Concert band (1st Flute, 2nd Flute (Piccolo)*, Oboe, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Bassoon, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone, Eb Baritone Saxophone*, 1st/2nd F Horn, 3rd/4th F Horn, 1st Bb Cornet,) - grade 3.5

SKU: CN.R10189

Composed by Gordon Langford. Band Music. Maestro Band Series. Score and parts. Duration 4:00. Published by G & M Brand Music Publishers (CN.R10189).

Music to wave flags by is the clue to the spirit of Hooray for our Side. In essence, it is a march. The composer had in mind, however, spectators at some competitive sport, encouraging and cheering on their particular team - hence the half-time and full-time whistles. This is all strictly for fun - the competitive spirit - and comradeship.

Music to wave flags by is the clue to the spirit of Hooray for our Side. In essence, it is a march. The composer had in mind, however, spectators at some competitive sport, encouraging and cheering on their particular team - hence the half-time and full-time whistles. This is all strictly for fun - the competitive spirit - and comradeship.

Band concert band - Grade 1

SKU: CF.BPS118

March. Composed by Matthew R. Putnam. Beginning Band (BPS). Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+3+6+3+1+1+3+3+16+2 pages. Duration 2 minutes, 9 seconds. Carl Fischer Music #BPS118. Published by Carl Fischer Music (CF.BPS118).

ISBN 9781491152041. UPC: 680160909544.

Wolverine Trail is a concert march for beginning bands and is rather helpful in introducing beginners to the march form and style. This piece is based in the key of Eb major and uses only the first seven notes taught in most method books. It is also rhythmically accessible to beginners, as simple eighth-note combinations are the most difficult rhythms in this march. The piece follows standard march form except that is does not modulate at the trio section.
When writing this piece, I was thinking of my beginning band students at Polk County Middle School. Our school is located at the foothills of the Appalachian Mountains and is surrounded by dense pine forests. The mascot of our school is rather fittingly the wolverine; hence, our school is located on the street named “Wolverine Trail.” Learning to be a musician is not an easy trial, as it requires hard work, dedication, and endurance. However, the trail to becoming a musician is full of rewarding and breathtaking experiences. As I wrote this piece, I was inspired by the rugged beauty of our school’s location and also how I am helping my beginner students to start on the trail to becoming mature musicians.Wolverine Trail is a concert march for beginning bands and is rather helpful in introducing beginners to the march form and style. This piece is based in the key of Eb major and uses only the first seven notes taught in most method books. It is also rhythmically accessible to beginners, as simple eighth-note combinations are the most difficult rhythms in this march. The piece follows standard march form except that is does not modulate at the trio section which begins at m. 57. It is my hope that this piece will help you and your beginners start your own musical trailblazing.

By Emma Lou Diemer. Edited by Helen Marlais. For Piano. The FJH Contemporary Keyboard Editions. From lyrical (Slow, Sad Waltz, and Minor Serenade), to rhythmic (Drumming It Up), to simply amusing (Icicles, Teasing), Emma Lou Diemer asks the student to play with a colorful palette of different sounds, pedal effects, articulations, and in some cases, non-traditional techniques. These pieces are sure to bring enjoyment and a bit of a challenge to the pianist and the listener. Also includes: Happy Dance; Answering; Echo Dream; Waves; Anger; Another Moonlight Serenade; Black is the Color; Remembering; Reaching Out; Hand Over Hand; Surprises; Chatter; Busy Toccata. Contemporary. Level: Early Intermediate/Intermediate. Book. Published by The FJH M

From Vivaldi's "Gloria" - for Unison or Two-Part Treble Voices with Keyboard Accompaniment and Optional Two Flutes. By Antonio Vivaldi. Edited by Patrick M. Liebergen. Arranged by Patrick M. Liebergen. Text: Anonymous. Treble choir. For Unison Chorus, Two-Part Treble Voices, Keyboard, Flute I, Flute II. Choral. Piano/Vocal Score. 12 pages. Published by Carl Fischer.

By Franz Schubert. For high voice, piano. (D.795,911,957)(Urtext Edition by Dietrich Fischer-Dieskau with musicological revisions by Elmar Budde)(Ger). Published by C.F. Peters.

