Euphonium solo with piano

SKU: TE.TEP11081

Composed by Margaret Hostetter Patten. Score. Published by Tuba-Euphonium Press (TE.TEP11081).

1. Ziggy 2. Sunset 3. Scherzo on a Pun.

Composed by Arthur Frackenpohl (1923-). Solo. For Tuba Solo with Piano. Published by Tuba-Euphonium Press

Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5

SKU: CF.CPS157F

Composed by Carol Brittin Chambers. Concert Band. Full score. 28 pages. Duration 3 minutes, 9 seconds. Carl Fischer Music #CPS157F. Published by Carl Fischer Music (CF.CPS157F).

ISBN 9780825896507. UPC: 798408096502. 9 x 12 inches.

Cedar Canyon Sketches will take you on a journey through the Texas Hill Country. It begins with the tranquil sounds of nighttime blanketing a peaceful canyon. Chambers then deftly moves the piece through a joyful wagon ride section, and later delivers the apex of the piece, which was inspired by a beautiful sunset. A very programmable piece, this will be a hit at your next concert!

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Sleigh Bells, Snare Drum and more. - Grade 3-3.5

SKU: CF.CPS9F

Fantasy on Good King Wenceslas. Composed by Traditional. Arranged by Sean O'Loughlin. SWS. Carl Fischer Concert Performance Series. Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS9F. Published by Carl Fischer Music (CF.CPS9F).

ISBN 9780825839993. UPC: 798408039998. 9 X 12 inches. Key: Eb major.

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Claves, Crash Cymbals, Euphonium, Euphonium T.C., Field Drum, Flute, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2 and more. - Grade 4 and up

SKU: CF.SPS11

Fantasia on Greensleeves. Composed by Traditional. Arranged by Elliot Del Borgo. FS-SWS-1Å’ Spine. Carl Fischer Symphonic Performance Series. Score and Set of Parts. With Standard notation. 36 pages. Carl Fischer Music #SPS11. Published by Carl Fischer Music (CF.SPS11).

ISBN 9780825843747. UPC: 798408043742. 9 X 12 inches. Key: D minor.

A brilliant and contrapuntally elaborate fantasy on the haunting and beautiful Christmas carol, Greensleeves, (a.k.a. What Child Is This), this is one of Del Borgo's most powerful symphonic sketches. The fragments of the tune are assembled and re-assembled in ever more inventive ways and the scoring is expert and full of the signature colorful Del Borgo percussion writing. Duration: 5' 30.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, English Horn, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3 and more.

SKU: PR.16500100F

Hymns for Wind Ensemble. Composed by Dan Welcher. Sws. Full score. 48 pages. Duration 10 minutes, 41 seconds. Theodore Presser Company #165-00100F. Published by Theodore Presser Company (PR.16500100F).

ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.

Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,”giving rise to the work’s title.
This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,” butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty” than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?” takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.”Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,”constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.” This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key” of the hymn seems to shift — until the “Lord of all, toThee we praise” melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tune”heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty” with long spaces between them, but it soonchanges to a series of “Amen” cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth” contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sight”and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.

Trombone solo with concert band - moderately advanced

SKU: CY.CC2904

Composed by Vladislav Blazhevich. Arranged by Benjamin Coy. Russian 20th Century. Score & Parts. Published by Cherry Classics (CY.CC2904).

Concert Piece No. 5 (also known as Concert Sketch No. 5) was composed in 1938 and is the only one of five of these works that are known. After this work, the composer apparently composed his 13 concertos for the Trombone.
This work is very popular for high school level performers and this premier arrangement by Benjamin Coy will allow Trombone soloists to perform the work with a large ensemble.
The music is in a Russian sounding romantic style and about 7 minutes in length, appropriate for moderately advanced performers.
Instrumentation for the Concert Band is:
2 Flutes, Oboe, 3 Clarinets in B-flat, Bass Clarinet, Bassoon, Alto Sax, Tenor Sax, Baritone Sax, 2 Trumpets in B-flat, 2 Horns, 2 Trombones, Euphonium, Tuba, Timpani, Marimba (can be replaced with a keyboard or Xylophone) & Percussion.
Cherry Classics Music is thankful to the Blazhevich Estate for giving permission to license and publish this work.