Grade 3

SKU: CL.012-2594-01

March. Composed by Alexander. Arranged by Glover. Concert Band. Extra full score. Composed 2014. Opus III Wind Orchestra Publications #012-2594-01. Published by Opus III Wind Orchestra Publications (CL.012-2594-01).

A previously unpublished work by Russell Alexander (1877-1915), probably composed in the early 1900's. Dedicated to Patrick Conway, a leading conductor and bandmaster from the early 20th century. This edition, created from the coposer's original manuscripts, includes full score and parts for contemporary concert band instrumentation.

By Conway A. Bolt. Arranged by Dennis Scott. For SATB choir (with optional small percussion). Mixed Voices Series. Sacred Anthem, Christmas. Octavo. Published by Chorister's Guild

Grade 4

SKU: CL.SCM-1151-00

Composed by Conway. Jazz Ensemble. Score and set of parts. C.L. Barnhouse #SCM-1151-00. Published by C.L. Barnhouse (CL.SCM-1151-00).

If you’re looking for something with a whole different feel and sound, look no further! This playable reggae style chart will be a great crowd pleaser, and your band will love playing it. C’mon down to the beach, mon!

Piano - Intermediate

SKU: AP.98-E1138

Composed by Kevin Costley. Duet or Duo; Piano Duet (1p, 4h); Piano Supplemental; Solo Small Ensembles. The FJH Piano Ensemble Series. Novelty; Ragtime; Summer. Score. 8 pages. Alfred Music #98-E1138. Published by Alfred Music (AP.98-E1138).

UPC: 241444432402. English.

Just a few miles north of Conway Arkansas is a little community called Pickles Gap. Legend says that many years ago, a farmer's truck full of pickles fell into the creek. For one piano, four hands at the Intermediate level.

About FJH Piano Ensemble Series

Creative material especially written to explore aspects of artistic ensemble performance.

Composed by Conway A. Bolt. Sacred Anthem. Octavo. Published by Chorister's Guild (LO.CGA677).

By Pat Conway (Editor, Arranger). For Harmonica. Traditional, Children's. Sheet Music. 60 pages. Published by Music Sales.

SKU: GI.G-10368

A Document History (1835-1935). Composed by Bryan J. Proksch. Music Education. 346 pages. GIA Publications #10368. Published by GIA Publications (GI.G-10368).

ISBN 9781622776276.

This is a fascinating and important book for everybody even remotely interested in the history of American bands. Bryan Proksch has done some painstakingly thorough research in putting together an amazing assemblage of documents… This is a must-have book! —Jon Ceander Mitchell     The Wind Music Research Quarterly: Mitteilungsblatt der IGEB     (March 2022), 14–15 For the scholar, each entry presents an opportunity for expansion. For the teacher, this work provides source readings for courses on wind band history or for complementing Strunk or Weiss-Taruskin in university music history courses. That said, these documents stand as an enriching and entertaining read in their own right for anyone interested in the subject. —Michael O’Connor     Historic Brass Today 1/2 (Spring 2022), 32 The Golden Age of American Bands is ideally suited for courses on the history and literature of bands in America. Indeed, this volume could suffice as a textbook for adventuresome teachers in that it touches on the major musicians, instruments, ensembles, and functions expected of such a course. . . . Both private and classroom band instructors will find compelling glimpses into the history of their craft. [It is] bursting with opportunities to inspire curiosity in their students while effectively supporting their own curricular goals. —Benjamin D. Lawson and James A. Davis     The Journal of Music History Pedagogy Proksch’s new collection of documents is a most welcome step in the direction of getting [the story of bands] under control. The juxtaposition of documents from so many levels and types of ensembles proves to have a cumulative effect: one begins to see the subtle and long-lasting connections among them despite the big differences. It is easy to envision it as a supplemental text in a course on band history and literature, but the book is also just an absorbing read. There is much to learn here, and much to enjoy. —Ken Kreitner     Notes 79/2 (December 2022): 217-218 This is the story of the American wind band, told chronologically by those who experienced it in real time from 1835 to 1935. How did bands become bands? How did they rise in popularity? Which figures had insights and specific impacts on the development of the genre? Through source documents and articles, Bryan Proksch takes us on an extraordinary journey from the time of the first brass bands in the 1830s, through the Civil War and the golden ages of Gilmore and Sousa, to the cusp of the wind ensemble just before World War II. Hear from a young Frederick Fennell about his efforts to create the first band at Eastman. Read the outline of Allessandro Liberati’s unpublished trumpet method book. Eavesdrop on Karl L. King as he muses on the fate of bands after the death of Sousa. See Patrick Conway’s first undergraduate music education curriculum. Gawk as trombonist Fredrick Neil Innes embarrasses “world’s greatest cornetist” Jules Levy at Coney Island. Explore as Alan Dodworth revolutionizes bands. Retreat with a military band in the middle of a Civil War battle. Find out what it felt like to sit in a Sousa Band rehearsal. Ask Herbert L. Clarke why he thinks you should be playing a cornet instead of a trumpet. Find out how P. S. Gilmore managed to pull off the biggest concert events in American history. The book includes numerous rare and unknown illustrations to show you the places where band history happened. The documents include rare periodical excerpts, handwritten letters, and other writings taken from archives throughout the United States. These first-person accounts are certain to further refine and deepen our understanding and appreciation of American band history on a grand scale. Contents: Beginnings (1835–1859) The Civil War (1860–1865) The Jubilees (1866–1879) The Gilded Age (1880–1896) The Band Age (1897–1914) World War I (1915–1919) Transition and Decline (1920–1935)   Click here to download a FREE addenda. Bryan Proksch is a distinguished faculty lecturer and associate professor of music history and literature at Lamar University in Beaumont, Texas. This is his third book. His A Sousa Reader: Essays, Interviews, and Clippings (GIA Publications, 2016) explores the documents relating to the life and career of John Philip Sousa.

