SKU: CF.CPS242

ISBN 9781491157930. UPC: 680160916535. 9 x 12 inches.

All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me amany moonsa ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me many moons ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility.The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible.I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me “many moons” ago.

SKU: CF.CPS242F

ISBN 9781491157947. UPC: 680160916542. 9 x 12 inches.

All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me amany moonsa ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility. The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible. I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me many moons ago.
All of us have experienced unique moments in our lives that create unforgettable mental snapshots. These images can often provide comfort, a moment of humor, or can be a source of inspiration. Years ago while traveling with (who are now) old friends, I witnessed a New Mexico night sky for the very first time. We were so taken with the view that we pulled our rental car to the side of the highway just to stand and stare skyward. The clarity and size of the stars redefined my understanding of our place in this vast universe. To my eye, I was staring at hundreds of little moons. In writing this piece, I wanted to capture a sense of beauty, wonder and humility.The euphonium solo presents the theme as a wistful offering to things beyond our understanding. Throughout the selection this theme is passed throughout the ensemble, and thicker textures evolve. The mallet percussion plays a vital role in providing harmonic stability early in the selection. Non-pitched percussion is essential in building tension and generating effective impacts at louder dynamic levels. Ideally, the two triangles found in the Percussion 2 part should be mounted and of two distinctly different pitches. Both should be played with light beaters if possible.I sincerely hope Many Moons provides years of inspiration for you and your ensemble just as that southwestern sky did for me “many moons” ago.

SKU: CF.CPS200

ISBN 9781491152355. UPC: 680160909858.

Although some stories in Greek mythology reveal a different side to his character, Apollo was widely regarded to hold a cheerful personality and communicating joy through the music he played on his lyre. Apollo Arise is an energetic and spirited work for band ideal for opening a concert. The uplifting and exuberant melodic material lead the group on a sonic journey to capture the joy and light music can bring to both the audience and the performer.
Program NotesAmong the many stories in Greek mythology, Apollo holds a unique place as a complex Olympian god known for truth, prophecy, healing, poetry, plague, knowledge, light and music. Although some stories reveal a different side to his character, Apollo was widely regarded to hold a cheerful personality and communicated joy through the music he played on his lyre. Apollo Arise is an energetic and spirited work for band, ideal for opening a concert. The uplifting and exuberant melodic material lead the group on a sonic journey to capture the joy and light music can bring to both the audience and performer. From the dynamic opening fanfare to the soaring motifs and rhythms that follow, Apollo Arise provides a wonderful opportunity for the ensemble to reach for new musical heights in their performance!    Rehearsal Notes and SuggestionsThe opening twenty-four measures of the work are important for the rest of the work to unfold successfully. Encourage the ensemble to play with a unified articulation style, maintain a proper balance, and establish a consistent tempo through this section as several recurring rhythms must be performed consistently. Measure 38 features a trumpet solo, so be sure that the rest of the ensemble balances their line to support the solo instrument. In the section that begins at m. 67, there is an optional solo opportunity for trumpet and trombone. Both of these sections provide nice contrast against the full ensemble sections that are present in the work. The section at m. 81 includes a call-and-response section between woodwind, brass and percussion groups. Be sure that as groups enter, the tempo remains consistent and that the winds articulation style is unified and complimentary to the percussion. As the opening fanfare returns at m. 101, remind the ensemble to play with consistent style, balance and tempo as they did in the opening. As the ensemble begins the part of the journey with Apollo at m. 110, the music contains unique layers that must work together to be effective and set up the material that begins at m. 127. Encourage the group to play so they can hear all other lines, and allow their energy to grow into a focused musical celebration by the final note. Thank you in advance for your support of this music, and I wish you and your ensemble well as Apollo Arise welcomes the audience to your concert hall.

SKU: CF.CPS224

ISBN 9781491152508. UPC: 680160910007.

Rainbow in the Clouds is based on an old traditional spiritual, possibly an African-American song from the 19th century, entitled God Put a Rainbow in the Clouds.  Composer Carol Brittin Chambers was inspired by poetic Maya Angelou to create of setting of this beautiful song. It is lush and beautiful throughout and will highlight the musicianship of your students.  This would serve as a welcome change of pace piece on your program for concert or contest.
Rainbow in the Clouds was commissioned by the Pflugerville Middle School Wind Ensemble in Pflugerville, Texas, directed by Shauna Satrom. The piece premiered in May 2017, in memory and celebration of Luis Ham, who was an Assistant Principal at Pflugerville Middle School.This piece is based on an old traditional spiritual, possibly an African-American song from the nineteenth century, entitled God Put a Rainbow in the Clouds. The first time I heard reference to this song was in a Maya Angelou video, in which she sings a portion of it: “When it looked like the sun wouldn’t shine anymore, Oh, God put a rainbow in the clouds.” In the video, Dr. Angelou honors those who have demonstrated kindness to her in the past, and she suggests that we all try to be a blessing to others. The Pflugerville community believed that Mr. Ham, with his positive outlook, was definitely a “rainbow in the clouds” for other people.The piece begins with a full ensemble introduction, followed by a woodwind treatment of the first verse with a fairly reserved tempo and straight eighth-note rhythm. When brass pick up the melody on the second phrase, we start to hear the song more like the original spiritual, with dotted-eighth, sixteenth rhythms. The middle section of the piece at m. 22 begins to move at a slightly quicker tempo, and the mood becomes lighter. This section becomes a call-and-response between a euphonium solo and upper woodwinds. The final section of the piece involves everyone playing together joyously and full, eventually winding down with two more solo statements in flute and euphonium.Note to the Conductor:Use this piece to introduce or reinforce the following musical concepts:Lyrical, expressive playing varied stylesSolo responsibilitiesKey changes, tempo changes.

