Fanfare Band - Grade 2

SKU: BT.GOB-000979-020

Composed by John Emerson Blackstone. Set (Score & Parts). 10 pages. Gobelin Music Publications #GOB 000979-020. Published by Gobelin Music Publications (BT.GOB-000979-020).

Today's society means to many people: bustle, hurry, quick and more ... No wonder that many are looking for (inner) tranquility and balance in their overloaded existence. Listen to music or active music is a way to relax and also to draw new energy.
The repetitive motifs in Innerspace provide a relaxing effect. Enjoy and use the strength of your own 'innerspace'.

De huidige maatschappij betekent voor veel mensen drukte, haast, snel en meer ... Niet zo gek dat velen op zoek zijn naar (innerlijke) rust en evenwicht in hun overbelaste bestaan. Muziek beluisteren of actief musiceren is een manierom tot rust te komen en er bovendien nieuwe energie uit te putten.

De repeterende motieven in Inner Space zorgen voor een ontspannende werking. Vervolgens kunnen muzikanten en publiek zich laven aan een energieke bronvol bruisende thematiek en ritmiek. Geniet en gebruik de kracht om er weer fris tegenaan te gaan.

Fanfare Band - Grade 2

SKU: BT.GOB-000979-120

Composed by John Emerson Blackstone. Score Only. Gobelin Music Publications #GOB 000979-120. Published by Gobelin Music Publications (BT.GOB-000979-120).

Today's society means to many people: bustle, hurry, quick and more ... No wonder that many are looking for (inner) tranquility and balance in their overloaded existence. Listen to music or active music is a way to relax and also to draw new energy.
The repetitive motifs in Innerspace provide a relaxing effect. Enjoy and use the strength of your own 'innerspace'.

De huidige maatschappij betekent voor veel mensen drukte, haast, snel en meer ... Niet zo gek dat velen op zoek zijn naar (innerlijke) rust en evenwicht in hun overbelaste bestaan. Muziek beluisteren of actief musiceren is een manierom tot rust te komen en er bovendien nieuwe energie uit te putten.

De repeterende motieven in Inner Space zorgen voor een ontspannende werking. Vervolgens kunnen muzikanten en publiek zich laven aan een energieke bronvol bruisende thematiek en ritmiek. Geniet en gebruik de kracht om er weer fris tegenaan te gaan.

Concert Band/Harmonie - Grade 2

SKU: BT.GOB-000978-010

Composed by John Emerson Blackstone. Set (Score & Parts). 61 pages. Gobelin Music Publications #GOB 000978-010. Published by Gobelin Music Publications (BT.GOB-000978-010).

Today's society means to many people: bustle, hurry, quick and more ... No wonder that many are looking for (inner) tranquility and balance in their overloaded existence. Listen to music or active music is a way to relax and also to draw new energy.
The repetitive motifs in Innerspace provide a relaxing effect. Enjoy and use the strength of your own 'innerspace'.

De huidige maatschappij betekent voor veel mensen drukte, haast, snel en meer ... Niet zo gek dat velen op zoek zijn naar (innerlijke) rust en evenwicht in hun overbelaste bestaan. Muziek beluisteren of actief musiceren is een manierom tot rust te komen en er bovendien nieuwe energie uit te putten.

De repeterende motieven in Inner Space zorgen voor een ontspannende werking. Vervolgens kunnen muzikanten en publiek zich laven aan een energieke bronvol bruisende thematiek en ritmiek. Geniet en gebruik de kracht om er weer fris tegenaan te gaan.

Composed by Randall D. Standridge. Concert Band. Concert Band; Part(s); Score. Alfred Debut Series. Grade 1.5. 138 pages. Published by Alfred Music

Concert Band (Score) - Grade 3

SKU: HL.4005757

Composed by Robert Buckley. MusicWorks Grade 3. Concert, Patriotic. Softcover. 20 pages. Duration 1320 seconds. Published by Hal Leonard (HL.4005757).

UPC: 888680909475. 9.0x12.0x0.068 inches.

Highway of Heroes was composed to honor heroism of all kinds-to pay tribute to the brave souls who every day unselfishly risk their lives and even pay the ultimate sacrifice. With the use of rich textures and dynamic scoring, this work builds to a stirring theme of hope and inner strength. The inspiration for this composition came from the name of a stretch of highway that pays homage to fallen soldiers. Dur: 4:55.

Chamber Music cello, piano

SKU: PO.PE047

Composed by Matthew Hindson. Sws. Score and parts. Composed 2001. Promethean Editions #PE047. Published by Promethean Editions (PO.PE047).

ISBN 9781877218477.

