SKU: BT.GOB-000283-120

Composed during the summer of 1988. Commissioned by The Norwegian Brass Band Club First performed in the Grieg Hall¬? at the 10th Anniversary Concert for the Norwegian Championship, Bergen, February 1989. EBML conducted by Michael Antrobus.

The work is important for me because it was my first piece to be played outside Norway. Black Dyke/David King performed it and did a recording of it in 1991.

The composer:
In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material.

When he came to the north of Norway (where I come from) hedescribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius, that revolves(?= turn upside down) heaven and earth. (Well, not a good translation I¬?m afraid).

The fast sections reflects the mighty winds from the north. In the middle section, I borrowed a folksong-like tune (by C. Elling, a norwegian composer).
The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God. De opening en het slot van dit werk beschrijven 'Circius' de wind die hemel en aarde verwoest.
Het middendeel is een bewerking van het Noorse volkslied 'The fisherman's speech to his son'. De inhoud van het lied komt overeen met Circius. De vader verzoekt zijn zoon de krachten van de natuur te trotseren, maar bovenal te respecteren.
Een kort doch spectaculair concertwerk dat het gehele orkest in de greep heeft.

Gobelin Music Publications.

SKU: BT.1143-04-130-MS

T the beginning of the 1980s Alison Moyet was discovered by Vince Clarke, who - in search of greater independence - had left the successful band Depeche Mode. The soulful singing style of Moyet and the electronic, innovative pop that Clarke made melded well together in the group Yazoo with hits such as Only You and Don’t Go. However, after a number of years Moyet went her own way and forged a solo career, during which she demonstrated a somewhat more traditional sound. She recorded several covers (such as The First Time I Ever Saw Your Face and That Ole Devil Called Love) but she also wrotefine songs herself, such as Love Resurrection and, of course, the expressive song AllCried Out. This arrangement by Peter Kleine Schaars does justice to the atmosphere of the original song.

Die erfolgreiche Karriere von Alison Moyet begann zu Beginn der 80er-Jahre mit der englischen Popgruppe Yazoo. Nach ein paar Jahren ging die Sängerin mit der starken Soulstimme jedoch eigene Wege und arbeitete an einer Solo-Karriere. Sie nahm einige Cover-Versionen auf, schrieb aber auch selbst schöne Lieder, darunter Love Resurrection und natürlich das ausdrucksvolle, unvergessene All Cried Out. Diese Bearbeitung von Peter Kleine Schaars wird der Stimmung des Originals vollkommen gerecht.

La chanteuse Alison Moyet est repérée au début des années 1980 par Vince Clarke, alors la recherche d’une plus grande indépendance : il a quitté son célèbre groupe Depeche Mode. La voix mélancolique d’Alison Moyet et la musique pop électronique innovante de Vince Clarke s’unissent au sein du groupe Yazoo dont des chansons comme Only You et Don’t Go rencontrent un vif succès. Quelques années après, Alison Moyet décide néanmoins de suivre son propre chemin et se lance dans une carrière solo au cours de laquelle elle développe un style plus conventionnel. Elle enregistre plusieurs reprises telles que The First Time I Ever Saw Your Face et That Ole Devil CalledLove, mais compose aussi de superbes titres tels que Love Resurrection et bien entendu All Cried Out, une chanson particulièrement expressive. L’arrangement de Peter Kleine Schaars reste très fidèle l’ambiance de la chanson d’origine.

SKU: BT.DHP-0920369-030

In 1868 William Francis Allen published a collection of spirituals, songs sung by slaves whilst they worked. This book started a flood of enthusiasm for the spiritual which continues to this day. Jubilation (a time for celebration) uses the spiritual 'My Lord, What A Morning' as the main melody for transitions and modulations throughout and to introduce three further spirituals: I'm Gonna Sing, Steal Away and Ev'ry Time I Feel the Spirit.

SKU: BT.DHP-0970950-030

Roland Kernen has arranged the songs Macht hoch die Tür (Open Wide the Gates), Maria durch ein Dornwald ging (Maria Walks Amid the Thorns) and O Little Town of Bethlehem in his magical Advents-Fantasie. Within thiswork O Little Town of Bethlehem is skilfully used to connect the individual sections. A very varied and beautifully constructed composition to enrich any Christmas programme.

