| Mammoth Concert band Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T....(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Tambourine, Timpani, Trombone, Trumpet, Tuba and more. - Grade 0.5 SKU: CF.PPS24 Composed by Sean O'Loughlin. Primer Band. Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+2+3+2+6+2+3+1+1+2+3+16 pages. Duration 1 minute, 47 seconds. Carl Fischer Music #PPS24. Published by Carl Fischer Music (CF.PPS24). ISBN 9780825895432. UPC: 798408095437. 9 x 12 inches. A beginning concert band piece of elephantine proportions! Sean O'Loughlin is able to deliver exciting music that students love to play, time and time again. His pieces in sounds much more difficult and sophisticated than students are technically able to play. Your band will shine with this mammoth musical depiction. $50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Bicycle Race Concert band - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell, Bells, Car Horn, Clarinet 1, Clari...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bell, Bells, Car Horn, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba and more. - Grade 1.5 SKU: CF.FPS138 Composed by Andrew Balent. SWS FS. First Plus Performance Series. Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+4+4+6+2+3+2+1+2+2+12 pages. Duration 2 minutes, 3 seconds. Carl Fischer Music #FPS138. Published by Carl Fischer Music (CF.FPS138). ISBN 9781491147221. UPC: 680160904723. 9 x 12 inches. Take your band on a musical bicycle ride with this piece for developing musicians. It has a catchy tune that students will want to play over and over again. It can be used as a great teaching piece for working on steady, even eighth note patterns and uniformity of articulation style. The bicycle bell and horn will add to the fun of this piece! $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Dance of the Slippery Slide Trombones Concert band - Easy C.L. Barnhouse
Grade 2.5 SKU: CL.011-3299-01 Composed by Shaffer. Young Concert Band. Co...(+)
Grade 2.5 SKU: CL.011-3299-01 Composed by Shaffer. Young Concert Band. Command Series. Audio recording available separately (items CL.WFR330 & CL.WFR344). Extra full score. Composed 2003. Duration 1 minute, 51 seconds. C.L. Barnhouse #011-3299-01. Published by C.L. Barnhouse (CL.011-3299-01). It's called the Dance of the Slippery Slide Trombones, but every section in the band gets to show off in this clever and humorous arrangement based on the Dance of the Sugar Plum Fairies from the Nutcracker Suite. Lots of percussion parts to keep your drummers involved! Very impressive sound for more advanced bands with limited rehearsal time. FUN, FUN FOR ALL! About C.L. Barnhouse Command Series The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content. $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Festival March Concert band - Advanced Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Triangle, Trombone 1 and more. - Grade 5 SKU: CF.SPS78 Composed by Victor Herbert. Symphonic Band (SPS). Set of Score and Parts. With Standard notation. 3+12+12+6+6+3+12+24+24+6+6+8+8+6+6+9+18+18+27+8+8+8+8+9+9+9+9+12+3+6+6+40+6 pages. Duration 7:37. Carl Fischer Music #SPS78. Published by Carl Fischer Music (CF.SPS78). ISBN 9781491152553. UPC: 680160910052. Key: Bb major. Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic. Festival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  . $150.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Finding You Here - Beginner FJH
Jazz Ensemble Jazz Ensemble - Grade 1.5 SKU: FJ.JE4116S Score Only...(+)
Jazz Ensemble Jazz Ensemble - Grade 1.5 SKU: FJ.JE4116S Score Only. Composed by Erik Morales. Arranged by Erik Morales. Jazz Ensemble. FJH Beginning Jazz Ensemble. Ballad. Score. Duration 3:00. The FJH Music Company Inc #98-JE4116S. Published by The FJH Music Company Inc (FJ.JE4116S). English. This easy swing ballad pays homage to the great Neal Hefti and his classic Li'l Darlin', which was written for the Count Basie Orchestra and is now standard repertoire in the big band genre. There is plenty of ensemble work, along with a great written tenor sax solo (also with chord symbols). For greater performance flexibility, an optional solo sheet is included for other instruments as well. A great vehicle for teaching the most basic elements of jazz in a musical setting! About FJH Beginning Jazz Ensemble Appropriate for first-year jazz ensembles. Playable with as few as 3 saxes, 2 trumpets, 1 trombone, and rhythm section. Pieces consist mostly of ensemble writing. Written solos are provided along with suggested parts for rhythm section and drum set. Guitar chord guide included. Grades 1 - 1.5 $5.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Four Pieces Op. 40 for Tuba or Bass Trombone and Piano - Advanced Cherry Classics
Tuba or Bass Trombone and Piano - Advanced SKU: CY.CC3072 Composed by P. ...(+)
Tuba or Bass Trombone and Piano - Advanced SKU: CY.CC3072 Composed by P. I. Tchaikovsky. Arranged by Ralph Sauer. Classical. Score and Parts. Cherry Classics #CC3072. Published by Cherry Classics (CY.CC3072). ISBN 9790530110492. 8.5 x 11 in inches. Ralph Sauer has beautifully arranged four movements from Tchaikovsky's Four Pieces Opus. 40 for Tuba or Bass Trombone and Piano: 1. Chanson Triste 2. Valse 3. Reverie interrompue 4. Danse russe These four movements, totaling fourteen minutes offer the artist a great deal of musical contrasts, ranging from lyrical, dramatic, dance-like, etc. An excellent collection of the Russian master's music for advanced performers of the Tuba or Bass Trombone. $27.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Lyric Essay Brass ensemble Eighth Note Publications