Hindson's Lament draws on the expressivity of the cello to respond to the Port Arthur massacre, in which a young man with a gun killed 35 people at the Port Arthur Historical Site in Tasmania, Australia. Amid the audible sorrow in the cello line is an accompanying inner strength that suggests the power to eventually overcome tragedy. At one point the cello melody employs a setting of Psalm 23 (The Lord is My Shepherd), which was read at the memorial service for the victims.

Composed by Joshua V. Hinkel. Concert Band. Concert Band; SmartMusic. Young Symphonic. Grade 2. Conductor Score and Parts. Published by Alfred Music

Concert Band (Score & Parts) - Grade 3

SKU: HL.4005355

Composed by Robert Buckley. MusicWorks Grade 3. Concert. Softcover. Published by Hal Leonard (HL.4005355).

UPC: 888680714444. 9x12 inches.

In 1917 two ships collided in the harbor of Halifax, Canada. The resulting explosion devastated most of the city. Echoes of the Silent is a hymn that pays homage to those who perished and to the resilient souls who survived. This music is reverent and reflective, with emotional ebbs and swells and an eventual build to a stirring theme of hope and inner strength. Ideal as a festival or memorial piece, this work is an opportunity for your ensemble to explore softer dynamics, expression and nuance. Duration: 5:05.

Bass Clarinet and Percussion

SKU: BT.MUSM570360208

Composed by Thomas Simaku. Set (Score & Parts). 50 pages. University of York Music Press #MUSM570360208. Published by University of York Music Press (BT.MUSM570360208).

English.

Thomas Simaku ’s composition Clarimbasso was first published in 2008. The piece received it’s debut performance in June that year at the York Late Music Festival. Simaku dedicated this piece to Maria and Damien Harron. For over a decade, Albanian-born British composer, Thomas Simaku ’s music has been reaching audiences all over Europe and the USA, winning a number of prestigious awards such as the Serocki International Prize, AHRC Fellowship, DAAD Award, as well as an Honourable Mention at the Musical Personalities International Competition. Many notable performances include , among others, those given by Kreutzer Quartet, English Northern Philharmonia, European Union ChamberOrchestra, the New London Orchestra, Amsterdam New Music Ensemble, Tokyo Phonosphere Musicale, Capricorn Ensemble, Norwegian Medieval Trio and the Austrian 'Ticom' Ensemble . Simaku ’s style combines avant-gardism and modality in his own way, often with a deeply convincing inner strength, structural integrity and impressive character.

By Ann Bryant. Classroom/Pre-School; General Music and Classroom Publications; Other Classroom. Book and CD. Published by Alfred Music . Sheet music CD.

SA and Piano

SKU: BT.MUSM570202126

Composed by Thomas Simaku. Set (Score & Parts). 16 pages. University of York Music Press #MUSM570202126. Published by University of York Music Press (BT.MUSM570202126).

English.

Silver was expertly composed by Thomas Simaku . First published in 1995, Silver was commissioned by the New London Children's Choir , with funds provided by the Ralph Vaughan Williams Trust. The piece received its debut performance in Spring 1996, at John's Smith Square, performed by the New London Children's Choir and conducted by Ronald Corp. For over a decade, Albanian-born British composer, Thomas Simaku ’s music has been reaching audiences all over Europe and the USA, winning a number of prestigious awards such as the Serocki International Prize, AHRC Fellowship, DAAD Award, as well as an Honourable Mention at the Musical Personalities International Competition.Many notable performances include, among others, those given by Kreutzer Quartet, English Northern Philharmonia, European Union Chamber Orchestra, the New London Orchestra, Amsterdam New Music Ensemble, Tokyo Phonosphere Musicale, Capricorn Ensemble, Norwegian Medieval Trio and the Austrian 'Ticom' Ensemble . Simaku ’s style combines avant-gardism and modality in his own way, often with a deeply convincing inner strength, structural integrity and impressive character.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Piccolo, Trumpet 1, Trumpet 2, Trumpet 3, alto Saxophone 1 and more. - Grade 5

SKU: CF.SPS85

Composed by Jeremy Martin. Folio. Sps. Set of Score and Parts. 4+28+28+14+14+4+14+14+7+24+28+28+8+4+8+8+14+8+9+12+12+8+8+8+8+12+12+9+12+8+16+4+3+2+6+6+6+7+44 pages. Duration 7 minutes, 8 seconds. Carl Fischer Music #SPS85. Published by Carl Fischer Music (CF.SPS85).

ISBN 9781491156421. UPC: 680160914968. 9 x 12 inches.

Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.
Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece” to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms” into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.