2tpt. Pft - Intermediate

SKU: FT.FM529

Composed by Paul Austin Kelly. Two Trumpets and Piano. Score and Part. Forton Music #FM529. Published by Forton Music (FT.FM529).

ISBN 9790570484287.

On the Coney Island Boardwalk was inspired by my years of listening to trumpeter Herb Alpert. The melody came to me when I was reminiscing about those summer days when I would take the subway out to Coney Island from my flat in Brooklyn. I'd spend the day roaming the boardwalk, hunting down used vinyl records in the second- hand shops, and always riding the old wooden Cyclone roller coaster at least once. What made Herb's trumpet sound like it was talking was his way of articulating each note, imagining they were words. If you really want to get your horn to speak, follow the articulation markings carefully. The Romantic tune My Girl alternates between swing and straight rhythms. The a capella B section should be played straight and with particular attention to the tuning of the intervals and the written articulation markings. This Cat Bugs Me - a rag - was inspired by the compositions of LeRoy Shield, one of the very first composers to write original music for Hollywood films. You can hear his music on the soundtracks for Laurel and Hardy and Our Gang comedies. As with all ragtime, don't try to play it too fast. Try to feel it as a march that swings. I don't recall where I got the title, but I suspect I was watching some old cartoons at the time. Grapplin' with the Apple should be played with straight quavers, not swung. In order to get real flavour out of this piece, pay close attention to the articulation markings, especially the combinations of quavers slurred to staccato notes. The apple referred to in the title is New York City, often referred to as 'The Big Apple'. Take it to the Shed - here's one to help you sharpen up your chops! Take it well under tempo at first to get the tricky passages as clean as possible, especially bars 45-47. Slowly work it up to speed as your technique allows. All quavers are to be swung and again, in order to get the most from this piece pay close attention to all articulation markings. The title is a jazz reference. When you take something to 'the shed' you're working on it to make it as fine as it can be.

Concert Band - Grade 2

SKU: AP.39609S

Composed by Scott Watson. Concert Band; Performance Music Ensemble; Single Titles. Challenger Band Series. Ragtime. Score. 8 pages. Duration 2:35. Alfred Music #00-39609S. Published by Alfred Music (AP.39609S).

UPC: 038081454702. English.

This lively, nostalgic piece will musically transport players and audience alike to the iconic amusement parks of turn-of -the-century Coney Island (near Brooklyn, New York). The sweet, cheerful sounds that flowed from the carousels and bandwagons of a time gone by infuse this characteristic, but level-appropriate work. Ragtime feel is achieved via accessible syncopations, chromatics that lay well on the instruments, and sectional form. Novel percussion, including a slide whistle, adds to the fun! (2:35).

Arranged by Spebsqsa, Inc. (VoiceTrax CD). Close Harmony for Men. CD only. Published by Hal Leonard.

Arranged by Ralf Meissiner, edited by Thom Proctor. Instrumental part for jazz ensemble (tenor sax part), . Playable with as few as four or as many as eight performers. 28 pages. Published by Alfred Publishing.

Orchestra - Grade 2.5

SKU: AP.40478

Composed by Thom Sharp. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Patriotic. Score and Part(s). 124 pages. Highland/Etling #00-40478. Published by Highland/Etling (AP.40478).

UPC: 038081454405. English.

This original work is full of lively rhythms conjuring up images of an old-time, turn-of-the-century amusement park. A smattering of chromaticism and quick dynamic changes keep this rondo-like work fun and rewarding. Every section gets a turn being featured, insuring that all of the students are noticed and challenged.

Arranged by Ralf Meissner, edited by Thom Proctor. Instrumental part for jazz ensemble (clarinet part), . Playable with as few as four or as many as eight performers. 28 pages. Published by Alfred Publishing.

Piano/Vocal Selections. By Paul McKibbins, B.T. Mcnicholl. Piano/Vocal/Chords Vocal Selections (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 80 pages. Published by Hal Leonard.

(Volume 2). Arranged by Various. For Choral (TTBB A Cappella). Close Harmony for Men. Softcover. 64 pages. Published by Barbershop Harmony Society

SKU: GI.G-10368

A Document History (1835-1935). Composed by Bryan J. Proksch. Music Education. 346 pages. GIA Publications #10368. Published by GIA Publications (GI.G-10368).

ISBN 9781622776276.

