2-part mixed chorus, organ, piccolo, percussion - Easy

SKU: AU.978-1-5064-8492-1

Composed by Kristina Langlois. Augsburg Choral Hymn Series. Church, Easter. Octavo. Augsburg Fortress #978-1-5064-8492-1. Published by Augsburg Fortress (AU.978-1-5064-8492-1).

ISBN 9781506484921. 7 x 10.25 inches.

Delightful and joyous, this dance-like setting of the familiar hymn Christ the Lord Is Risen Today! by Kristina Langlois highlights the character of the Medieval tune ORIENTIS PARTIBUS and captures the excitement of the Easter text. The choir parts are easily learned and the composer's notes regarding the instrumentation allow for flexibility and creativity._x000D_.

Brass Quintet 2 trumpets, horn in F, trombone, tuba - Advanced

SKU: CY.CC2215

Composed by Samuel Scheidt. Arranged by Karl Hinterbichler. Full score & set of parts. Published by Cherry Classics (CY.CC2215).

A wonderful set of variations on the famous Bergamasca theme of Samuel Scheidt that is a mainstay of the Brass Quintet literature. Brilliantly scored by Dr. Karl Hinterbichler of the Arizona Brass Quintet and well known Low Brass pedagogue. Instrumentation is for 2 Trumpets in Bb (Trumpet 1 doubles on Bb piccolo ), Horn, Trombone and Tuba. The work is for advanced groups and shows plenty of technique and flash. A great piece for an encore.

Wind orchestra

SKU: HG.GH-7984

Soldats qui chantent. Composed by Herrmann Martin. Score and set of parts. Hug Musikverlage #GH 7984. Published by Hug Musikverlage (HG.GH-7984).

Besetzung und enthaltene Stimmen: 2x Direktionsstimme in B 2x Flote und Piccolo in Des Flote in C Oboe 2x Bariton/Fagott 1 in C Bassschlussel Kontrabasstuben/Fagott2 in C Bassschlussel Klarinette in Es Klarinette 1 in B Klarinette 2/3 in B Kornett in Es je 1x Flugelhorn 1, 2 in B je 1x Trompete 1, 2, 3 in B Althorn (Melodie) in Es je 1x Althorn 1, 2, 3/4 in Es je 1x Tenorhorn 1, 2, 3 in B Bariton in B 2x Posaune 1/2 in B Posaune 3 in B je 1x Kontrabasstuba in Es und in B kleine Trommel grosse Trommel Pauken Lyra Kleinste Besetzung: Flugelhorn 1 und 2, (Trompete 1 ad lib.) Tenorhorn 1, Althorn 1 und 2, Tuba (Tambours ad lib.).

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Finger Cymbals, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Trombone and more. - Grade 2

SKU: CF.YPS196F

Composed by Joseph Compello. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS196F. Published by Carl Fischer Music (CF.YPS196F).

ISBN 9781491152843. UPC: 680160910342.

Aeolus is the Greek mythological god of the winds. The title of this piece was chosen, in part, because of the Aeolian quality of the music. Although not strictly harmonized in the Aeolian mode, the themes themselves are purely Aeolian. The compositional form bookends a broad and dramatic middle section with two sections in regal march style. Aeolus is sure to be a great teaching tool for young bands!.
Aeolus is the god of the winds in Greek mythology. The title was chosen to indicate the Aeolian quality of the music. Although not strictly harmonized in the Aeolian mode, the themes themselves a purely Aeolian. The opening section of the music should be performed in a march-like manner at a brisk tempo deemed appropriate by the director for the ensemble. The countermelody first heard at m. 31 should soar above the ensemble. The transition to the middle section at m. 49 should be played broadly and dramatically with careful attention to the ritardando dimuendo, both of which should be performed smoothly and gradually. Do not rush the fermata in m. 51. A sudden shift in tempo and dynamics in the transition will detract from the entrance of the contrasting theme played soli by the clarinet section at m. 52. The counter lines found in the contrasting middle section beginning at m. 53 will require careful attention to balance. The second transition section beginning at m. 79 requires a flexible tempo and a smooth blending of the horn line into the clarinet line. An effective,  unrushed rallentando at m. 81 will make the sudden forte entrance of the brass fanfare at m. 83 all the more dramatic. At m. 109, the tempo may begin to quicken at the discretion of the director.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Finger Cymbals, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Trombone and more. - Grade 2

SKU: CF.YPS196

Composed by Joseph Compello. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8+12+6+6+2+2+4+2+20+4 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #YPS196. Published by Carl Fischer Music (CF.YPS196).

ISBN 9781491152164. UPC: 680160909667. Key: C minor.

Aeolus is the Greek mythological god of the winds. The title of this piece was chosen, in part, because of the Aeolian quality of the music. Although not strictly harmonized in the Aeolian mode, the themes themselves are purely Aeolian. The compositional form bookends a broad and dramatic middle section with two sections in regal march style. Aeolus is sure to be a great teaching tool for young bands!.
Aeolus is the god of the winds in Greek mythology. The title was chosen to indicate the Aeolian quality of the music. Although not strictly harmonized in the Aeolian mode, the themes themselves a purely Aeolian. The opening section of the music should be performed in a march-like manner at a brisk tempo deemed appropriate by the director for the ensemble. The countermelody first heard at m. 31 should soar above the ensemble. The transition to the middle section at m. 49 should be played broadly and dramatically with careful attention to the ritardando dimuendo, both of which should be performed smoothly and gradually. Do not rush the fermata in m. 51. A sudden shift in tempo and dynamics in the transition will detract from the entrance of the contrasting theme played soli by the clarinet section at m. 52. The counter lines found in the contrasting middle section beginning at m. 53 will require careful attention to balance. The second transition section beginning at m. 79 requires a flexible tempo and a smooth blending of the horn line into the clarinet line. An effective,  unrushed rallentando at m. 81 will make the sudden forte entrance of the brass fanfare at m. 83 all the more dramatic. At m. 109, the tempo may begin to quicken at the discretion of the director.

