Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Floor Tom, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine and more. - Grade 1.5

SKU: CF.FPS156

Composed by Joseph Compello. Folio. Fps. Set of Score and Parts. 8+2+4+4+2+5+2+2+4+4+4+6+2 +3+2+1+2+3+16 pages. Duration 2 minutes, 50 seconds. Carl Fischer Music #FPS156. Published by Carl Fischer Music (CF.FPS156).

ISBN 9781491156360. UPC: 680160914906. 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 The idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun. In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted. Overall, the main challenge for this piece is balance. For the chaser idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the spooky theme is added to the chasing theme. If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.
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 NotesThe idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun.In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted.Overall, the main challenge for this piece is balance. For the “chaser” idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the “spooky” theme is added to the “chasing” theme.If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.

Chamber Music Violin

SKU: CF.BF131

Composed by Roland Vamos. With Standard notation. 168 pages. Carl Fischer Music #BF131. Published by Carl Fischer Music (CF.BF131).

ISBN 9781491153765. UPC: 680160911264. 9 x 12 inches.

Inspired by Clarence Cameron White’s book The Violinist’s Daily Dozen, The Violinist’s Daily Sixteen is a collection of daily exercises compiled by Roland Vamos. Intended for student and professional violinists, the collection provides the performer with a variety of exercises for daily warm-ups. Mr. Vamos also focuses on developing dexterity and flexibility in the fingers and joints, the first and fourth fingers in particular. Each of the sixteen exercises is notated for each of the four strings, and Vamos recommends that the exercises be practiced as warm-ups, choosing a different string for each day of practice.Also included with the Daily Sixteen is a comprehensive set of studies for developing fluency with scales and arpeggios. Mr. Vamos’ unique methodology is to begin with major scales and arpeggios, followed by minor scales and arpeggios, all of which are notated in two, three and four octaves. Alternate fingers are provided, as well as a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. It is a remarkably systematic approach to performing scales and arpeggios on the violin and will surely benefit students and professionals alike.
ForewordThis short hand-setting set of exercises was inspired by a book entitled The Violinist’s Daily Dozen, conceived by Clarence Cameron White, a prominent African-American violinist, composer and arranger who enjoyed the bulk of his career in the first half of the twentieth century.I have practiced this set of exercises since I was twelve years old. It has served me as a superb warm-up and hand setting tool. Over the years, I have found that there are some aspects of this warm-up routine that were not given sufficient attention or not addressed at all. Consequently, I have expanded the Daily Dozen to create a new work entitled The Violinist’s Daily Sixteen.I have also paid particular attention in this work as to how these exercises are to be practiced. In exercises one and two, I have indicated some notes to be played before the actual written exercises. This is to ensure that the fourth finger will be over the string in a position ready to strike even though it is not being used. Before playing exercises three, four, nine, ten, eleven and twelve, I have indicated silent fingers to be placed on the notes they would be playing if they were being used.I have replaced Mr. White’s grace notes with notes of specific value and have slowed down the exercises so that the first joint (the joint nearest the string) of each finger can move with flexibility and strength. At no time should the first joint buckle.In Mr. White’s version, the last exercise gave the first finger some very valuable backward extensions. In this exercise (number 14 in this book), I caution the student not to move the hand along with the first finger. The hand should remain in position while the first finger independently moves back and forth.It became obvious to me that if the first finger were given the opportunity to develop the dexterity that Mr. White’s twelfth exercise emphasizes, the fourth finger could benefit from an exercise that gives it a forward extension. Consequently, I added another exercise to create a Baker’s Dozen (thirteen).Several years later, I felt that the second and third fingers should also have an exercise to further develop their dexterity…hence exercise fourteen was added to create a “Vamos Dozen.”Because the first finger did not have sufficient practice in the development of the first joint in the original version, I have added two exercises to precede White’s fifth exercise. After re-working and re-numbering these exercises, I have come up with a total of sixteen exercises. It is my suggestion that these be practiced as a warm-up, choosing a different string each day.—Roland VamosEvanston, Illinois 2017 PrefaceScales are a means of teaching a person the fingerboard on his or her instrument. The fingers move across the strings and are required to make shifts, all in highly organized patterns. Scales and arpeggios are the foundation upon which our repertoire is built. Many scale books have been written; each one being organized in its own specific way. The Flesch Scale System has been a standard for many decades. It is very comprehensive and systematic. From the point of view of establishing similar patterns, it has one drawback: it is organized by starting with a major key, followed by its relative minor, going through the circle of fifths. I believe that it is more profitable to do only major scales with their arpeggios first, going up chromatically, and then follow them in a similar way with the minor scales. In using this approach, the similarities in fingerings between the various scales are more apparent. It is also profitable to have alternate fingerings whenever possible. My approach to scales and arpeggios includes a variety of slurred and mixed bowings using the three parts of the bow whenever feasible. These bowings are not all-inclusive. Whenever a particularly awkward bowing pattern is encountered in the repertoire, it can be practiced as an additional bowing variation in the scales and arpeggios.    I have chosen to introduce the three and four octave scales by teaching two octave scales across the strings in one position going up chromatically through seven positions; starting on the first, second, third, and finally fourth fingers in major and melodic minor.—Roland VamosEvanston, Illinois 2017.

