SKU: CF.CPS251F

ISBN 9781491159880. UPC: 680160918478.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.

SKU: BT.CMP-0419-00-020

A wonderful teaching piece and the ideal young band festival work, BACH VARIANTS (six melodic variations on the Bach chorale AWAKE MY HEART AND SING) should be a staple of every young band library. Chorale style playing does so much for the young band's intonation, tone quality and phrasing. Including this one in your next festival program is certain to reap great rewards by honing your group's ability to make quality sound. Even bands which normally play music of higher grade levels will find a valuable experience in James Curnow's BACH VARIANTS. Be sure to add this one to your repertoire.

SKU: CF.CAS107

ISBN 9781491146675. UPC: 680160904174. 9 x 12 inches. Key: E minor.

Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic violin melody with a soaring cello obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance.
An up-tempo 3⁄4 piece in E minor, Triangle of the Tempest features inviting rhythmic challenges, provocative melodic variations and dynamic color shifts .The A-section is based on a repeating eight-measure harmonic progression with punctuated open voicings and syncopated figures . Each section builds in intensity as new elements are added in subsequent eight-measure increments . Rhythmically, the pattern in the A-section (mm . 1–36) follows a two-measure form: the first of the two measures has a dotted quarter-eighth syncopated figure, and the rhythms in the second measure fall primarily on the beats . After the main eight-measure pattern is established, the A-melody and its variations are introduced on top of it .A two-measure build (mm . 35–36), highlighted by fast moving ensemble triplet figures, propels the piece as it crescendos into the jubilant B-section (mm . 37–52), changing tone and moving to the relative G major . The violins carry the soaring melody atop sonorous major chords in the mid and low strings . Rhythmically, the alternating syncopated measure/non-syncopated measure form continues through this section .Returning to the dramatic E minor A-section phrases in mm . 53–86, the piece shifts to the original eight-measure harmonic progression with melodic variations in the violins over the top . After reprising the B-section (mm . 87–102), intertwining motifs at m . 103 offer a variation on the A-theme where the melodic entrances happen at one-measure intervals .The tempo slows slightly and the tone changes again in the flowing and magical C-section at m . 123 as the piece moves again to the relative G major . Repeating lyrical legato violin lines create the musical background for a majestic viola melody, featured in mm . 126–146 . A brief fanfare statement with motifs spread throughout the orchestra at m . 153, prepares the return to E minor and the A-theme in mm . 160–193 .Measure 194 introduces an E-pedal point and tension builds, ramping up emotionally to the ending . The ensemble thunders at m . 202 as the violins and violas begin a four-measure syncopated question/answer section with the cellos and basses . The phrases crescendo and build for another four measures at m . 206, setting up the driving unison, tutti figures at m . 211 and a final explosive hit on the downbeat of m . 212 .

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: KJ.WB450

UPC: 084027044391.

About Tradition of Excellence: Excellence in Performance

Excellence in performance is a concert band repertoire series correlated with the Tradition of Excellence Comprehensive Band Method by Bruce Pearson and Ryan Nowlin. The compositions in the series correlate to a specific page in Tradition of Excellence Books 1, 2, or 3 and reinforce and expand on skills and concepts introduced in the method.

/Selections include exciting parts for every player, grade-appropriate cross-cueing, accessible ranges and rhythms, creative percussion writing, electric bass and rehearsal piano parts, and full conductor scores with rehearsal suggestions, program notes and composer biographies. In addition, the Grade 1 works provide an Advanced Snare Drum part for percussionists who have achieved a higher level of ability, playable simultaneously with the more basic Snare Drum part to facilitate differentiated learning.

SKU: CF.CAS155

ISBN 9781491162873. UPC: 680160921621. Key: G major.

Resplendence is an exclamation of joy and serves as the fanfare for a glorious return. Written as Covid-19 restrictions lessened and orchestras once again took to the stage, this uplifting work celebrates a return to normalcy. A joyous theme in G major briefly moves into E-flat major, developing the motif through modal shifts and expanding accompaniments. Variations in the relative minor build to a spectacular climax, driving the accelerating melody to a triumphant conclusion. Colorful with ever changing textures and lyrical melodies, the work embodies the emotions of people rediscovering the joy of being together, and of playing music together.