Chamber Orchestra (Violine II, Viola, Flöte II, Flöte (Piccolo), Oboe II, Klarinette II in B, Posaune I/II, Fagott II, Horn I/II in F, Horn III in F, Horn III u. IV in F)

SKU: M7.AV-5162-31

Unter dem Freiheitsbanner. Composed by Hermann Ludwig Blankenburg and Kurt Pohler. Sheet music. Salon orchestra supplement (add. parts for large orchestra). 30 pages. MDS (Music Distribution Services) #AV 5162-31. Published by MDS (Music Distribution Services) (M7.AV-5162-31).

ISBN 9790203914570.

Band concert band - Grade 4

SKU: KJ.B383

Composed by John Zdechlik. Score and set of parts. Neil A. Kjos Music Company #B383. Published by Neil A. Kjos Music Company (KJ.B383).

This theme and variation is based upon the well-known hymn Amazing Grace. The first variation states the melody playfully in the piccolo and trumpet parts. The second variant is more angular and powerful and takes the theme through more dissonant harmonic configurations. In the third variant the theme is stated in the low reeds and is surrounded by a potpourri of trills, glissandos and other dissonant effects. The last section combines variations and builds to a dramatic finale.

Flute

SKU: HG.PE-1011

Erganzungsband 2. Composed by Alexander Hanselmann. Score and parts. Hug Musikverlage #PE 1011. Published by Hug Musikverlage (HG.PE-1011).

ISBN 9790202823194.

JONATHAN'S & TOBI'S RAG schliesst an den Erganzungsband 1 KANONS & TRIOS an. Die beiden Stucke sind fur grosses Querflotenensemble oder fur Schulerorchester einsetzbar. Beiliegendes Stimmenmaterial fur 4 Floten, Piccolo, Altflote in G oder Klarinette, Bassflote oder Cello/Fagott, Klavier.

Band Bass Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Percussion 5, Piccolo, String Bass and more.

SKU: PR.165000970

For Band. Composed by Dan Welcher. Folder. Premiered by the University of Texas Symphony Band, Scott S. Hanna, conductor, at Butler School of Music, UT/Austin, Austin, Texas. Contemporary. Set of Score and Parts. With Standard notation. Composed 14-Sep. 40 pages. Duration 7 minutes. Theodore Presser Company #165-00097. Published by Theodore Presser Company (PR.165000970).

ISBN 9781491100462. UPC: 680160626717. 9x12 inches.

Commissioned by a consortium of 20 high school and university bands coordinated by Scott Hanna of the University of Texas at Austin, Downshifting is inspired by Welcher’s joy of bicycle riding. Welcher explains in the program note: When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting... With three gears on the front sprocket and seven on the rear, it’s possible to keep one’s legs going at a constant speed (for me, q = 126) while the bike itself may be moving very slowly or very quickly. I determined to capitalize on this in writing Downshifting, which keeps the same mathematical inner pulse, ‘shifting’ (with a ratchet) as the terrain changes..
One of the joys of life for me is riding my 21-speed bicycle.  As a basically non-athletic person who nonetheless likes to stay in shape, I have found that riding my bike provides just the exercise I need.  The workout is strenuous, but pleasant—and the infinite variety of scenery I pass keeps me alert and wide awake.  When I decided to write a piece for band that was basically entertaining and uplifting, it made perfect sense to call it Downshifting.With three gears on the front sprocket and seven on the rear, it’s possible to keep ones legs going at a constant speed (for me, that’s 126 to the quarter note) while the bike itself may be moving very slowly or very quickly.  I determined to capitalize on this in writing the music, which manages to keep the same mathematical inner pulse, “shifting” (with a ratchet) as the terrain changes.  So Downshifting begins with that steady pulse, on a grid of eighth notes in 2/4 to propel the little vehicle forward.  There’s a joyous little tune in our heads as we begin our ride.  As the initial thrill of riding on the flat gives way to monotony, we stay in that pulse for the first minute or so of the ride.  Then, as the first hill becomes visible, we shift the bike down: even though the eighths are equal, the pulse feels slower (and we’re now in 6/8 time).  Ultimately the compound meter shifts again as the climb begins, and we’re now plodding doggedly up the hill.  (The music reflects all of these changes, with subtitles such as “Working harder—Seeing the climb, ahead”, “Steady and committed…the climb begins!”, “Straining against the grade”, etc.).There are two hills, and two long climbs (but in different keys, reflecting the change in scenery).  When at last the summit of the second hill is reached (“Flying, Over the Top”), we coast at last down the other side at breakneck speed.  The initial joyous melody returns, but now in a spread-out coasting pulse.  At the end of the ride, we slow to a stop—then take one last sprint (shifting five times in the process) in order to end on a biker’s high.Downshifting was commissioned by a consortium of fourteen high school and college bands, overseen by my longtime colleague at the University of Texas, Scott Hanna.  The piece is dedicated to him (and to all bicycle enthusiasts).