Roland Kernen componeerde een betoverende fantasie op bekende Duitse kerstliederen. U hoort Macht hoch die Tür en Maria durch ein Dornwald ging en tevens O Bethlehem, du kleine Stadt als verbinding tussen de twee andereliederen. Deze originele fantasie is een ideale afwisseling tijdens uw kerstconcert.

In seiner bezaubernden Advents-Fantasie verarbeitete Roland Kernen die Lieder Macht hoch die Tür, Maria durch ein Dornwald ging und O Bethlehem, du kleine Stadt. Dabei setzte er das Lied O Bethlehem, du kleine Stadtgeschickt als Verbindung der einzelnen Teile ein. Ein gelungenes, abwechslungsreiches Werk, das jedes Weihnachtskonzertprogramm bereichert.

Avec Advents-Fantaisie, Roland Kernen signe une oeuvre intense, débordante d'émotions et apportant un immense sentiment de quiétude. Macht hoch die Tür, Maria durch ein Dornwald ging et O Bethlehem, du kleine Stadtsont les trois mélodies réunies dans cet arrangement idéal pour toute programmation du temps de l'Avent et de Noël.

Nella sua deliziosa Advents-Fantasie Roland Kernen arrangia i canti Mach hoch die Tür, Maria durch ein Dornwald ging e O Bethlehem, du kleine Stadt, utilizzando sapientemente quest'ultimo canto come lo conduttore per unire le varie parti della composizione. Un brano molto riuscito e ricco, ideale per un concerto natalizio.

SKU: CF.CPS210F

ISBN 9781491153048. UPC: 680160910540.

A driving composition from Sean O'loughlin,?Commence!?begins with a spirited theme that oscillates between triple and duple meter. After developing into a heartfelt lush brass chorale, the lilting theme returns again. The composition concludes with a dramatic return of the B theme and a rousing finale. A beautiful piece,?Commence!?is a?strong choice for any contest or festival.

Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

SKU: AP.12-0571538983

ISBN 9780571538980. English.

Francisco Coll's vivid and unpredictable Piano Concertino: No sere yo quien diga nada (I'm not saying nothing) is one of his most striking scores to date. Written for Nicolas Hodges this four-movement work, with its idiosyncratic instrumentation (a bottom-heavy ensemble of lower strings, wind, brass, and percussion), flinty harmonies, and taut rhythmic profile will make a strong and lasting impression on audiences.

SKU: CF.BPS132F

ISBN 9781491158470. UPC: 680160917075. 9 x 12 inches.

