SKU: BT.CMP-0413-00-020

This exciting medley of American spirituals is sure to please! Mike Hannickel's carefully crafted THREE AMERICAN SPIRITUALS helps young bands develop those all-important listening skills. They'll hear how each tune contrasts and complements the others when “Go Tell It On The Mountain”, “Swing Low, Sweet Chariot” and “Who did Swallow Jo-Jo-Jonah” all come together in rousing counterpoint! THREE AMERICAN SPIRITUALS works wonderfully with the unpredictable instrumentation of so many youth bands, while it's contrapuntal nature allows every section to shine. THREE AMERICAN SPIRITUALS allows each parent to say honestly to their child I HEARD you play your part!

Een levendige medley waarin drie spirituals contrapuntisch zijn verwerkt: Go Tell It on the Mountain, Swing Low, Sweet Chariot en Who Did Swallow Jo-Jo-Jonah. Elke instrumentgroep komt in Three American Spiritualstot z’n recht en het stuk is bijzonder geschikt om het gehoor van jonge muzikanten te trainen.

Ein lebendiges Medley, das die drei bekannten amerikanischen Spirituals kontrapunktisch miteinander verbindet. Ein Stück, in dem jede Instrumentengruppe zu ihrem Recht kommt, welches überdies besonders geeignet ist, das Gehör der jungen Musiker zu schulen. Überzeugend!

SKU: PR.16500100F

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

SKU: BT.DHP-1023204-070

ISBN 9789043147569.

This arrangement brings you the greatness of the legendary bandleader and composer Glenn Miller. Contains arrangements of: In the Mood, Pennsylvania 6-5000, Moonlight Serenade, American Patrol and Little Brown Jug. This item will be a certain favourite at any concert.Part 1 Fl Ob Bb Clar S Sax Tpt Part 2 Bb Clar Eb Clar A Sax Tpt Part 3 Bb Clar Eb Clar A Sax T Sax Hn Part 4 T Sax Bsn Trom Euph Part 5 Bass Clar Bari Sax Bsn Trom Euph Tuba

Glenn Miller (1904-1944) was een van de populairste Amerikaanse bigband-dirigenten uit die tijd. De door hem ontdekte typische sound (gevormd door het samenspel van een klarinet en een tenorsaxofoon die de melodielijn spelen) is nog steeds in de hele wereld bekend. Lorenzo Bocci schreef een geweldige Glenn Miller-medley met de volgende beroemde melodieën: In the Mood, Pennsylvania 6-5000, Moonlight Serenade, American Patrol en Little Brown Jug. Part 1 fluit hobo kl B b s-sax trpPart 2 kl B b alt-kl a-sax trp trpPart 3 kl B b alt-kl a-sax t-sax hrnPart 4 t-sax fagot tromb euphPart 5 bas-kl b-sax fagot tromb euph tuba

Glenn Miller war einer der populärsten amerikanischen Big-Band-Dirigenten seiner Zeit. Der spezielle Sound der Soloklarinette, die den Saxophonsatz überstrahlt, ist immer noch auf der ganzen Welt bekannt. Lorenzo Bocci schuf ein großartiges Glenn Miller-Medley für fünfstimmig variable Besetzung.Part 1 Fl Ob Kl B S-Sax Trp Part 2 Kl B A-Kl A-Sax Trp Part 3 Kl B A-Kl A-Sax T-Sax Hn Part 4 T-Sax Fg Pos Euph Part 5 B-Kl B-Sax Fg Pos Euph Tuba

Glenn Miller (1904-1944) fut le roi du swing. Il reste pour le public une véritable légende. Le son mythique de sa prestigieuse formation, le Glenn Miller Orchestra, mêlant swing, jazz et improvisation est, aujourd’hui encore, célèbre dans le monde entier. Lorenzo Bocci a rassemblé dans ce superbe arrangement cinq voix pour ensemble instrumentation variable, quelques-uns des plus grands succès de Glenn Miller : In the Mood, Pennsylvania 6-5000, Moonlight Serenade, American Patrol, Little Brown Jug et In the Mood.Part 1 Fl Ob Kl B S-Sax Trp Part 2 Kl B Alt-Kl A-Sax Trp Part 3 Kl B Alt-Kl A-Sax T-Sax Hrn Part 4 T-Sax Fg Pos Euph Part 5 B-Kl B-Sax Fg Pos Euph Tuba

Glenn Miller è legato indissolubilmente alle sonorit delle musiche da Big-Band. Ora potrete far rivivere queste atmosfere grazie all’arrangiamento di Lorenzo Bocci per quintetto di strumenti a fiato. Tutti riconosceranno fin dalle prime note i più grandi successi del leggendario Glenn Miller: In the Mood, Pennsylvania 6-5000, Moonlight Serenade, American Patrole Little Brown Jug.Voce 1 Flauto Oboe Cl. Si b Sax. S. TrombaVoce 2 Cl. Si b Cl. Alt Sax. A. TrombaVoce 3 Cl. Si b Cl. Alt Sax. A. Sax. T. CornoVoce 4 Sax. T. Fg Tbn Euf.Voce 5 Cl. Bas Sax. B. Fg Tbn Euf. Tuba.