By Barry Solomon. For Guitar: Flatpicking. Saddle-stitched, methods. Grossman Audio. Solos/Transcriptions. Intermediate-Advanced. Book/3- CD Set. 36 pages. Published by Mel Bay Publications, Inc

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Floor Tom, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine and more. - Grade 1.5

SKU: CF.FPS156F

Composed by Joseph Compello. Sws. Fps. Full score. 16 pages. Duration 2 minutes, 50 seconds. Carl Fischer Music #FPS156F. Published by Carl Fischer Music (CF.FPS156F).

ISBN 9781491156377. UPC: 680160914913. 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 The idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun. In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted. Overall, the main challenge for this piece is balance. For the chaser idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the spooky theme is added to the chasing theme. If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.
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 NotesThe idea for Ghost Chasers is to have a spooky tune (m. 9, Trumpets) chasing around in simple counterpoint between two sections. (See m. 19). Students will find the independent part playing both challenging and fun.In the contrasting section at m. 30, young students will gain experience in changing their articulation from marcato to legato. Obeying the cues for low brass in this section is recommended, but depending on the instrumentation of the band, directors may disregard the cues if necessary. Directors may also wish to take the opportunity to teach a lesson about major and minor keys and discuss why the tune at m. 9 sounds spooky and the theme at m. 30 sound lighthearted.Overall, the main challenge for this piece is balance. For the “chaser” idea to be effective the half-measure lag between the two sections playing the same tune must be easily heard. Even more attention to balance must be paid at m. 45, where the “spooky” theme is added to the “chasing” theme.If Clarinets can play third-line written D, use it instead of the alternate cued note. If three Timpani are not available, omit the note D.

Band concert band - Grade 1

SKU: CF.BPS124F

Composed by Joseph Compello. Sws. Bps. Full score. 12 pages. Duration 1:30. Carl Fischer Music #BPS124F. Published by Carl Fischer Music (CF.BPS124F).

ISBN 9781491156155. UPC: 680160914692. 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 the 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 The idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.
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 the 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 NotesThe idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.

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.

Band concert band - Grade 1

SKU: CF.BPS124

Composed by Joseph Compello. Folio. Bps. Set of Score and Parts. 8+2+4+4+2+5+2+2+4+4+3+6+2 +3+1+1+2+1+12 pages. Duration 1:30. Carl Fischer Music #BPS124. Published by Carl Fischer Music (CF.BPS124).

ISBN 9781491156148. UPC: 680160914685. 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 the 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 The idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.
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 the 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 NotesThe idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.

