Band Bass Clarinet, Bass Drum, Bassoon, Chimes, 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.YPS218F

Composed by Joseph Compello. Sws. Yps. Full score. 20 pages. Duration 1 minute, 50 seconds. Carl Fischer Music #YPS218F. Published by Carl Fischer Music (CF.YPS218F).

ISBN 9781491156575. UPC: 680160915118. 9 x 12 inches.

Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes Paradigm Shift is an energetic and aggressive concert piece for young bands with at least one year's training. It is also sophisticated enough for more experienced bands. Pitched in C minor, the piece opens with an energetic introduction which quickly leads to the main theme stated by the Clarinets at m. 9. A brass fanfare in C major ensues at m. 29. The woodwinds' answer to the brass fanfare at m. 39 contains divisi notes in the flute (doubled in the Oboe) which must be played. The music to the introduction is restated at m. 58, but is now shifted to the second beat of the measure by means of an additional beat inserted into m. 57. Younger bands may need some extra instruction in executing this time shift. Overall, the music should be performed boldly and with marcato articulation except where slurs are written.
Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music.Performance NotesParadigm Shift is an energetic and aggressive concert piece for young bands with at least one year’s training. It is also sophisticated enough for more experienced bands. Pitched in C minor, the piece opens with an energetic introduction which quickly leads to the main theme stated by the Clarinets at m. 9. A brass fanfare in C major ensues at m. 29. The woodwinds’ answer to the brass fanfare at m. 39 contains divisi notes in the flute (doubled in the Oboe) which must be played. The music to the introduction is restated at m. 58, but is now shifted to the second beat of the measure by means of an additional beat inserted into m. 57. Younger bands may need some extra instruction in executing this time shift. Overall, the music should be performed boldly and with marcato articulation except where slurs are written.

Brass quintet and percussion

SKU: LO.30-2424L

Composed by Mark Hayes. Choral. Sacred Anthem, Eastertide. Score and parts. Lorenz Publishing Company #30/2424L. Published by Lorenz Publishing Company (LO.30-2424L).

UPC: 000308121926.

Boldly triumphant, this Easter anthem features new music and text by two of this century’s premier church writers. It opens with brilliant figures in the accompaniment and a majestic choral acclamation. The second verse is more reflective, recalling the crucifixion. The tempo quickens as the fanfare returns, heralding the entrance of Beethoven’s beloved Ode to Joy. Shifting again in tempo and in key, the final verse resounds with victorious grandeur and rising alleluias. (From the cantata Forsaken. SATB – 55/1112L; SAB – 55/1113L.) Instrumentation: 2 Trumpets, opt. Piccolo Trumpet, opt. F Horn, Trombone 1, Trombone 2 and/or Tuba, Percussion.

SKU: HL.48184955

Composed by Giovanni Gabrieli. Robert King. Classical. 20 pages. Alphonse Leduc #AL28288. Published by Alphonse Leduc (HL.48184955).

UPC: 888680881726. 8.5x11 inches.

“Transcribed by popular brass arranger, Robert King, this edition of Giovanni Gabrieli's Canzona per Sonare No. 4 from Canzoni per sonare con ogni sorte di stromenti provides an exciting performance piece for a large Brass Ensemble. Being one of the most influential musicians during the shift from the Renaissance to the Baroque era, it is no secret that the composer leant himself primarily to vocal and sacred works. However, his Canzona per Sonare No. 4 represents an important turn, not only in the composer's career, but in musical history. Composed in 1608, this piece helped pave the way to what would soon become the new Baroque concerto style, which remains popular to this day. King's arrangement of this historical work is indispensable for Brass Ensembles. &rdquo.

Brass Quartet

SKU: HL.48184911

Composed by Giovanni Gabrieli. Robert King. Classical. 8 pages. Alphonse Leduc #AL28243. Published by Alphonse Leduc (HL.48184911).

UPC: 888680788490. 8.5x11.0x0.065 inches.

Transcribed by popular brass arranger, Robert King, this edition of Giovanni Gabrieli's Canzona per Sonare No. 2 from Canzoni per sonare con ogni sorte di stromenti provides an exciting performance piece for a large brass ensemble. Being one of the most influential musicians during the shift from the Renaissance to the Baroque era, it is no secret that the composer leaned himself primarily to vocal and sacred works. However, his Canzona per Sonare No. 2 represents an important turn, not only in the composer's career, but in musical history. Composed in 1608, this piece helped pave the way to what would soon become the new Baroque concerto style, which remains popular to this day. King's arrangement of this historical work is indispensable for Brass Ensembles.

SKU: HL.48184994

Composed by Giovanni Gabrieli. Robert King. Classical. 20 pages. Alphonse Leduc #AL28330. Published by Alphonse Leduc (HL.48184994).

UPC: 888680879280. 9x12 inches.

“Transcribed by popular brass arranger, Robert King, this edition of Giovanni Gabrieli's Canzon Primi Toni provides an exciting performance piece for a large Brass Ensemble. Being one of the most influential musicians during the shift from the Renaissance to the Baroque era, it is no secret that the composer leaned himself primarily to vocal and sacred works. However, his Canzon Primi Toni, as part of the composer's Sacred Symphony, represents an important turn, not only in the composer's career, but in musical history. Composed in 1597, this piece paved the way to what would soon become the new Baroque concerto style, which remains popular to this day. King's arrangement of this historical work is indispensable for Brass Ensembles. &rdquo.