By Donald Coakley. Arranged by David Marlatt. For Brass Choir (5.4.3.1.1.perc). ...(+)
By Donald Coakley. Arranged by David Marlatt. For Brass Choir (5.4.3.1.1.perc). Brass - Brass Choir. Eighth Note Publications. Contemporary. Duration 00:03:10. Published by Eighth Note Publications
$30.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Festival March Concert band - Advanced Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Triangle, Trombone 1 and more. - Grade 5 SKU: CF.SPS78F Composed by Victor Herbert. Symphonic Band (SPS). Full score. With Standard notation. 40 pages. Carl Fischer Music #SPS78F. Published by Carl Fischer Music (CF.SPS78F). ISBN 9781491153239. UPC: 680160910731. Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic. About the CompositionFestival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  . $15.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Hope Has Come Choral SATB SATB Integrity Music
Arranged by Geron Davis/Bradley Knight. (SATB). Integrity Choral. 152 pages. Pu...(+)
Arranged by Geron Davis/Bradley Knight. (SATB). Integrity Choral. 152 pages. Published by Integrity Music.
$8.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| A Certain Slant of Light Concert band - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Eupho...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet 1 and more. - Grade 2 SKU: CF.YPS211 Composed by Peter Terry. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6+3+3+2+1+2+2+16+2 pages. Duration 4 minutes, 13 seconds. Carl Fischer Music #YPS211. Published by Carl Fischer Music (CF.YPS211). ISBN 9781491152300. UPC: 680160909803. Key: F major. A Certain Slant of Light is inspired by the introspective mood created by the rays of light on a dark cloudy day. A colorful, murmuring introduction is followed by a rich main theme in a minor key. It is a well-scored and fresh-sounding piece that will help young bands enhance their musicality. Rays of light against the dark of a cloudy day, or these same rays of light as they penetrate a dark room in late afternoon can create a mood of introspection and make us pause to reflect on the nature of life, loss and hope. A Certain Slant of Light is inspired by the title, but does not depict the actual poem There is a Certain Slant of Light by Emily Dickinson.A Certain Slant of Light opens with a colorful murmuring introduction followed immediately by a statement of the main theme of the piece. The opening briefly returns, followed by a setting of the melody in flute with woodwind accompaniment. The opening then returns and grows to a climax built on variations of the main theme. The piece fades to silence with a soft echo of the opening murmuring material.I enjoyed writing this piece and hope your students will enjoy playing these contrasting styles and that you will find the piece beneficial in teaching important musical concepts.Peter Terry, 2018. $70.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Festival of Lights Brass ensemble Eighth Note Publications
By David Marlatt. For Brass Choir (5.4.3.1.1.perc). Brass - Brass Choir. Eighth ...(+)
By David Marlatt. For Brass Choir (5.4.3.1.1.perc). Brass - Brass Choir. Eighth Note Publications. Contemporary. Duration 00:04:45. Published by Eighth Note Publications
$35.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Porgy and Bess Medley Jazz Ensemble [Score and Parts] - Intermediate Sierra Music
By George Gershwin (1898-1937). Arranged by Bill Potts. Jazz Ensemble / Jazz Ban...(+)
By George Gershwin (1898-1937). Arranged by Bill Potts. Jazz Ensemble / Jazz Band. Bill Potts Series. Grade 3/4. Score and set of parts. Published by Sierra Music
$65.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dive! - Advanced Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Eu...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion 1, Mallet Percussion 2, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Piccolo and more. - Grade 5 SKU: CF.SPS89 Composed by Nicholas Costanza. Folio. Sps. Set of Score and Parts. 2+8+8+4+4+8+8+8+4+4+4+4+4+4+4+8+8+8+4+4+4+4+6+6+6+6+4+8+4+2+1+2+2+32 pages. Duration 3 minutes, 52 seconds. Carl Fischer Music #SPS89. Published by Carl Fischer Music (CF.SPS89). ISBN 9781491156483. UPC: 680160915026. 9 x 12 inches. Program Notes This composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface. Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water. Performance Notes Ideally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range. Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments. The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.  . Program NotesThis composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface.Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water.Performance NotesIdeally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range.Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments.The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.       . $125.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Dive! - Advanced Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Cr...(+)