Secret Mission is a cinematic depiction of a spy on a mission to defeat a nefarious villain. This was inspired by my love for several spies and superheroes from movies and television series, both serious and humorous. With exciting parts for all players, I hope your imagination is sparked by this accessible and melodic piece. In the opening, the spy receives his mission in grand fashion, as the title sequence rolls across the screen. After a dramatic pause (m. 10), the spy is on the chase! The melody at m. 11 depicts the spy doing reconnaissance on his enemy. The villain reveals his evil plan, and soon, the hero and the villain face off in an epic battle! Who do you think wins? Is it a serious thriller or a hilarious cartoon? Decide for your own as you see the end credits scroll! Itas an epic journey sure to spark your imagination. For smaller ensembles, the power chords in the low brass can be divided such that trombones take the top note, and euphonium the bottom, or divide it as is appropriate for your ensemble. At m. 9, and as it recurs, the students should choose a note that is comfortably in their playing range that they can play beautifully. They should, however, strive to choose a different note than their neighbor, and can change the note as this technique recurs. The melody at measure 11 should sound soft, light, and sneaky! Do not let the students get too loud at m. 17. If anything, this section should be slightly softer. The woodblock and cowbell add a touch of urgency (like the ticking of a clock) and humor (I got a fevah!). Make sure the countermelody at m. 25 can be heard clearly. At m. 33, dynamic contrast is very important. If needed, a crash cymbal from a drum set can be used, and both cymbals can be struck by a drumstick. In either case, suspended cymbal should be played with a drumstick (unless rolling: then, use a pair of yarn mallets). I sincerely hope you and your students enjoy the cinematic journey, and thank you for choosing my music!.
Secret Mission is a cinematic depiction of a spy on a mission to defeat a nefarious villain. This was inspired by my love for several spies and superheroes from movies and television series, both serious and humorous. With exciting parts for all players, I hope your imagination is sparked by this accessible and melodic piece. In the opening, the spy receives his mission in grand fashion, as the title sequence rolls across the screen. After a dramatic pause (m. 10), the spy is on the chase! The melody at m. 11 depicts the spy doing reconnaissance on his enemy. The villain reveals his evil plan, and soon, the hero and the villain face off in an epic battle! Who do you think wins? Is it a serious thriller or a hilarious cartoon? Decide for your own as you see the end credits scroll! It's an epic journey sure to spark your imagination. For smaller ensembles, the power chords in the low brass can be divided such that trombones take the top note, and euphonium the bottom, or divide it as is appropriate for your ensemble. At m. 9, and as it recurs, the students should choose a note that is comfortably in their playing range that they can play beautifully. They should, however, strive to choose a different note than their neighbor, and can change the note as this technique recurs. The melody at measure 11 should sound soft, light, and sneaky! Do not let the students get too loud at m. 17. If anything, this section should be slightly softer. The woodblock and cowbell add a touch of urgency (like the ticking of a clock) and humor (I got a fevah!). Make sure the countermelody at m. 25 can be heard clearly. At m. 33, dynamic contrast is very important. If needed, a crash cymbal from a drum set can be used, and both cymbals can be struck by a drumstick. In either case, suspended cymbal should be played with a drumstick (unless rolling: then, use a pair of yarn mallets). I sincerely hope you and your students enjoy the cinematic journey, and thank you for choosing my music!.
Secret Mission is a cinematic depiction of a spy on a mission to defeat a nefarious villain. This was inspired by my love for several spies and superheroes from movies and television series, both serious and humorous. With exciting parts for all players, I hope your imagination is sparked by this accessible and melodic piece. In the opening, the spy receives his mission in grand fashion, as the title sequence rolls across the screen. After a dramatic pause (m. 10), the spy is on the chase! The melody at m. 11 depicts the spy doing reconnaissance on his enemy. The villain reveals his evil plan, and soon, the hero and the villain face off in an epic battle! Who do you think wins? Is it a serious thriller or a hilarious cartoon? Decide for your own as you see the end credits scroll! It’s an epic journey sure to spark your imagination.For smaller ensembles, the power chords in the low brass can be divided such that trombones take the top note, and euphonium the bottom, or divide it as is appropriate for your ensemble. At m. 9, and as it recurs, the students should choose a note that is comfortably in their playing range that they can play beautifully. They should, however, strive to choose a different note than their neighbor, and can change the note as this technique recurs. The melody at measure 11 should sound soft, light, and sneaky! Do not let the students get too loud at m. 17. If anything, this section should be slightly softer. The woodblock and cowbell add a touch of urgency (like the ticking of a clock) and humor (I got a fevah!). Make sure the countermelody at m. 25 can be heard clearly. At m. 33, dynamic contrast is very important. If needed, a crash cymbal from a drum set can be used, and both cymbals can be struck by a drumstick. In either case, suspended cymbal should be played with a drumstick (unless rolling: then, use a pair of yarn mallets). I sincerely hope you and your students enjoy the cinematic journey, and thank you for choosing my music!

SKU: CF.YAS186

ISBN 9781491151518. UPC: 680160909018. 9 x 12 inches. Key: D minor.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a violin solo on the song. It them develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest-conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness, so a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions.  Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57 as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say, Everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

About Carl Fischer Young String Orchestra Series

This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: CF.YPS204

ISBN 9781491152249. UPC: 680160909742. Key: D minor.

Avalon–Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship.
Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King!

SKU: CF.CPS255F

ISBN 9781491159842. UPC: 680160918430.

American Visions is a fast-paced and energetic composition featuring rousing brass fanfares, lively woodwind motives, and driving percussion. It was initially inspired to embody the sense of American vigor and patriotism. Musically, the main motive at mm. 4-12 runs throughout the piece and vacillates between duple and triplet rhythms. Players should be mindful to differentiate between the two rhythms, so there is clarity. Measure 39 represents a contrasting section, and should be thought of as dark and warm sounding as possible. I intended that the section would resemble the overall timbre of orchestral strings, and players could think of that when performing the piece. Measure 55 presents a triplet rhythmic motive that must be precise in timing and dynamics. At m. 66, be sure that the main melodic motive and the tenor saxophone, low brass, and chimes countermelody can be heard through the ensemble's texture. Measure 73 uses bell tone articulations that build to standard articulations at m. 76. Thank you for playing my composition.
American Visions is a fast-paced and energetic composition featuring rousing brass fanfares, lively woodwind motives, and driving percussion. It was initially inspired to embody the sense of American vigor and patriotism. Musically, the main motive at mm. 4–12 runs throughout the piece and vacillates between duple and triplet rhythms. Players should be mindful to differentiate between the two rhythms, so there is clarity. Measure 39 represents a contrasting section, and should be thought of as dark and warm sounding as possible. I intended that the section would resemble the overall timbre of orchestral strings, and players could think of that when performing the piece. Measure 55 presents a triplet rhythmic motive that must be precise in timing and dynamics. At m. 66, be sure that the main melodic motive and the tenor saxophone, low brass, and chimes countermelody can be heard through the ensemble’s texture. Measure 73 uses bell tone articulations that build to standard articulations at m. 76. Thank you for playing my composition. .