SKU: PR.11641737S

ISBN 9781491136133. UPC: 680160688432.

Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
Son et lumière (“sound and light,” a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious” voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.

SKU: HL.49005344

ISBN 9790001057547.

Picc. * Tenorblfl. * 1 * Altfl. in G * 0 * 0 * Sopransax. (oder Klar.) * Altsax. (oder Klar.) * Tenorsax. (oder Klar.) * Baritonsax. (oder Bassklar.) * 0 - 0 * 2 * 2 * 0 - 4 P. (1 Spieler) S. (Marimba * Vibr.; I: 4 Trgl. * 2 hg. Beck. * Crot. * Glockenstab; II: 2 Tamt. * kl. Gl. * Tamb. * 2 Tomt. * Glockenstab; III: hg. Beck. * Tamb. * 2 Tomt. * Mil.Tr. [mit Schnarrs.] * Glockenstab; IV: hg. Beck. * 2 Tamt. * gr. Tr. * Glockenstab) (4 Spieler) - Cel. (gezupft) * Klav. (ohne Abdeckung, gezupft) - Str. (6 * 0 * 2 * 2 * 1).

SKU: PR.466000760

UPC: 680160625796.

SKU: YM.GTW01101612

ISBN 9784636113037. 8.25 x 11.75 inches.

The famous aria sung in the third act of Puccini's opera Turandot has been arranged in the style of EDM (electronic dance music). Be sure to try out the trumpet solo played by Eric Miyashiro in the recording.
Instrumentation: Conductor×1; Piccolo×1; 1st & 2nd Flutes×2; *Oboe×1; *Bassoon×1; Clarinet in E♭×1; 1st Clarinet in B♭×3; 2nd Clarinet in B♭×3; 3rd Clarinet in B♭×3; *Alto Clarinet in E♭×1; Bass Clarinet in B♭×1; 1st Alto Saxophone in E♭×1; 2nd Alto Saxophone in E♭×1; Tenor Saxophone in B♭×1; Baritone Saxophone in E♭×1; 1st Trumpet in B♭×1; 2nd Trumpet in B♭×1; 3rd Trumpet in B♭×1; 1st & 2nd Horns in F×2; 3rd & 4th Horns in F×2; 1st Trombone×1; 2nd Trombone×1; Bass Trombone×1; Euphonium×2; Tuba×2; Electric Bass Guitar×1; *Electric Guitar×1; Drums×1; Timpani×1; Cymbals, Tambourine, Wood Block & Bass Drum×1; Wind Chime & Suspended Cymbal×1; Glockenspiel×1; Xylophone, Marimba & Chimes×3 The composition can also be performed without the instruments marked with *.
Performance time: Approximately 4 minutes 15 seconds
Difficulty Level: 3.

SKU: CF.SPS70F

ISBN 9781491143537. UPC: 680160901036.

Irish music is always interesting to composers and band musicians. It fits well with a concert band and is fun to play. Ed Kiefer starts with a solo clarinet on the jig Lanigan's Ball that builds and builds to a dramatic presentation of the folk song, before leading a section of repose based on the song Binnorie. The percussion is highlighted in a build-up to the climax where the tunes are combined for a dramatic conclusion.

SKU: PR.416414210

UPC: 680160602049. 8.5 x 11 inches.

Composed for violinist Baird Dodge in 1995-97, SLEEP is a 25-minute concerto in three movements. Thefirst movement (Twitching) is dramatic in character, full of contrasts, pitting the violin against the orchestra in more or less romantic fashion. The second (Breathing) is comprised of overlapping layers of simple harmonies accompanying a freely evolving, lyrical melody in the violin. In the third movement (Sweating), the soloist and ensemble initially work together to create a rising line. They soon diverge, and an increasing layering of multiple lines throughout the ensemble leads to a very high point of density which is then abruptly cut off by the virtuosic frenzy in the violin which ends the work.