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion 1, Mallet Percussion 2, Oboe 1, Oboe 2, Percussion 1 and more. - Grade 5 SKU: CF.SPS89F Composed by Nicholas Costanza. Sws. Sps. Full score. 32 pages. Duration 3 minutes, 52 seconds. Carl Fischer Music #SPS89F. Published by Carl Fischer Music (CF.SPS89F). ISBN 9781491156490. UPC: 680160915033. 9 x 12 inches. Program Notes This composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface. Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water. Performance Notes Ideally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range. Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments. The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.  . Program NotesThis composition for wind ensemble is partially inspired by my home town of Sebastian, specifically its location on the east coast of the state of Florida. My childhood included many quick trips to both the nearby Indian River and the beaches on the coast, so swimming and the water were integral parts of my experience growing up. This work is my musical expression of diving underwater and getting swept up by a fast current and discovering wonders beneath the surface.Dive! has two central components: a constant, driving eighth-note pulse and a main theme which is fragmented and passed around at first, but then is presented completely by the low reeds around a minute and a half into the piece. The steady eighth-note pulse reflects the swift current that a diver might follow, while the main theme represents all the wonders that might be hidden under the water.Performance NotesIdeally, the Trombone 3 part should be played on a Bass Trombone. However, if one is not available there are cues for notes that are beneath a tenor trombone's range.Make sure the vibraphone is heard clearly throughout the piece, as this particular sound is very important to the overall color of this piece. The Percussion 5 part requires two performers as some of the hits happen too quickly for one player to switch between instruments.The most important component of this work is the steady eighth-note pulse, and this pulse never changes even though the meter changes frequently to odd or uncommon time signatures; if the eighth notes remain constant and driving, the meter changes will not pose much of a problem.       . $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| One Small Child Medium Voice Hope Publishing Company
Composed by David Meece. Arranged by Lloyd Larson. For medium voice. Voice solo....(+)
Composed by David Meece. Arranged by Lloyd Larson. For medium voice. Voice solo. Published by Hope Publishing Company
$7.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Exemplary Concert band Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Cymbals, Euphonium, Euphonium ...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet, Tuba, Vibraphone, alto Saxophone and more. - Grade 0.5 SKU: CF.PPS49 Composed by Richard Summers. Primer Band (PPS). Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+2+3+2+6+3+1+1+2+1+12+2 pages. Duration 2 minutes. Carl Fischer Music #PPS49. Published by Carl Fischer Music (CF.PPS49). ISBN 9781491151938. UPC: 680160909438. Exemplary is a mature musical piece for beginning bands. Even though only the first six notes of the Bb-major scale are used with simple rhythms, students and teachers will find many, fun musical challenges that provide opportunities for for growth. As the title suggests, performances of Exemplary should serve as a desirable model, be worthy of imitation, and should represent the absolute best in musicianship. Exemplary is a mature musical piece for beginning bands. Even though only the first six notes of the Bb-major scale are used, and simple rhythms are used to compose this piece, it has many musical challenges that will enhance students’ musical growth. There are some very musical ideas and sections in this piece that should be explored. Just as this title suggests, Exemplary should serve as a desirable model, be worthy of imitation, and should represent the best possible example of its kind. If you describe something as exemplary, it should be extremely good. With all of these challenges, the piece also has some nice melodies and is fun to play.  Notes to the ConductorThere are marcato and legato styles, many dynamic markings (sometimes different between woodwinds, brass, and percussion) major and minor third intervals, and challenging beginning percussion writing (that should not be overplayed). Four-measure phrasing should be observed. When a crescendo occurs, it should connect to the next note without taking a breath. These are teachable concepts that will benefit the musicianship of the students and take them to a higher level of performance.  . $50.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Eine Alpensinfonie, Op. 64 Orchestra [Study Score / Miniature] Eulenburg
By Richard Strauss. Arranged by Stephan Kohler. (Study Score). Schott. 172 page...(+)
By Richard Strauss. Arranged by Stephan Kohler. (Study Score). Schott. 172 pages. Published by Eulenburg.