SKU: BT.DHP-0981286-140

The Baroque is a period of frills and ornaments, wether in architecture, painting or music. An easy melody passes through a variety of arrangements. From brass quintet and different tutti parts, all the sections are in action. Fortified by a drum set and an (optional) electric bass, the piece is given a modern touch and becomes more acceptable to the audience. A follow-up to Rondo Romantica, this piece was composed in December 1997.

De barok: een tijdperk van speelsheid in de architectuur, de schilderkunst en de muziek. In dit werk wordt een eenvoudig in het gehoor liggende melodie door veel verschillende arrangementen geleid. Van het koperkwintet tot enkele tuttidelen zijn alle secties in actie. Versterkt door de drumset en de basgitaar krijgt het stuk een moderne touch. Hierdoor wordt het extra aantrekkelijk voor het publiek!

In diesem fröhlichen Werk des österreichischen Komponisten Otto M. Schwarz kommt wirklich jede Instrumentengruppe Ihres Blasorchesters zum Zuge. Ein spielerisches Barock-Thema wird durch einen flotten Schlagzeug-Rhythmus unterlegt und wird somit zu einer swingenden Nummer für Ihr nächstes Konzert!

Le baroque : un style et une époque marqués par la légèreté qui a investi tous les domaines artistiques (architecture, peinture, musique, etc.). Dans ce morceau, la mélodie simple est jouée plusieurs fois dans des arrangements différents. Tous les pupitres sont sollicités afin que l’on entende aussi bien des tutti que des interventions du quintette de cuivres. La batterie et la guitare basse donnent au morceau une touche moderne très attrayante. Rondo Barocco, qui s’inscrit dans la lignée de Rondo Romantica, est une oeuvre adaptée aux orchestres juniors et aux formations plus expérimentées.

Il barocco: uno stile e un’epoca contraddistinti dalla leggerezza che ha infl uenzato tutti i campi artistici (architettura, pittura, musica, ecc.). In questo brano, la semplice melodia è eseguita a più riprese in diversi arrangiamenti. Tutte le sezioni della banda sono sollecitate per far sì che si possano ascoltare vari passaggi in tutti, ma anche degli interventi del quintetto di ottoni. La batteria e la chitarra apportano un tocco moderno ed accattivante. Rondo Barocco è un brano a sicuro effetto che delizier il pubblico.

SKU: CF.SPS73

ISBN 9781491147689. UPC: 680160905188. 9 x 12 inches. Key: Bb major.

Composer/arranger Sean O'Loughlin has provided a refreshing new setting of our National Anthem. It was originally written for orchestral brass and percussion and has been performed at both MLB and NBA events. The arrangement begins with a bold fanfare to set the tone, but also to provide the motive glue to hold the arrangement together and create something unique. Creative harmonic usage and colorful orchestration really make this version stand out from the rest.
There have been many great arrangements of our National Anthem throughout the years . The responsibility of creating one that truly brought something new to the mix was very daunting . I was fortunate enough to get an opportunity to write this version for the Oregon Symphony Brass Section to perform at the Portland Trail Blazers NBA games . Subsequent performances have occurred with the Baltimore Symphony at the Baltimore Orioles MLB games . At this time, it is my supreme honor to adapt this for the advanced concert band .In bringing something new, I decided to start with a bold fanfare to set the tone for this great music . Introducing some more dissonant harmonies also created a more intense feel .The first stanza includes a flowing counter line in the horns and alto saxophones . The trumpets interject some flourishes on the second pass to further the intensity . These flourishes continue “ . . . when the rockets red glare!” The final push at m . 29 is colored with pulsating 16th notes in the woodwinds that lead to some dramatic harmony at the fermata in m . 32 . The opening fanfare then returns to let everyone know that it's time to “Play ball!”.