By Frank Ticheli. Concert band. Suitable for high school, community, and college bands. Level: Grade 4. Conductor score and set of parts. Duration 11:10. Published by Manhattan Beach Music.

Concert band (Piccolo*, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, Eb Clarinet, 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 Bar) - grade 4.5

SKU: CN.S11220

Suite. Composed by Geoffrey Brand. Arranged by Geoffrey Brand. Band Music. Score only. Duration 8:10. Published by G & M Brand Music Publishers (CN.S11220).

Wit, warmth, charm, beautiful melody, vivacity; all of these, and more are abundantly evident. No wonder Jeuz d'enfants has been rated as a little masterpiece. Each of the three included movements is complete within itself and playable separately; together the contrasting styles and moods create an attractive Concert Suite.

Jeuz d'enfants was originally written in 1871 as a Suite of twelve pieces for piano duet. Two years later, Bizet scored five of the pieces for orchestra to create a Petite Suite. Each movement shows Bizet's enormous skill as a miniaturist, the music exuding a concentration of power and atmosphere. Wit, warmth, charm, beautiful melody, vivacity; all of these, and more are abundantly evident. No wonder Jeuz d'enfants has been rated as a little masterpiece. Three of the movements are included in this arrangement. Each is complete within itself and playable separately; together the contrasting styles and moods create an attractive Concert Suite. 1) Marche - Trompette and Tambour (Trumpet and Drum) 2) Duo - Petit Mari, Petite Femme (Little Husband, Little Wife) 3) Galop - Le Bal (The Ball).

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3

SKU: CF.CPS226

Composed by Carol Brittin Chambers. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+4+8+16+16+4+4+4+4+4+4+8+8+8+4+4+6+6+6+8+2+2+2+6+12+24+4 pages. Duration 3 minutes, 55 seconds. Carl Fischer Music #CPS226. Published by Carl Fischer Music (CF.CPS226).

ISBN 9781491152522. UPC: 680160910021.

Inspired by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition.
To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it!

By Frank Erickson. By Frank Erickson. For Concert Band. Concert Band. Belwin Concert Band. Level: 3 (Medium Easy) (grade 3). Conductor Score and Parts. 272 pages. Duration 4:35. Published by Alfred Publishing.

Concert band - Grade 3

SKU: CL.012-4586-75

Composed by Huckeby. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR392). Oversized, spiral-bound score. Composed 2017. Duration 3 minutes, 55 seconds. Opus III Wind Orchestra Publications #012-4586-75. Published by Opus III Wind Orchestra Publications (CL.012-4586-75).

This exciting work introduces a uniquely fast and furious syncopated pace, exploring alternating rhythmic groupings of two and three. Driving percussion and changing moods within a constant Allegro Vivace tempo create special musical tension between the syncopated melodic lines and flowing harmonies. Given its significant flare and unique musical flavor, this work will have tremendous appeal for both performers and audiences alike. Run! is a vibrantly rhythmic work and a great choice for your band's next concert or contest performance!

Orchestra Concert Band

SKU: PR.416413660

For Violin and Orchestra. Composed by Behzad Ranjbaran. Perfect. Contemporary. Full score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366. Published by Theodore Presser Company (PR.416413660).

ISBN 9781598063578. UPC: 680160601899. 9x12 inches.

Trained as a violinist in his native Tehran, composer Behzad Ranjbaran eagerly drew inspiration from the traditional Persian kamancheh and its delicate, lyrical sound when creating his profoundly luscious and brilliant Concerto for Violin and Orchestra. This work was completed in 1994 and premiered in England by Joshua Bell, who also gave the first American and Canadian performances. The Concerto for Violin and Orchestra is the recipient of the Rudolf Nissim Award from ASCAP, and it was supported in part by a grant from The National Endowment for the Arts. The solo part with a piano reduction as well as a large score are available on custom print. For advanced players. Duration: 31'.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

By Johan De Meij. For Concert Band (Score). Amstel Music. Grade 4. Softcover. Amstel Music #AM104. Published by Amstel Music . Softcover.