C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 448 pages. Published by Hal Leonard.

Choral (SAB Choir)

SKU: HL.244744

(Choral Highlights). Composed by Alan Menken, Howard Ashman, and Tim Rice. Arranged by Audrey Snyder. Disney Choral. Concert, Disney, Light Concert, Medley, Movies, Pop, Show Choir. Octavo. Duration 570 seconds. Published by Hal Leonard (HL.244744).

UPC: 888680708740. 6.75x10.5x0.072 inches.

With two new songs incorporated from the Disney live-action movie, your students can be reaquainted with this beautiful Disney score. Songs include: Belle, How Does a Moment Last Forever, Be Our Guest, Evermore and Beauty and the Beast.

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

SKU: HL.4005170

Composed by Alan Menken and Howard Ashman. Arranged by Paul Lavender. Flex-Band Grade 3. Disney, Movies. Softcover. Published by Hal Leonard (HL.4005170).

UPC: 888680697426. 9.0x12.0x0.038 inches.

Featuring the familiar songs from the original 1991 animated classic Beauty and the Beast, and revived for the 2017 live-action blockbuster movie, this concise medley with flexible scoring includes the title song Beauty and the Beast along with Belle and Be Our Guest.

Score Only Concert Band (Score) - Level 1.5

SKU: HL.22625110

Composed by Alan Menken and Howard Ashman. Arranged by Eric Osterling. Discovery Concert Band. Children, Disney, Movies. Published by Hal Leonard (HL.22625110).

UPC: 888680625054. 9.0x12.0x0.026 inches.

From Disney's Beauty and the Beast here is the entertaining show-stopper Be Our Guest carefully arranged for 2nd year players.

Pack with Songbook and Instrument. Composed by Alan Menken, Howard Ashman, and Tim Rice. Recorder. Softcover. 24 pages. Published by Hal Leonard

(from Beauty and the Beast). By Howard Ashman, Alan Menken. Arranged by Ed Lojeski. (2 part). Choral. Size 6.75x10.5 inches. 16 pages. Published by Hal Leonard.

(from Beauty and the Beast). By Alan Menken. Arranged by Ed Lojeski. (Showtrax Cd). Choral. CD only. Size 6.7x10.5 inches. Published by Hal Leonard.

(Audio Sampler (includes actor script and listening CD)). Composed by Alan Menken and Howard Ashman. AUDSAMPLER. Recorded Promo - Stockable. Hal Leonard #340. Published by Hal Leonard

Composed by Various. The Little Black Songbook. Disney, Movies, Tv. Softcover. 240 pages. Published by Hal Leonard

Composed by Beck. For organ/keyboard. General. Easy. Published by Concordia Publishing House

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.