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.

Choral (Studiotrax CD)

SKU: HL.35028997

(from Festival of Carols). Composed by Joseph M. Martin. Arranged by Joseph M. Martin. Shawnee Sacred. Advent, Christmas, Christmas Sacred, Concert. CD only. Published by Shawnee Press (HL.35028997).

UPC: 884088906320. 4.75x4.75 inches.

Uses: Advent, Christmas, Concert

Scripture:Isaiah 11:10; John 3:16; Hebrews 1:5; Revelation 22:13

This lovely pairing of two ancient carols is an exquisite delight for Advent and Christmas services. Crafted elegantly with careful attention to color and dynamics, this truly unique coupling is a seamless presentation of both melodies. Passages of a cappella mix with gracious piano or orchestral accompaniments while an optional baritone solo becomes the voice of prophecy proclaiming the hope of a coming Messiah. Available separately: SATB, StudioTrax CD (Accomp., SplitTrax, Perf.), Orchestration (Score & Parts for Flute 1 & 2, Oboe, Clarinet 1 & 2, Bassoon, Horn 1 & 2, Trumpet 1-3, Trombone 1 & 2, Bass Trombone/Tuba, Timpani, Percussion, Harp, Violin 1 & 2, Viola, Cello, Double Bass). Duration: ca. 4:10.

Further Adventures for the Intermediate Drummer. Performed by Metallica. Instructional. Softcover with CD. Size 9x12 inches. 72 pages. Published by CHERRY LANE MUSIC.

An Inside Look at the Bass Styles of Metallica. Performed by Metallica. By James A. Rota. Hal Leonard Guitar Method. Book and CD package. With notes and tablature. Size 9x12 inches. 64 pages

Cantata for the 1st Sunday in Advent. Composed by Johann Sebastian Bach (1685-1750). Edited by Klaus Hofmann. This edition: urtext, paperback. Stuttgart Urtext Edition: Bach vocal. Sacred vocal music, Cantatas, Advent, Christmas. Full score. Composed 1731. BWV 36. 52 pages. Duration 31 minutes. Carus Verlag #CV 31.036/00. Published by Carus Verlag (CA.3103600).

Performed by Metallica. For guitar. Format: instructional book (guitar excerpts only). With guitar tablature, standard notation, chord names, instructional text, introductory text, guitar notation legend and black and white photos. Metal and hard rock. 100 pages. 9x12 inches. Published by Cherry Lane Music.

Performed by Metallica. For guitar. Includes instructional book and examples CD. With guitar tablature, standard notation, chord names, performance notes, instructional text, introductory text and guitar notation legend. Metal and hard rock. Series: Hal Leonard Guitar Method. 86 pages. 9x12 inches. Published by Cherry Lane Music.

SSAATTBB chorus and piano - hard/medium-hard

SKU: JK.01924

Composed by George Frideric Handel. Arranged by Kurt Bestor. Choral SATB, Difficulty Hard, Difficulty Medium Hard, Piano Choir, Seasonal Music Christmas, Christmas, Jesus Christ - Birth, Jesus Christ - Savior, Jesus Christ - Second Coming, Peace. Christian, Inspirational. Duration 5:30. Jackman Music Corporation #01924. Published by Jackman Music Corporation (JK.01924).

UPC: 093285019249. Isaiah 40:5; Isaiah 9:6; Job 19:25, 26; and 1 Corinthians 15:20-22.

This beautiful new arrangement by award-winning composer/arranger, Kurt Bestor (Prayer of the Children), accomplishes the almost impossible task of taking the essence of Handel's Messiah and distilling it into a five-minute presentation that is accessible to almost any choir. Bestor's masterful medley is sure to become a choral favorite amongst artists and audiences alike.
For SSAATTBB and piano.
Songs included in this medley:
And the Glory of the Lord,
I Know that My Redeemer Lives,
and For Unto Us.
As performed by The Gibbons Family.
Composer: George Frideric Handel
Arranger: Kurt Bestor
Difficulty: hard/medium-hard
Performance time: 5:30
References: Isaiah 40:5; Isaiah 9:6; Job 19:25, 26; and 1 Corinthians 15:20-22.

For Piano. Popular, Classical, Weddings. Sheet Music. 128 pages. Published by Wise Publications.