Get to know the music of Bryan Kidd. He follows the resounding success of his recent release The Road to Chancellorsville and preceding that his exquisitely beautiful rendition of Be Thou My Vision with this commanding new original composition. Energetic and expansive Blue Ridge Summit makes full use of the additional excitement and compositional maturity that Grade 3 guidelines permit. If you have used one of Mr. Kidd’s previous CMP publications with your band you are sure to want to add this vigorous new composition to your library. If you are not already familiar with this outstanding composer now is your chance to try one of his works.

Get to know the music of Bryan Kidd. He follows the resounding success of his recent release The Road To Chancellorsville and preceding that his exquisitely beautiful rendition of Be Thou My Vision with this commanding new original composition. Energetic and expansive Blue Ridge Summit makes full use of the additional excitement and compositional maturity that Grade 3 guidelines permit. If you have used one of Mr. Kidd’s previous CMP publications with your band you are sure to want to add this vigorous new composition to your library. If you are not already familiar with this outstanding composer now is your chance to try one of his works.Superb!

‘Christmas Colours’ is a palette consisting of several Christmas songs. Bruce Fraser has mainly used the colours green (the colour of holly) and white (the colour of snow). This composition begins with the chiming of festive bells - if you listen well however you can already hear short fragments from 'The Holly and the Ivy' whose entire melody is finally played alternated with 'The Sussex Carol'. After this the pace slows down and the stately 'See amid the Winter Snow' sounds but parts from 'Jingle Bells' and 'Silent Night' can also be heard. Then after walking under 'The Holly and the Ivy' once again the celebration of Christmas may begin!

The Dance Of The Jesters was composed as incidental music for the ballet The Snow Maidens. The ballet is not based on the Hans Christian Andersen story but on a contemporary Russian fantasy-play Snegourochka. The Snow Maiden daughter of Father Frost falls in love with a human Misgir and plans to marry him. However Misgir is already betrothed to Coupava. The Snow Maiden follows him southward to interrupt his wedding but she falls victim to the warmth of the sun and melts. The Dance is an incredibly lively affair that has stood out from the songs dances and choruses of the ballet. It captures the color and zest of Russian folk dance.

as performed by Walk The Moon-Recorded by American pop group Walk The Moon this upbeat rock hit has already demonstrated remarkable longevity. Skillfully arranged for younger players this lively tune is fun for all players and sure to be a great motivator for your band.

Already a classic in the grade 1 repertoire Anne McGinty's composition sounds sophisticated without being hard. It features effective use of polychords modal harmonies and a driving percussion part. Written with just a singletempo this is sure to make your beginners sound great! Dur: 2:05

Despite his having moved to the United States with his family when he was 11 years old Robert Nathaniel Dett (1882-1943) was born in Canada where glimpses of his talent had already begun to manifest themselves at an early age. Among Dett's earliest titles was his Characteristic March Two-Step After the Cakewalk. Perhaps written when Dett was just a teenager this current edition is wholly based upon its original 1901 band publication that was arranged by Lee Orean Smith. Smith was also responsible for preparing Dett's piano solo version for publication as well as its form for theatre orchestra and mandolin club. Owing to the fact that Smith's highly idiomatic scoring wasprepared for a band of that period this edition adapts edits and extends Smith's instrumentation in order to make it possible for Dett's music to become available to a new generation of musicians and listeners alike. (Grade 4)

MusicWorks – Grade 5 This hauntingly beautiful piece by Fauré was commissioned by the French government in 1921 as a memorial for the centenary of Napoleon's death. It has been magnificently orchestrated forwind band by Myron Moss and is already garnering national attention with several important performances including The Midwest Clinic in Chicago December 2003. Expansive and rich-sounding this piece demands a mature group butdelivers an impressive and rewarding musical experience. (7:30)

Here's a whimsical concert march your beginning band will be ready to perform after only a few weeks! John O'Reilly has taken four of the beginning band repertoire's 'greatest hits' including 'Hot Cross Buns,' 'Lightly Row,' 'Go Tell Aunt Rodie' and 'Merrily We Roll Along' and cleverly worked them into a delightful medley, ideal for your band's very first concert! The familiar tunes work their way throughout the band so each section gets a shot at the melody! (Easy) / Conducteur

Par HOSAY JAMES L.. GUARDIANS OF PEACE is dedicated to the United States Atlantic Fleet. From their homeport of Norfolk, Virginia, they are ready and able to deploy to any region of the world at a moment’s notice, to help maintain peace and stability throughout the world. They have a long, proud history of service and dedication, and played a major role in the success of Operations Desert Shield and Desert Storm. The level of dedication and self-sacrifice required by this type of service is the highest in all the military, as individuals must be separated from families and loved ones for long periods of time, while placing their lives and well-being in grave danger. / Niveau : 4 / Répertoire / Concert Band ou Harmonie

This musically imaginative collection of classic carols vary from a tender setting of 'In the Bleak Midwinter' to a concert-ready version of 'O Holy Night.' Approximate performance times are included to assist planning. / Piano

Michael O???Dorn devotes his life to performing and the promotion of Fingerstyle Guitar music. This DVD contains many styles of Fingerstyle Guitar picking.Tunes include: Rose Time Yesterday Je Te Veux TuckMe to Sleep in My Old ???Tucky Home Drive-In Saturday Night Shuffle Amazing Ace Freight Train If You Could Read My Mind Jesse James Ready for the Times to Get Better Mom???s Melody Spirit of Brother Marcel Cane Break Blues Yankee Doodle Dandy I???ll See You in My Dreams; SkyBird and more.

Unlike Handel’s other Organ concertos HWV 292 is not a transcription of a work for a different solo instrument but was conceived from the outset as part of the oratorio Athalia.Its fourth movement leads seamlessly into a Hallelujah chorus that was only later replaced by an Adagio ending for publication purposes. Thanks to the relative simplicity of the chorus our volume makes a useful addition to the material already published for this concerto (BA 8344).Original version of movement no. 4 from Organ Concerto HWV 292.Effective and easy to perform.For four-voice mixed chorus.

Original Version - Edition for Cello and Piano. Schumann?s Cello Concerto Rediscovered. In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann?s original version of his Cello Concerto in A minor Op. 129 ? a piece he actually called a ?Concertstück? ? removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer?s manuscript held in the Biblioteka Jagiello?ska in Kraków. It is presented in a beautifully printed edition for cello with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann?s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Matching orchestral material available separately from Edition Peters Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann?s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann?s original conception of the work ? not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann?s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiello?ska in Kraków, to reveal Schumann?s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann?s original conception of the work as a Concertstück and restores Schumann?s musical text, free of posthumous interventions. It is presented in a beautifully printed edition for cello, with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. ?My ultimate wish,? says the editor, ?is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character ? one that is lighter and happier, even ?cheerful?, as Schumann himself described the work.?