$45.00 - See more - Buy online | | |
| Hark! the Herald Angels Sing with Angels We Have Heard on High Choral SATB Hope Publishing Company
SATB choir; clarinet; flute; trombone; trumpet SKU: HP.C5771C Arranged by...(+)
SATB choir; clarinet; flute; trombone; trumpet SKU: HP.C5771C Arranged by Jay Althouse. Piano with Optional B-Flat Instrument, Clarinet, Flute, Trombone, Trumpet. Christmas, Sacred. Performance/Accompaniment CD. Hope Publishing Company #C5771C. Published by Hope Publishing Company (HP.C5771C). UPC: 763628957711. Luke 2:10-14, 2 Corinthians 5:19, Revelation 15:4, Hebrews 1:6, Matthew 1:21-23, John 1:1 1 John 1:14, Philippians 2:7, Isaiah 9:6, Malachi 4:2, 1 Peter 1:3. Medley of two familiar Christmas carols This exuberant medley of two cherished Christmas carols comes from Jay Althouse's Joy to the World: A Celebration of Carols, our top-selling Christmas musical in 2011. The effective use of rhythmic energy makes this a captivating setting for worship or concert! The Instrumental packet contains a Conductor's Score and parts for: Flute, B-flat Clarinet, 2 Trumpets, Trombone, Electric Bass and Snare Drum. $29.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Come Christians, Join to Sing Choral SATB Hope Publishing Company
SATB choir & brass SKU: HP.PP143B Composed by Craig Courtney. Arranged by...(+)
SATB choir & brass SKU: HP.PP143B Composed by Craig Courtney. Arranged by Craig Courtney. Hymntune, General Worship, Adoration & Praise, Sacred. Brass Parts. Hope Publishing Company #PP143B. Published by Hope Publishing Company (HP.PP143B). UPC: 763628143084. Colossians 3:16, Ephesians 5:19, Psalms 95:1, Revelation 19:4. Beloved hymn tune This powerful presentation breathes new life into this classic hymn of praise, complete with a majestic orchestral accompaniment. The addition of a second hymn tune, LASST UNS ERFREUEN, gives sparkle and an element of surprise to this compelling musical offering. The orchestration by Brant Adams includes parts for conductor's score, 2 flutes, oboe, 2 clarinets in B-flat, bassoon, 2 horns in F, 3 trumpets in B-flat, 2 trombones, bass trombone or tuba, timpani, percussion, harp, 2 violins, viola, cello, and double bass. $34.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Wilhelm Tell - Intermediate De Haske Publications
5-Part Flexible Ensemble - intermediate SKU: BT.DHP-1023180-070 Composed ...(+)
5-Part Flexible Ensemble - intermediate SKU: BT.DHP-1023180-070 Composed by Gioachino Rossini. Arranged by Lorenzo Bocci. Music Box. Set (Score & Parts). Composed 2002. De Haske Publications #DHP 1023180-070. Published by De Haske Publications (BT.DHP-1023180-070). Rossini's William Tell is arranged here by Lorenzo Bocci for wind quintet with variable instrumentation. The various parts are written in the keys of C, Bb, Eb and F and, for the lower brass, in treble and bass clef, enabling anycombination of Oboe, Flute, Clarinet, Trumpet, Soprano Sax, Fugelhorn, Cornet, Alto Sax, Alto Clarinet, English Horn, French Horn, Tenor Sax, Trombone, Baritone, Euphonium, Bassoon, Eb Bass, Bb Bass and Bass Clarinet to play thisexciting piece.
Das bekannte schnelle Finale aus der Ouvertüre von Wilhelm Tell in einer fünfstimmig variablen Besetzung von Lorenzo Bocci ist ein reines Spielvergnügen und ein Hörgenuss für das Publikum.