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, Piccolo, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2 and more. - Grade 3

SKU: CF.CPS230F

March. Composed by Joseph Compello. Sws. Cps. Full score. 16 pages. Duration 2 minutes, 51 seconds. Carl Fischer Music #CPS230F. Published by Carl Fischer Music (CF.CPS230F).

ISBN 9781491156315. UPC: 680160914852. 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 Bay Shore Park is intended for a band with at least one year's training. It is also suitable for more experienced bands. It should be performed as a traditional American style concert march. A successful performance will require careful attention to balance in the Trio at m. 55. Additionally, balance will also be crucial at m. 103 where the Trio melody and the melody from m. 9 are heard together. The overall character of the music should be lively and carefree, much like a summer day at Bay Shore Park on the shores of the Chesapeake Bay.
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 NotesBay Shore Park is intended for a band with at least one year’s training. It is also suitable for more experienced bands. It should be performed as a traditional American style concert march. A successful performance will require careful attention to balance in the Trio at m. 55. Additionally, balance will also be crucial at m. 103 where the Trio melody and the melody from m. 9 are heard together. The overall character of the music should be lively and carefree, much like a summer day at Bay Shore Park on the shores of the Chesapeake Bay.

SAB choir, assembly, piano accompaniment, trumpet in B-flat, trumpet in C, cello, guitar - Early intermediate

SKU: GI.G-9905

Arranged by Tony Alonso S.J. Trinity Sunday. Celebration Series. Tune Name: Grosser Gott. Sacred. Octavo. With guitar chord names. 12 pages. GIA Publications #9905. Published by GIA Publications (GI.G-9905).

UPC: 785147990505. English. Text Source:
Grosser Gott, wir loben dich, ascr. Ignaz Franz, 1719&ndash,1790, tr. Clarence Walworth, 1820&ndash,1900, alt.; Translation: Clarence Walworth. Text by Ignaz Franz.

Listen to the recording and see the score in the video below:.

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, Piccolo, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2 and more. - Grade 3

SKU: CF.CPS230

March. Composed by Joseph Compello. Folio. Cps. Set of Score and Parts. 16+4+8+8+4+4+8+4+4+4+4+4+ 12+6+4+8+1+1+4+1+16 pages. Duration 2 minutes, 51 seconds. Carl Fischer Music #CPS230. Published by Carl Fischer Music (CF.CPS230).

ISBN 9781491156308. UPC: 680160914845. 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 Bay Shore Park is intended for a band with at least one year's training. It is also suitable for more experienced bands. It should be performed as a traditional American style concert march. A successful performance will require careful attention to balance in the Trio at m. 55. Additionally, balance will also be crucial at m. 103 where the Trio melody and the melody from m. 9 are heard together. The overall character of the music should be lively and carefree, much like a summer day at Bay Shore Park on the shores of the Chesapeake Bay.
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 NotesBay Shore Park is intended for a band with at least one year’s training. It is also suitable for more experienced bands. It should be performed as a traditional American style concert march. A successful performance will require careful attention to balance in the Trio at m. 55. Additionally, balance will also be crucial at m. 103 where the Trio melody and the melody from m. 9 are heard together. The overall character of the music should be lively and carefree, much like a summer day at Bay Shore Park on the shores of the Chesapeake Bay.

By Barry Solomon. For Guitar: Flatpicking. Saddle-stitched, methods. Grossman Audio. Jazz and Contemporary. Intermediate-Advanced. Book/3- CD Set. 40 pages. Published by Mel Bay Publications, Inc

For Piano. By Adoniram J. Gordon; Anonymous; Arthur Seymour Sullivan; Charles C. Converse; George J. Webb; H.Cutler Fall; John Baptiste Calkin; Oliver Holden; Robert Lowry; Samuel Sebastian Wesley; Samuel Webbe; William B. Bradbury; William H. Doane; Wm. R. Fischer. Edited by Clarence Kohlmann. Arranged by Clarence Kohlmann. Solo piano. For Piano Solo. Collection. 51 pages. Published by Theodore Presser Company

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.YPS218

Composed by Joseph Compello. Folio. Yps. Set of Score and Parts. 8+2+8+8+4+4+10+4+4+4+4+4+ 6+3+2+3+2+1+4+2+20 pages. Duration 1 minute, 50 seconds. Carl Fischer Music #YPS218. Published by Carl Fischer Music (CF.YPS218).

ISBN 9781491156568. UPC: 680160915101. 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.

Choral SATB choir, piano

SKU: PR.352001010

An Anthem For Fast Day. Composed by William Billings. Edited by Clarence Dickinson. Arranged by Clarence Dickinson. Performance Score. With Standard notation. 16 pages. Theodore Presser Company #352-00101. Published by Theodore Presser Company (PR.352001010).

ISBN 9781491114711. UPC: 680160056194. 6.875 x 10.5 inches. English. From the Continental Harmony, 1794.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Floor Tom, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tam-tam, Tambourine, Timpani, Tom-tom, Trombone, Trumpet 1 and more. - Grade 1

SKU: CF.BPS126

Composed by Joseph Compello. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+4+6+2+3+1 +1+8+2+16 pages. Duration 2:20. Carl Fischer Music #BPS126. Published by Carl Fischer Music (CF.BPS126).

ISBN 9781491156186. UPC: 680160914722. 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 Ceremony of Peace contains only the notes of the ascending pentatonic scale: Bb, C, Eb, F, and G. The middle voice written for Oboe, Tenor Sax and Horn uses the note D at cadences. The character of the music should give the impression of ceremonial music performed on primitive instruments. The Tom-Tom parts are exactly the same as the Snare Drum and Bass Drum parts. The director may decide whether to use one or the other or both. If Snare Drum with snares off is used, try it with mallets instead of drum sticks. If a Bass Drum is used be certain that it does not overpower the band. The director may choose to turn it on its side and muffle it with a towel. In the Percussion 2 part Sleigh Bells may double with the Tambourine to add a primitive, ceremonial sound. The Clarinet part may be doubled an octave higher in bands where this is possible.
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 NotesCeremony of Peace contains only the notes of the ascending pentatonic scale: Bb, C, Eb, F, and G. The middle voice written for Oboe, Tenor Sax and Horn uses the note D at cadences.The character of the music should give the impression of ceremonial music performed on primitive instruments. The Tom-Tom parts are exactly the same as the Snare Drum and Bass Drum parts. The director may decide whether to use one or the other or both. If Snare Drum with snares off is used, try it with mallets instead of drum sticks. If a Bass Drum is used be certain that it does not overpower the band. The director may choose to turn it on its side and muffle it with a towel. In the Percussion 2 part Sleigh Bells may double with the Tambourine to add a primitive, ceremonial sound.The Clarinet part may be doubled an octave higher in bands where this is possible.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Floor Tom, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tam-tam, Tambourine, Timpani, Tom-tom, Trombone, Trumpet 1 and more. - Grade 1

SKU: CF.BPS126F

Composed by Joseph Compello. Sws. Bps. Full score. 16 pages. Duration 2:20. Carl Fischer Music #BPS126F. Published by Carl Fischer Music (CF.BPS126F).

ISBN 9781491156193. UPC: 680160914739. 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 Ceremony of Peace contains only the notes of the ascending pentatonic scale: Bb, C, Eb, F, and G. The middle voice written for Oboe, Tenor Sax and Horn uses the note D at cadences. The character of the music should give the impression of ceremonial music performed on primitive instruments. The Tom-Tom parts are exactly the same as the Snare Drum and Bass Drum parts. The director may decide whether to use one or the other or both. If Snare Drum with snares off is used, try it with mallets instead of drum sticks. If a Bass Drum is used be certain that it does not overpower the band. The director may choose to turn it on its side and muffle it with a towel. In the Percussion 2 part Sleigh Bells may double with the Tambourine to add a primitive, ceremonial sound. The Clarinet part may be doubled an octave higher in bands where this is possible.
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 NotesCeremony of Peace contains only the notes of the ascending pentatonic scale: Bb, C, Eb, F, and G. The middle voice written for Oboe, Tenor Sax and Horn uses the note D at cadences.The character of the music should give the impression of ceremonial music performed on primitive instruments. The Tom-Tom parts are exactly the same as the Snare Drum and Bass Drum parts. The director may decide whether to use one or the other or both. If Snare Drum with snares off is used, try it with mallets instead of drum sticks. If a Bass Drum is used be certain that it does not overpower the band. The director may choose to turn it on its side and muffle it with a towel. In the Percussion 2 part Sleigh Bells may double with the Tambourine to add a primitive, ceremonial sound.The Clarinet part may be doubled an octave higher in bands where this is possible.

By Clarence Gaskill and Jimmy McHugh. Arranged by Darmon Meader. Jazz Ensemble. Jazz Ensemble. Jazz Vocal Series. Swing. Grade 4. Conductor Score and Parts. 98 pages

Piano. Book and CD package. Size 9x12 inches. 40 pages. Published by Homespun Listen and Learn Series. (699094)

Voice

SKU: BT.AL-1374A

Composed by Clarence Raybould. Classical. Book Only. Alfred Lengnick & Co #AL 1374A. Published by Alfred Lengnick & Co (BT.AL-1374A).

English.

By Clarence Quick. Arranged by Doug Adams. Marching Band. Marching Band; Part(s); Score. Easy Pops for Marching Band. Grade 2. Published by Alfred Music

By Happy Traum. For Guitar. Bluegrass. Sheet Music. 128 pages. Published by Oak Publications.

(Music For Voice)

SKU: HL.14068952

Composed by Clarence Williams. Vocal Solo. General Merchandise. Duration 240 seconds. Edition Wilhelm Hansen #MM10085. Published by Edition Wilhelm Hansen (HL.14068952).

By William Billings. Arranged by Clarence Dickinson. For SATB. Published by Theodore Presser Company.

By Horace Clarence Boyer. For SATB Choir and Piano accompaniment. African American Church Music Series. Sacred, Easter. Text language: English. 8 pages. Published by GIA Publications

A Gospel - Christmas Song. By Robert Macgimsey. Arranged by Clarence K. Mcdonald; Kenny Rogers; Kin Vassy. Text: Robert Macgimsey. For Keyboard, Voice. Piano/Vocal Score. 6 pages. Published by Carl Fischer.

By Clarence V. Hendrickson. For Clarinet. Woodwind - Clarinet Method or Collection. Book. 52 pages. Published by Alfred Publishing.

(As performed by Sean Kingston). By Bruno Mars, Philip Lawrence, Ari Levine, Carlos Battey, Steven Battey, and Clarence Quick [Sean Kingston]. Arranged by Ralph Ford. Orchestra. Full Orchestra; Score. Pop Intermediate Full Orchestra. Light Concert; Pop/Ro

Marching Band - Grade 3

SKU: AP.49231

As Recorded by Dua Lipa. Composed by Clarence Coffee, Dua Lipa, Jason Evigan, Music by Sarah Hudson, and Words. Arranged by Nick Baratta. Marching Band; Performance Music Ensemble; Single Titles. Mega Sounds for Marching Band. Pop; Rock. Score and Part(s). 71 pages. Duration 1:55. Alfred Music #00-49231. Published by Alfred Music (AP.49231).

ISBN 9781470647339. UPC: 038081566566. English.

Physical is a power pop tune from Dua Lipa, and is an awesome stands chart that is also perfect for drill teams and dance units. Nick Baratta's energetic arrangement will really have the crowd rockin'! (1:55).