Grade 4

SKU: CL.SCM-1151-01

Composed by Conway. Jazz Ensemble. Extra full score. C.L. Barnhouse #SCM-1151-01. Published by C.L. Barnhouse (CL.SCM-1151-01).

If you’re looking for something with a whole different feel and sound, look no further! This playable reggae style chart will be a great crowd pleaser, and your band will love playing it. C’mon down to the beach, mon!

SKU: CL.013-1134-00

March. Composed by J. J. Richards. Band. Score and set of parts. Composed 1936. C.L. Barnhouse #013-1134-00. Published by C.L. Barnhouse (CL.013-1134-00).

By Colleen Conway; Thomas Hodgman. Book. Sacred. Text language: English. 248 pages. Published by GIA Publications.

Piano

SKU: ST.AC165

Composed by Morgan Hayes. 1 minute 30 seconds. Score. Stainer & Bell Ltd. #AC165. Published by Stainer & Bell Ltd. (ST.AC165).

ISBN 9790220219528.

1st perf: Ian Pace, Cheltenham Town Hall, Cheltenham, 16 November 1998
(Cheltenham Contemporary Concerts Series).

This concerto is one continuous movement that is clearly divided into 3 main sections. The first movement is moderately fast and rhapsodic in charachter followed by a second section with an accompanied cadenza in the middle, the final movement is a fast-paced, energetic crescendo that leads to the climax of the work at the end. The solo part is a long and endlessly varied narrative that embraces the whole technical vocabulary of the cello available to both composer and soloist, with the harmonic aura being established by the orchestra from the beginning. The orchestra provides a platform of chords based on major and minor thirds which are the building blocks for the entire concerto both for soloist and orchestra. The harmonic scenery created by the orchestra is very much at the service of the soloist, always seeking to support and highlight the poetic and dramatic content of the solo part as well as providing a transparent and clear harmonic framework. The accompaniment for the piece is dense, at times polyphonic and sometimes multi-layered but only towards the very end is the orchestra allowed to dominate, in the final climax of the work. Commissioned by William Conway. First performed with the Scottish Chamber Orchestra in 1995

Conductor

SKU: CL.072-6023-01

Composed by J. J. Richards. Vintage Band Collections & March Books. Conductor book. Composed 1936. C.L. Barnhouse #072-6023-01. Published by C.L. Barnhouse (CL.072-6023-01).

CONTENTS: McGehee * Port Conway * Shadwell * Kinderhook * Westmoreland * Berkeley * Campus Queen * Junior-Senior Frolic * Greenway * Quincy * Mecklenburg * Hillsboro * Summerhill * Cove Gap * Hardin * Raleigh.