This is a fascinating and important book for everybody even remotely interested in the history of American bands. Bryan Proksch has done some painstakingly thorough research in putting together an amazing assemblage of documents… This is a must-have book! —Jon Ceander Mitchell     The Wind Music Research Quarterly: Mitteilungsblatt der IGEB     (March 2022), 14–15 For the scholar, each entry presents an opportunity for expansion. For the teacher, this work provides source readings for courses on wind band history or for complementing Strunk or Weiss-Taruskin in university music history courses. That said, these documents stand as an enriching and entertaining read in their own right for anyone interested in the subject. —Michael O’Connor     Historic Brass Today 1/2 (Spring 2022), 32 The Golden Age of American Bands is ideally suited for courses on the history and literature of bands in America. Indeed, this volume could suffice as a textbook for adventuresome teachers in that it touches on the major musicians, instruments, ensembles, and functions expected of such a course. . . . Both private and classroom band instructors will find compelling glimpses into the history of their craft. [It is] bursting with opportunities to inspire curiosity in their students while effectively supporting their own curricular goals. —Benjamin D. Lawson and James A. Davis     The Journal of Music History Pedagogy Proksch’s new collection of documents is a most welcome step in the direction of getting [the story of bands] under control. The juxtaposition of documents from so many levels and types of ensembles proves to have a cumulative effect: one begins to see the subtle and long-lasting connections among them despite the big differences. It is easy to envision it as a supplemental text in a course on band history and literature, but the book is also just an absorbing read. There is much to learn here, and much to enjoy. —Ken Kreitner     Notes 79/2 (December 2022): 217-218 This is the story of the American wind band, told chronologically by those who experienced it in real time from 1835 to 1935. How did bands become bands? How did they rise in popularity? Which figures had insights and specific impacts on the development of the genre? Through source documents and articles, Bryan Proksch takes us on an extraordinary journey from the time of the first brass bands in the 1830s, through the Civil War and the golden ages of Gilmore and Sousa, to the cusp of the wind ensemble just before World War II. Hear from a young Frederick Fennell about his efforts to create the first band at Eastman. Read the outline of Allessandro Liberati’s unpublished trumpet method book. Eavesdrop on Karl L. King as he muses on the fate of bands after the death of Sousa. See Patrick Conway’s first undergraduate music education curriculum. Gawk as trombonist Fredrick Neil Innes embarrasses “world’s greatest cornetist” Jules Levy at Coney Island. Explore as Alan Dodworth revolutionizes bands. Retreat with a military band in the middle of a Civil War battle. Find out what it felt like to sit in a Sousa Band rehearsal. Ask Herbert L. Clarke why he thinks you should be playing a cornet instead of a trumpet. Find out how P. S. Gilmore managed to pull off the biggest concert events in American history. The book includes numerous rare and unknown illustrations to show you the places where band history happened. The documents include rare periodical excerpts, handwritten letters, and other writings taken from archives throughout the United States. These first-person accounts are certain to further refine and deepen our understanding and appreciation of American band history on a grand scale. Contents: Beginnings (1835–1859) The Civil War (1860–1865) The Jubilees (1866–1879) The Gilded Age (1880–1896) The Band Age (1897–1914) World War I (1915–1919) Transition and Decline (1920–1935)   Click here to download a FREE addenda. Bryan Proksch is a distinguished faculty lecturer and associate professor of music history and literature at Lamar University in Beaumont, Texas. This is his third book. His A Sousa Reader: Essays, Interviews, and Clippings (GIA Publications, 2016) explores the documents relating to the life and career of John Philip Sousa.

Orchestra Bass Clarinet, Bassoon I, Bassoon II, Bassoon III, Clarinet I, Clarinet II, Clarinet III, Contra Bassoon, English Horn, Flute I, Flute II, Flute III, Horn I, Horn II, Horn III, Horn IV, Oboe I, Oboe II, Oboe III, Piccolo, Trumpet I, Trumpet II

SKU: CF.O5171

Composed by Elie Siegmeister. First performance: Stamford Symphony Orchestra, Roger Nierenberg, conductor and music director, on October 19, 1985 in Stamford, Connecticut. Full score. With Standard notation. 107 pages. Duration 21 minutes. Carl Fischer Music #O5171. Published by Carl Fischer Music (CF.O5171).

9 X 12 inches.

(Six Strings and the Words). By Lou Reed. Easy Guitar. Softcover. Guitar tablature. 196 pages. Published by Cherry Lane Music

Arranged by Ralf Messiner, edited by Thom Proctor. Instrumental part for jazz ensemble (drum part), . Playable with as few as four or as many as eight performers. Published by Alfred Publishing.