SKU: WD.080689551789

UPC: 080689551789.

About Coronation Series

Coronation Series Instrumentation:
Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles Tuba), Alto Sax (doubles French Horn), Tenor Sax/Baritone T.C. (doubles Trombone,) - All charts released since 3/1/02 include a Bari Sax part that doubles Tuba.
Brass: 2 French Horn, 3 Trumpet, 3 Trombone, Tuba
Percussion:Percussion
Strings: 2 Violin*, Viola* Cello/Bassoon, String Bass
*simplified parts included
Additional Parts: Harp, Rhythm, String Reduction

SKU: BT.DHP-1084646-070

ISBN 9789043131315. 9x12 inches.

Timeless Traditionals is a beautiful mixture of the popular English folksong, Floral Dance, the Jazz standard Careless Love as well as the well-known songs Go, Tell it on the Mountain and Kumbaya in a wonderful arrangement by Robert van Beringen. Arranged for flexible instrumentation this arrangement is suitable for any combination of woodwind/brass instruments.Part 1 Fl Ob Bb/Eb Clar S Sax A Sax Tpt Part 2 Fl Cor Ang Bb Clar A Sax Tpt Hn Part 3 Bass Clar T Sax Bari Sax Bsn Trom Euph Tuba Opt. Perc 1 Perc 2

Medley van de werken: Floral Dance, Careless Love, Go, Tell It on a Mountain, Kumbaya

Eine schöne Mischung aus dem beliebten englischen Lied Floral Dance, dem amerikanischen Volkslied und Jazz-/Bluesstandard Careless Love sowie den beiden Spirituals Go, Tell It on a Mountain und Kumbaya fügte Robert van Beringen zusammen zu diesen Zeitlosen Volksliedern“ für dreistimmig variable Bläserbesetzung.Part 1 Fl Ob Kl B/Es S-Sax A-Sax Trp Part 2 Fl Cor Ang Kl B A-Sax Trp Hn Part 3 B-Kl T-Sax B-Sax Fg Pos Euph Tuba Opt. Perc 1 Perc 2

Medley des quatre traditionnels intemporels Floral Dance, Careless Love, Go Tell It on a Mountain et Kumbayah, arrangés trois voix pour Ensemble instrumentation variable.Voix 1 Fl Htb Cl. Si♭/Mi♭ Sax. S. Sax. A. Trp Voix 2 Fl Cor Angl. Cl. Si♭ Sax. A. Trp Cor Voix 3 Cl. B. Sax. T. Sax. B Basson Trb Euph. Tuba Opt. Perc 1 Perc 2

Una pubblicazione che unisce note canzoni anglosassoni: l'inglese Floral Dance, la canzone folk americana Careless Love, come anche i due spiritual Go, Tell it on the Mountain e Kumbaya. Un brano a strumentazione variabile per tre voci (ensemble di fiati).Part 1 Fl Ob Kl B/Es S-Sax A-Sax Trp Part 2 Fl Cor Ang Kl B A-Sax Trp Hn Part 3 B-Kl T-Sax B-Sax Fg Pos Euph Tuba Opt. Perc 1 Perc 2.

SKU: CF.CAS108F

ISBN 9781491151648. UPC: 680160909148. 9 x 12 inches. Key: D minor.

Thomas Jefferson's Fiddle Tunes is inspired by Thomas and Martha Jefferson's musical evenings after dinner at Monticello. Composer James Meredith has taken three reels from the colonial period in American history and put them together into a potpourri setting that students will enjoy playing.
Good music played well inspires the imagination. In the evenings after dinner at Monticello Thomas and Martha Jefferson enjoyed nothing better than to play music. Each was an accomplished musician. Jefferson would play the violin, and Martha would often accompany him at the piano. He especially enjoyed the music of Corelli. Thomas Jefferson’s Fiddle Tunes is an effort to depict what a musical evening might have been at the farm with guests joining in, clapping, stomping, or dancing to the lively tunes. Three reels of the Colonial period are featured in this medley. Jefferson and Liberty, Smash the Windows, and The White Cockade. Each jig is introduced by a solo violin then the whole section joins in.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians