SKU: GI.G-J190

English.

Compositions and arrangements for winds and percussion with optional improvisation! Twelve selections for concert band in one book. Highlights include: • Optional improvisation sections in each selection • Grade levels II–IV • Full score with complete instrumentation • Music for all ages and for all seasons • Recordings (CD or cassette) available, performed by instrumentalists from the Eastman School of Music • Playable with minimal to full instrumentation Part books (specify instrument and catalog number below): Flute (J179) - Oboe (J180) - Clarinet I (J181) - Clarinet II (J182) - Bass Clarinet (J183) - Bassoon (J184) - Alto Saxophone (J185) - Tenor Saxophone (J186) - Baritone Saxophone (J187) - Trumpet I (J188) - Trumpet II (J189) - Horn (J190) - Trombone I (J191) - Trombone II (J192) - Baritone BC (J193) - Baritone TC (J194) - Tuba (J195) - Bells/Xylophone/Piano (J196) - Percussion (J197) -  Demonstration compact disc (J198CD).

SKU: GI.G-J193

English.

Compositions and arrangements for winds and percussion with optional improvisation! Twelve selections for concert band in one book. Highlights include: • Optional improvisation sections in each selection • Grade levels II–IV • Full score with complete instrumentation • Music for all ages and for all seasons • Recordings (CD or cassette) available, performed by instrumentalists from the Eastman School of Music • Playable with minimal to full instrumentation Part books (specify instrument and catalog number below): Flute (J179) - Oboe (J180) - Clarinet I (J181) - Clarinet II (J182) - Bass Clarinet (J183) - Bassoon (J184) - Alto Saxophone (J185) - Tenor Saxophone (J186) - Baritone Saxophone (J187) - Trumpet I (J188) - Trumpet II (J189) - Horn (J190) - Trombone I (J191) - Trombone II (J192) - Baritone BC (J193) - Baritone TC (J194) - Tuba (J195) - Bells/Xylophone/Piano (J196) - Percussion (J197) -  Demonstration compact disc (J198CD).

SKU: MH.1-59913-054-8

ISBN 9781599130545.

Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

SKU: CF.BPS22F

ISBN 9780825848025. UPC: 798408048020. 9 X 12 inches. Key: C minor.

Aggressive and powerful, this Compello piece employs an archaic style to conjure up the days of the original survivors, the gladiators who were as celebrated in Roman times as our own sports heroes are today. Basic rhythms and simple counterpoint are put to good use in this striking piece. Duration: 2' Key: C Minor Ranges: Trumpet-A; Horn-C; Trombone-G.

SKU: AP.40348S

UPC: 038081451664. English.

This is a swinger all the way! The tempo can be anywhere between 132--150 BPM and there is a written-out trumpet 2 solo. There's plenty of swingin' ensemble, a great sax section soli, plus optional parts for flute, clarinet, vibes, horn, baritone horn, and tuba. Add in trumpet plungers and sliding trombones and it's all great stuff! This title is available in MakeMusic Cloud.

SKU: BT.DHP-1043650-070

This publication contains arrangements of Vom Himmel hoch, o Englein kommt, one of the oldest German carols and Lobt Gott, ihr Christen alle gleich, written in 1554. These are great works for your Christmas concert as the variable instrumentation allows for great flexibility inperformance.Available parts:Part 1 C’ FlutePart 1 C” OboePart 1 Eb Clarinet, CornetPart 1 Bb Clarinet, Trumpet, Soprano Saxophone, Flugel Horn, CornetPart 2 C FlutePart 2 Bb Clarinet, Trumpet, Flugel Horn, CornetPart 2 F English Horn, HornPart 2 Eb Alto Saxophone, HornPart 3 C Bassoon, Trombone, EuphoniumPart 3 F HornPart 3 Eb Alto Clarinet, HornPart 3 Bb TC Tenor Saxophone, Trombone,Baritone, EuphoniumPart 3 Bb BC Trombone, EuphoniumPart 4 C Bassoon, Trombone, Bass, Double Bass, EuphoniumPart 4 Bb TC Bass Clarinet, Trombone, Euphonium, BassPart 4 Bb BC Trombone, Euphonium, BassPart 4 Eb TC Baritone Saxophone, BassPart 4 Eb BC Bass

AThis publication contains arrangements of Vom Himmel hoch, o Englein kommt, one of the oldest German carols and Lobt Gott, ihr Christen alle gleich, written in 1554. These are great works for your Christmas concertas the variable instrumentation allows for great flexibility inperformance.Available parts:Part 1 C’ FlutePart 1 C” OboePart 1 Eb Clarinet, CornetPart 1 Bb Clarinet, Trumpet, Soprano Saxophone, Flugel Horn, CornetPart 2 C FlutePart2 Bb Clarinet, Trumpet, Flugel Horn, CornetPart 2 F English Horn, HornPart 2 Eb Alto Saxophone, HornPart 3 C Bassoon, Trombone, EuphoniumPart 3 F HornPart 3 Eb Alto Clarinet, HornPart 3 Bb TC Tenor Saxophone, Trombone, Baritone,EuphoniumPart 3 Bb BC Trombone, EuphoniumPart 4 C Bassoon, Trombone, Bass, Double Bass, EuphoniumPart 4 Bb TC Bass Clarinet, Trombone, Euphonium, BassPart 4 Bb BC Trombone, Euphonium, BassPart 4 Eb TC Baritone Saxophone, BassPart4 Eb BC Bass

Hinter diesem Titel verbergen sich die traditionsreichen Lieder Vom Himmel hoch, bearbeitet von Jan de Haan, und Lobt Gott, ihr Christen, alle gleich, von Jacob de Haan arrangiert und verwoben mit Material aus dem gregorianischen Gesang Puer Natus Est. Besetzungsmöglichkeiten:Part 1 Fl Ob Kl B/Es S-Sax Trp Part 2 Fl Cor Ang Kl B A-Sax Trp Hrn Part 3 Alt-Kl T-Sax Fg Hrn Pos Euph Part 4 B-Kl B-Sax Fg Pos Euph Tuba Kb.

SKU: CF.CPS216F

ISBN 9781491153109. UPC: 680160910601.

Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections.  This fanfare composition would be perfect for opening a concert. It has bold brass fanfare figures over textural woodwinds to start and then takes the listener on a sonic journey through a variation of harmonic colors, tambural and textural shifts.
Cosmic Expedition takes performers on a musical journey far across the galaxy via three main sections. The first, a rather celebratory and triumphant fanfare in Bb major begins with the upper woodwinds and percussion creating a sound-screen, that is a busy texture consisting of a flurry of repeated notes over which the horns and alto saxophones present the opening theme. The sound-screen should be carefully balanced and give way to the melody at m. 5, which should be played extremely marcato. The timpani solo beginning in m. 11 must not be understated. A brief percussion interlude separates a restatement of the opening theme, this time with the addition of the trumpet, tenor saxophone, and euphonium, and a counter melody by the low winds. The percussion interlude is playful, light, but full of vigor and energy. An Ab in the low winds pulls the harmony towards G minor in m. 40 to start the second section, a more serious fanfare. Here, the marimba repeats an ostinato that is complemented by the bass drum and woodblock. The upper woodwinds with the xylophone and snare drum dance over the stern secondary fanfare. A longing call lead by the trombones, interrupted by a subtle snare drum beckons to the clarinets and horn who begin the third section of the piece at m. 68. This haunting melody in C minor is legato, and starkly contrasts all which came before it. A relentless concert tom-tom played with hard mallets keeps the momentum persistent, and a heartbeat-like pulse is felt from the tuba and baritone saxophone. The melody rises towards m. 84 when the brass harken back to the fanfare style before fading back into another lush woodwind strain.A recapitulation of the low winds’ call is heard at m. 100 which in this occasion intensifies into an emphatic statement by the battery percussion instruments. Now in Eb major, the opening fanfare theme is heard again once more before fading into the beginning of the piece’s conclusion.To end, the counter melody from the opening section duels with chromatic tension above before swelling to an arrival in the original key of Bb major. The full ensemble celebrates the piece’s resolution, and after a few crunchy power chords the journey is completed.