Part 1 Fl Htb Cl. Si♭ Sax. S. Trp Part 2 Fl Cor Angl. Cl. Si♭ Cl. Alto Sax. A. Trp Cor Part 3 Cl. Alto Sax. T. Basson Cor Trb Euph. Part 4 Sax. T. Basson Trb Euph. Part 5 Cl. Basse Sax. B. Basson Trb Euph. Tuba
La famosissima melodia dell’opera, arrangiata da Lorenzo Bocci, per permettervi di esibirvi in pubblico col vostro quintetto sorprendendo chi vi ascolta con l’incalzare di questa trascinante musica. $38.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Rio Grande Concert band [Score and Parts] - Intermediate Hal Leonard
For Symphonic Band. Composed by Michael Daugherty (1954-). Michael Daughe...(+)
For Symphonic Band. Composed by Michael Daugherty (1954-). Michael Daugherty Music. Contemporary. Softcover. 96 pages. Published by Hal Leonard (HL.4004651).
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| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Clock Tower - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flu...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tambourine, Temple Blocks, Timpani, Trombone, Trumpet, Tuba, Xylophone, alto Saxophone and more. - Grade 1 SKU: CF.BPS145 Composed by Richard Summers. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+3+2+2+6+2+3+1+1+2+2+16 pages. Duration 2:15. Carl Fischer Music #BPS145. Published by Carl Fischer Music (CF.BPS145). ISBN 9781491161258. UPC: 680160919840. Dating back to the 13th century, the clock tower was located in the center of a town and used by townspeople to hear the time through bells and chimes ringing out. There are clock towers all over the world and they are wonderful landmarks to towns and communities. This work begins and ends with the Westminster Chimes theme, which is used by many clocks and clock towers, including Big Ben, the famous clock tower in London. Clock Tower contains many essential musical and technical skills for a beginning level band piece. The tick of the clock mechanism is imitated by pitched woodblocks, and the main theme is based on ascending and descending scale patterns, reinforcing note-reading ability for the beginning student. There are layers of new countermelodies and contrasting sections with dynamics and legato passages, giving the students an opportunity to play in different musical styles. There is a low brass and woodwind feature and a section introducing eighth notes to the upper winds. The sound between the woodwinds and the brass are also important, but many woodwind passages are cued in the brass in case a beginning band might need extra players to help with the balance and blend. This gives the director the opportunity to experiment with these cues and add a few other instruments when needed. Dating back to the 13th century, the clock tower was located in the center of a town and used by townspeople to hear the time through bells and chimes ringing out. There are clock towers all over the world and they are wonderful landmarks to towns and communities. This work begins and ends with the Westminster Chimes theme, which is used by many clocks and clock towers, including Big Ben, the famous clock tower in London.  Clock Tower contains many essential musical and technical skills for a beginning level band piece. The tick of the clock mechanism is imitated by pitched woodblocks, and the main theme is based on ascending and descending scale patterns, reinforcing note-reading ability for the beginning student. There are layers of new countermelodies and contrasting sections with dynamics and legato passages, giving the students an opportunity to play in different musical styles. There is a low brass and woodwind feature and a section introducing eighth notes to the upper winds. The sound between the woodwinds and the brass are also important, but many woodwind passages are cued in the brass in case a beginning band might need extra players to help with the balance and blend. This gives the director the opportunity to experiment with these cues and add a few other instruments when needed. . $53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Iphigénie en Tauride Barenreiter
5 soprano voice solos, Tenor voice solo, Baritone voice solo, 3 bass voice solos...(+)
5 soprano voice solos, Tenor voice solo, Baritone voice solo, 3 bass voice solos, mixed choir, 2 piccolos, 2 flutes, 2 oboes, 2 clarinets (B Flat), 2 bassoons, 2 horns, 2 trumpets, 3 trombones, Kettledrum, Drums (3), Strings (5 Soprano Voice Solo, Tenor Voice Solo, Baritone Voice Solo, 3 Bass Voice Solo, Mixed choir, Orchestra) SKU: BA.BA02287 Tragedy in four acts. Composed by Christoph Willibald Von Gluck. Edited by Gerhard Croll. This edition: complete edition, urtext edition. Linen. Gluck Complete Edition. I/9. Paris version of 1779. Complete edition, Score. Composed 1799. Duration 2 hours, 5 minutes. Baerenreiter Verlag #BA02287_00. Published by Baerenreiter Verlag (BA.BA02287). ISBN 9790006419616. 33.1 x 26.7 cm inches. Text Language: French, German. Translation: Peter Schmidt. Text: Guillard, Nicolas-François. About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$516.