Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Spoons, Timpani, Trombone, Trumpet, Tuba, Washboard, Whistle, alto Saxophone and more. - Grade 2

SKU: CF.YPS231

Composed by Travis Weller. Folio. Yps. Set of Score and Parts. 8+2+8+2+2+5+2+2+8+4+3+3+2+3+2+1+2+3+16 pages. Duration 2 minutes, 14 seconds. Carl Fischer Music #YPS231. Published by Carl Fischer Music (CF.YPS231).

ISBN 9781491157831. UPC: 680160916436. 9 x 12 inches.

The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk songa900 Milesaand they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song--900 Miles--and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience. While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region. The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.
The life of railroad worker in the early days of expansion was lonely, and the need for music to bolster spirits was of great importance. The character singing 900 Miles is looking forward to being reunited with his family after being separated from them for considerable time. The Wayfaring Stranger is a prominent American folk and gospel song that reflects upon the journey through life. The character in that song contemplates better times with their family in the afterlife. Both of these songs speak to the idea of searching for something beyond the current situation in which that person finds themselves. The programmatic qualities of the work are essentially tied to the main folk song—900 Miles—and they evoke the idea of where the song found its origins. Beyond that, both songs connect each of us to the sense of belonging and family that are the human experience.While the music paints a picture of someone who is alone, that is not a feeling I want for any young student in our schools today. Band is one of the few places where students can discover that sense of belonging and find a surrogate family. While band is a family that might not always get along, they can reach a shared goal through diligent work, caring and encouragement. It was a pleasure completing Lonely Travelers for longtime friend, superb musician, excellent educator and dedicated leader in music education Dennis Emert. His students debuted the work at the 2020 PMEA State Conference. I am deeply appreciative of Dennis and the friendship, encouragement and perspective he shared with me over the years teaching in the same region.The opening flute, clarinet and alto saxophone part can be performed by the entire section or as a solo at the discretion of the director. The washboard and spoon part can be doubled as players allow. I would suggest bringing these students to the front of the stage to get the sound of both instruments to the audience. As the piece develops and Wayfaring Stranger is layered with 900 Miles, please remind your ensemble to play so they can hear each other, not so they are individually heard. I thank you and your ensemble in advance as you begin this journey together in search of Lonely Travelers.

Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, Clarinet 1, Clarinet 2, Congas, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mark Tree, Oboe, Percussion 1, Percussion 2, Percussion 3, Tam-tam, Tambourine, Trombone 1, Trombone 2, Trumpet 1 and more. - Grade 2.5

SKU: CF.YPS240

Composed by Kelly Dugger. Set of Score and Parts. 24+8+8+4+8+8+4+4+6+4+4+4+8+8+8+6+6+6+4+6+2+4+6 pages. Duration 5 minutes, 20 seconds. Carl Fischer Music #YPS240. Published by Carl Fischer Music (CF.YPS240).

ISBN 9781491159637. UPC: 680160918225.

An Ankh is an ancient Egyptian hieroglyphic representing the word Life. The Ankh of Eternity depicts an epic journey through ancient lands to find the mythical Ankh of Eternity amulet promising eternal life. The piece journeys through the desert in a caravan, with a stop for a Kaff celebration, an Arabic hand-clapping folk art. The discovery of the tomb is spine chilling and eerie with special percussion effects. After the Ankh is discovered, swarms of locusts descend and our travelers run for their lives. They may have found eternal life, but will they be forever cursed? The Ankh of Eternity uses an Arabic or double harmonic-major scale. Performers have multiple soloing and improvising opportunities. Complex but repeating rhythms offer players a chance to practice getting in the groove. Players and audiences alike will be invigorated by the many celebratory moments and thrilled at the eerie and downright scary moments! The Ankh of Eternity offers cultural and historical inclusion opportunities, improvisation, unique scales, rhythmic challenges, and a thrilling story. Conductor Notes: Measures 45-61: Kaff is the ancient Arabic art of hand clapping over improvised poetry. The Kaff Celebration section represents this art form. The improvising soloists should be designated by the conductor and should each be four measures long . Alternatively, soloists may copy the phrase in the second ending as a solo. The AYE! should be shouted joyously. The repeat may be omitted for performance time concerns, or, of course, repeated multiple times for more solos. Measures 64-73: Experiment with different cymbal noises, such as scrapes with a nail or coin, taps with triangle beaters, bowed cymbals, etc. Water-cymbal techniques should also be used. Fill a storage tub with water, and with the suspended cymbal still on the stand, hit the cymbal a couple times with a soft mallet, and lower the cymbal into the water for a glissando effect. The overall effect should be creepy cave-like echoes bending around corners.
An Ankh is an ancient Egyptian hieroglyphic representing the word Life. The Ankh of Eternity depicts an epic journey through ancient lands to find the mythical Ankh of Eternity amulet promising eternal life. The piece journeys through the desert in a caravan, with a stop for a Kaff celebration, an Arabic hand-clapping folk art. The discovery of the tomb is spine chilling and eerie with special percussion effects. After the Ankh is discovered, swarms of locusts descend and our travelers run for their lives. They may have found eternal life, but will they be forever cursed?The Ankh of Eternity uses an Arabic or double harmonic-major scale. Performers have multiple soloing and improvising opportunities. Complex but repeating rhythms offer players a chance to practice getting in the groove. Players and audiences alike will be invigorated by the many celebratory moments and thrilled at the eerie and downright scary moments! The Ankh of Eternity offers cultural and historical inclusion opportunities, improvisation, unique scales, rhythmic challenges, and a thrilling story.Conductor Notes: Measures 45–61: Kaff is the ancient Arabic art of hand clapping over improvised poetry. The Kaff Celebration section represents this art form. The improvising soloists should be designated by the conductor and should each be four measures long . Alternatively, soloists may copy the phrase in the second ending as a solo. The AYE! should be shouted joyously. The repeat may be omitted for performance time concerns, or, of course, repeated multiple times for more solos. Measures 64–73: Experiment with different cymbal noises, such as scrapes with a nail or coin, taps with triangle beaters, bowed cymbals, etc. Water-cymbal techniques should also be used. Fill a storage tub with water, and with the suspended cymbal still on the stand, hit the cymbal a couple times with a soft mallet, and lower the cymbal into the water for a glissando effect. The overall effect should be creepy cave-like echoes bending around corners.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 3

SKU: CF.CPS234

Composed by Travis Weller. Folio. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+8+4+4+8+8+8+8+6+6+6+4+8+6+2+4+4+6+32 pages. Duration 3 minutes, 10 seconds. Carl Fischer Music #CPS234. Published by Carl Fischer Music (CF.CPS234).

ISBN 9781491156346. UPC: 680160914883. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

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.

Band Bass Clarinet in Bb, Bass Drum), Bassoon, Clarinet 1 in Bb, Clarinet 2 in Bb, Clarinet 3 in Bb, Crash Cymbals), Euphonium, Euphonium T.C. in Bb, Flute 1, Flute 2, Horn 1 in F, Horn 2 in F, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe and more. - Grade 3.5

SKU: CF.CPS242F

Composed by Peter Sciaino. Sws. Cps. Full score. 16 pages. Duration 4 minutes, 10 seconds. Carl Fischer Music #CPS242F. Published by Carl Fischer Music (CF.CPS242F).

ISBN 9781491157947. UPC: 680160916542. 9 x 12 inches.

All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me amany moonsa ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me many moons ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility.The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible.I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me “many moons” ago.

Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3 and more.

SKU: PR.16500092L

For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L).

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.