By Franz Schubert. Edited by Fischer-Dieskau(Urtext). For medium voice, piano. (D.795,911,957)(Urtext Edition by Dietrich Fischer-Dieskau with musicological revisions by Elmar Budde)(Ger). Published by C.F. Peters.

SKU: HL.465793

Chauvet Lighting. Lighting. Hal Leonard #COLORBANDPIXMILS. Published by Hal Leonard (HL.465793).

UPC: 781462223793. 10.0x35.25x11.0 inches.

Add the power of a full-size linear wash light with 10 tri-color (RGB) LEDs, sweeping movement and staggering array of control options and you get COLORband Pix-M ILS, a fixture that will light up any event and ignite it with energy! This moving strip light creates dynamic sweeping effects and functions as a pixel mapping effect, blinder or wall-washer. You can also just angle the light where it's needed using the built-in motors. But the true excitement comes when you create eye-catching animations and video effects with individual LED control. Controlling this powerhouse couldn't be easier or more convenient. It has a built-in RF receiver for wireless control using the RFC or RFC-XL optional remotes, ILS compatibility for use in the ILS ecosystem, and D-Fi USB compatibility for wireless master/slave or DMX control. Even DMX connection options are flexible with onboard 3 and 5-pin DMX connectors.

Concert band (Flute 1/Piccolo, Flute 2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet (optional), Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2, Bb Cornet 3, Bb Trumpet 1/2, Ho) - grade 4

SKU: CN.S11042

Composed by George Lloyd. Band Music. Score only. Duration 10:00. Published by G & M Brand Music Publishers (CN.S11042).

This symphonic sketch for concert band is packed full different motives thrown around the ensemble hinting at the programmatic leitmotifs of Wagner. Every section of the ensemble gets a workout in this delightful 10-minute work.

A Symphonic Sketch for Concert Band. The resurgence of interest in George Lloyd's music must give us faith that such talent will ultimately prevail against sometimes unhappy circumstances. Lloyd was Cornish and showed precocious gifts at an early age - he had completed his first symphony by the age of nineteen. During the 1930s he completed two operas, one of which - The Serf - was produced at Covent Garden in 1938. He was set for a glittering career as a composer. The Second World War intervened and he was invalidad out of the Navy in a shell-shocked state, and having written very little serious music since 1937 went to Switzerland to recuperate, looked after by his wife, Nancy. Painfully, he began writing again - symphonies Nos. 4 and 5 - and then returned to England. He needed to earn a living and he set up a mushroom farm in Dorset. But slowly he began to compose again and drafted more symphonies in short score. By this time he was virtually unknown - despite being considered the equal of Walton, Britten, and other young stars of English music some 30 years earlier. Lloyd decided to embark on a series of recordings of his symphonies, and slowly popular acclaim enabled him to regain his position. The Forest of Arden was written in 1987 as a result of a commission by the Solihull Youth Wind Band. Although Lloyd's music feels instinctively written one should not be misled - it is carefully crafted, but the craft and structure are always subordinated to create a flow with a strongly melodic content. Instead of two or three themes, The Forest of Arden contains an abundance of ideas which can be described in two groups. The first group contains the opening rhythmic motif, quickly developed into a short rising quaver passage in the woodwinds, and later then a chromatic ostinato bass - only 8 bars at this stage but later expanded. The second group is broad and expansive, initially based on intervals of rising fifths introduced by euphonium, tubas, and baritone saxophone, immediately echoed by horns. Low brass and winds expand the theme into rising sixths and octaves. There is a hint of development, bit this is arrested as the music moves to a piu tranquillo section introduced by the alto saxophone which further develops the rising sixth theme. There follows a true development of the opening material, starting with the ostinato bass and gradually passing through different tonal centers until the rising fifths of the second theme group are heralded - fortissimo and poco piu largamente shortly before the end. The structure is almost Wagnerian (albeit on a much smaller scale), with themes being used as leitmotifs, but this is music which, even within the space of ten minutes is conceived on a grand design.