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Quest for the Throne Concert band - Beginner Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Tom-tom, Trombone and more. - Grade 1.5 SKU: CF.FPS155 Composed by Larry Clark. First Plus Band (FPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+5+2+2+4+4+4+6+3+2+1+2+3+16+2 pages. Duration 2 minutes, 11 seconds. Carl Fischer Music #FPS155. Published by Carl Fischer Music (CF.FPS155). ISBN 9781491152157. UPC: 680160909650. Quest for the Throne evokes images of kings and castles, knights and horses, and dragons in all their glory. It is a bold and aggressive piece throughout, but includes a contrasting, lush secondary theme for variety. In his typical style, Clark has used forceful figures, and strong melodic content to give students music they'll want to practice and play again and again. This piece should depict images of kings and castles, knight and horses, dragons and damsels in distress. It should be bold and aggressive throughout, but never with bad tone. This is then contrasted by the lush second theme that is presented first in a softer thin orchestration, but later becomes a change for the whole ensemble to play in a strong, but lush presentation of this theme.One thing that is important to me when writing music for younger students is to offer pieces that challenge all students in the ensemble and give every section an important part of the musical presentation, which naturally should include some melodic material. Every member of the ensemble wants to feel that they are contributing to the collective whole.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018. $60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Occitania - Easy FLEX Editions
Chamber Music, Quatuor 4 Trombones - Grade 2 SKU: FL.FX074336 Composed by...(+)
Chamber Music, Quatuor 4 Trombones - Grade 2 SKU: FL.FX074336 Composed by Traditionnel. Arranged by Olivier Lachurie. Arrangement. Classical. Score and Set of Parts. FLEX Editions #FX074336. Published by FLEX Editions (FL.FX074336). An arrangement of 6 traditional songs from south west of France : 1. Hari Bouriquet - 2. Boune May Dou Boun Diu - 3. Auxixo Trikia - 4. Jean Petit qui Danse - 5. Hegoak - 6. Se Canto ; Instruments: 4 Trombones; Difficuly Level: Grade 2; Duration: 3 mn 20 s; Musical Style: Classical; Category: Arrangement; Composer: TRADITIONNEL; Arranger: Olivier LACHURIE. $13.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Carol of the Bells - Easy Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cello, Clarinet, Crash Cymbals, E...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cello, Clarinet, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Keyboard, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, String Bass, Suspended Cymbal, Timpani, Trombone and more. - Grade 2.5 SKU: CF.XPS15 Composed by Mykola Leontovich. Arranged by Carol Brittin Chambers. Set of Score and Parts. 8+6+8+4+4+2+2+2+3+4+2+4+3+4+2+2+2+2+2+2+1+4+4+16 pages. Carl Fischer Music #XPS15. Published by Carl Fischer Music (CF.XPS15). ISBN 9781491158821. UPC: 680160917525. Carol of the Bells This version of Carol of the Bells is a new take on a traditional carol. The Ukrainian Bell Carol, which has become an important part of the American holiday tradition, was originally composed by Mykola Leontovych with lyrics by Peter J. Wilhousky. In this arrangement, the flexibility of the instrumentation allows it to be played with as few as five wind or string players, and the various recognizable motifs are passed around the ensemble, giving everyone something interesting to play. Chambers incorporates energetic grooves with the bass line and percussion, as well as a new B melody that adds extra technique and a fresh sound. Please enjoy Carol of the Bells on your next holiday concert! Note to the Conductor: Use this piece to introduce or reinforce the following musical concepts: Steady pulse in a driving 3/4 meter, definition of ostinato, accidentals (minimal), and Syncopated feel (minimal). Carol of the BellsThis version of Carol of the Bells is a new take on a traditional carol. The Ukrainian Bell Carol, which has become an important part of the American holiday tradition, was originally composed by Mykola Leontovych with lyrics by Peter J. Wilhousky. In this arrangement, the flexibility of the instrumentation allows it to be played with as few as five wind or string players, and the various recognizable motifs are passed around the ensemble, giving everyone something interesting to play. Chambers incorporates energetic grooves with the bass line and percussion, as well as a new B melody that adds extra technique and a fresh sound. Please enjoy Carol of the Bells on your next holiday concert!Note to the Conductor: Use this piece to introduce or reinforce the following musical concepts: Steady pulse in a driving 3/4 meter, definition of ostinato, accidentals (minimal), and Syncopated feel (minimal). $65.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Winter Dreams Concert band [Score and Parts] - Intermediate Hal Leonard
For Concert Band. Composed by Michael Daugherty (1954-). Michael Daughert...(+)
For Concert Band. Composed by Michael Daugherty (1954-). Michael Daugherty Music. Softcover. Published by Hal Leonard (HL.4004650).
$35.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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