Brass Band (soprano cornet, solo cornet, ripieno cornet, 2nd cornet, 3rd cornet, flugelhorn, solo horn, 1st horn, 2nd horn, 1st baritone, 2nd baritone, 1st trombone, 2nd trombone, euphonium, Eb bass, Bb bass, timpani, percussion 1, xylophone) - Intermediate-Advanced

SKU: FT.FM215

Composed by Keiron Anderson. Score and parts. Forton Music #FM215. Published by Forton Music (FT.FM215).

ISBN 9790570481149.

Brass Band - Soprano Cornet, Solo Cornet, Repiano Cornet, 2nd Cornet, 3rd Cornet, Flugelhorn, Solo Horn, 1st Horn, 2nd Horn, 1st Baritone, 2nd Baritone, 1st Trombone, 2nd Trombone, Euphonium, Eb Bass, Bb Bass, Timpani, Percussion 1, Xylophone. Harlequin dances is a stunning original composition showcasing a variety of dance styles. The piece starts with a mambo-like section, then moves into a more romantic ballad-type movement. This then winds up into a Viennese waltz which uses cheeky glissandi, then onto a very clever tempo shift and back to a recap of the mambo music which races along to a thrilling climax.

Trombone (Flugel or Horn) solo & Low Brass Quartet - Moderately Advanced

SKU: CY.CC2362

Composed by Ian McDougall. Contemporary Solo. Full Score & Parts. Published by Cherry Classics (CY.CC2362).

Ian McDougall is one of Canada's finest musicians; a virtuoso Trombonist and first rate composer. His new work, Remember When is for solo Trombone & Low Brass Ensemble of 3 Trombones & Tuba (orchestral low brass section). The work can also be performed with a Flugelhorn or Horn playing the solo part.

Lush chords with shifting brooding colors set the tone for the soloist who plays a beautiful dark & lyrical melody line.

The work is in an A-B-A format with a Latin middle section featuring an ad lib. jazz solo (written out solo is provided).

This work is about 3 minutes in length and can be performed by moderately advanced performers.

Concert Band - Grade 1.5

SKU: AP.36675

Composed by Steve Hodges. Concert Band; Performance Music Ensemble; Single Titles. Challenger Band Series. Form: Overture. Score and Part(s). 130 pages. Alfred Music #00-36675. Published by Alfred Music (AP.36675).

UPC: 038081417462. English.

This energetic overture opens strongly with the low brass presenting a melodic arpeggio motive that recurs throughout the A section of the piece. The B section provides an excellent contrast with an expressive presentation by the woodwinds leading to a sensitive chorale setting. With shifting minor and major modes, the section builds with the brass before ending in a tranquil manner. A repeat of the opening section leads to a dynamic coda, bringing the piece to an exciting conclusion.

This is well written educational material that plays at the more technical end of this grade level.
-The Instrumentalist.

Orchestra 2 Bassoons, 2 Flutes, 2 Tenor Trombones, 3 Bb Clarinets, 3 C Trumpets, 3 Oboes, 4 Horns, Bass Drum, Bass Trombone, Chimes, Contrabassoon, Marimba, Percussion (2 players), Piccolo, Player 1: Crotales, Player 2: Glockenspiel, Smal, Timpani, Tuba, Vibraphone

SKU: PR.416414240

For Orchestra. Composed by James Matheson. This edition: version 3/24/2011. Premiere performances by the Los Angeles Philharmonic; David Afkham, cond. Contemporary. Full score. With Standard notation. Composed March 24 2011. 13 pages. Duration 1:30. Theodore Presser Company #416-41424. Published by Theodore Presser Company (PR.416414240).

UPC: 680160602100. 8.5 x 11 inches.

Brief and invigorating, Four Fanfares was commissioned and premiered by the LA Philharmonic. Two contrasting ideas — a bright, rhythmically charged fanfare for brass, and a dark, mysteriously shifting interlude — alternate and culminate in a blazing finale for the entire orchestra.

Arranged by Robert W. Smith. Arr. Robert W. Smith. For Concert Band. Concert Band. Belwin Beginning Band. Level: Very Easy (grade I). Conductor Score & Parts. 148 pages. Duration 1:45. Published by Alfred Publishing.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500103F

Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F).

ISBN 9781491131763. UPC: 680160680290.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Jazz Ensemble - Grade 3

SKU: KN.61585S

Composed by Tom Kubis. Jazz Journey. Kendor Music Inc #61585S. Published by Kendor Music Inc (KN.61585S).

UPC: 822795615852.

Shifting between shuffle and hip-hop feels and groovin' hard from start to finish, this exciting closer for advancing groups is recorded on the Tom Kubis album Live And Unleashed. Dense ensemble passages, well articulated swing figures, sax and brass solis, an open ad lib solo section for alto saxophone, trumpet and/or trombone, and a really big finish are highlights. A guitar chord chart by Jim Greeson is included in each set. Duration 4:35.