About Carl Fischer Concert String Orchestra Series

This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: CA.2103214

ISBN 9790007198305. Language: Latin.

In 1953, with timpani and trumpets a la Marseillaise, a French piece of music once again captured public attention (Eurovision Hymn) and a composer was rediscovered: the first recording of Marc-Antoine Charpentier's Te Deum H 146 was released. The introductory fanfare not only praised God but the Sun King Louis XIV, and it opens one of the greatest works of French Baroque music. Magnificent celebration and ardent pleading, effective choruses, arias and small ensembles, plus instrumental interludes combine to create a harmonious whole, drawing its higher meaning from Charpentier's musical-theological interpretation of the Latin hymn of praise that it is based on. Score and part available separately - see item CA.2103200.

SKU: CA.2103212

ISBN 9790007198282. Language: Latin.

In 1953, with timpani and trumpets a la Marseillaise, a French piece of music once again captured public attention (Eurovision Hymn) and a composer was rediscovered: the first recording of Marc-Antoine Charpentier's Te Deum H 146 was released. The introductory fanfare not only praised God but the Sun King Louis XIV, and it opens one of the greatest works of French Baroque music. Magnificent celebration and ardent pleading, effective choruses, arias and small ensembles, plus instrumental interludes combine to create a harmonious whole, drawing its higher meaning from Charpentier's musical-theological interpretation of the Latin hymn of praise that it is based on. Score and part available separately - see item CA.2103200.

SKU: CA.2103211

ISBN 9790007241407. Language: Latin.

In 1953, with timpani and trumpets a la Marseillaise, a French piece of music once again captured public attention (Eurovision Hymn) and a composer was rediscovered: the first recording of Marc-Antoine Charpentier's Te Deum H 146 was released. The introductory fanfare not only praised God but the Sun King Louis XIV, and it opens one of the greatest works of French Baroque music. Magnificent celebration and ardent pleading, effective choruses, arias and small ensembles, plus instrumental interludes combine to create a harmonious whole, drawing its higher meaning from Charpentier's musical-theological interpretation of the Latin hymn of praise that it is based on. Score and part available separately - see item CA.2103200.

SKU: CA.2103219

ISBN 9790007241414. Language: Latin.

In 1953, with timpani and trumpets a la Marseillaise, a French piece of music once again captured public attention (Eurovision Hymn) and a composer was rediscovered: the first recording of Marc-Antoine Charpentier's Te Deum H 146 was released. The introductory fanfare not only praised God but the Sun King Louis XIV, and it opens one of the greatest works of French Baroque music. Magnificent celebration and ardent pleading, effective choruses, arias and small ensembles, plus instrumental interludes combine to create a harmonious whole, drawing its higher meaning from Charpentier's musical-theological interpretation of the Latin hymn of praise that it is based on. Score and parts available separately - see item CA.2103200.

SKU: CA.2103215

ISBN 9790007198312. Language: Latin.

In 1953, with timpani and trumpets a la Marseillaise, a French piece of music once again captured public attention (Eurovision Hymn) and a composer was rediscovered: the first recording of Marc-Antoine Charpentier's Te Deum H 146 was released. The introductory fanfare not only praised God but the Sun King Louis XIV, and it opens one of the greatest works of French Baroque music. Magnificent celebration and ardent pleading, effective choruses, arias and small ensembles, plus instrumental interludes combine to create a harmonious whole, drawing its higher meaning from Charpentier's musical-theological interpretation of the Latin hymn of praise that it is based on. Score and part available separately - see item CA.2103200.

SKU: CA.2103249

ISBN 9790007241438. Language: Latin.

In 1953, with timpani and trumpets a la Marseillaise, a French piece of music once again captured public attention (Eurovision Hymn) and a composer was rediscovered: the first recording of Marc-Antoine Charpentier's Te Deum H 146 was released. The introductory fanfare not only praised God but the Sun King Louis XIV, and it opens one of the greatest works of French Baroque music. Magnificent celebration and ardent pleading, effective choruses, arias and small ensembles, plus instrumental interludes combine to create a harmonious whole, drawing its higher meaning from Charpentier's musical-theological interpretation of the Latin hymn of praise that it is based on. Score and part available separately - see item CA.2103200.