Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da C...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Clive Brown /
Neal Peres Da Costa /
Kate Bennett Wadsworth.
For cello and piano. This
edition: Urtext edition.
Stapled. With an Urtext
solo part by Clive Brown
and a solo part with
bowing and fingering by
Kate Bennett Wadsworth;
Fingering in the piano
part by Neal Peres Da
Costa; Performance
Practice Commentary by C.
Brown, N. P. Da Costa and
K. B. Wadsworth. Level 3.
Score and part. Text
Language: German/English.
Opus 38. Published by
Baerenreiter Verlag
Finer in Minor Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-9410 33 Original Pieces for Piano. Composed by Ma...(+)
Piano
SKU:
BR.EB-9410
33
Original Pieces for
Piano. Composed by
Martina Schneider. Solo
instruments; stapled.
Edition Breitkopf. The
editors of the Keyboard
Crocodile have delved
into music history's
treasure chest of piano
literature and come up
with some gems in the
minor mode that offer
major enjoyment.MP3
audiofiles, performed by
Aki Sakae, are to be
found on YouTube. Music
pedagogy. Score. 68
pages. Breitkopf and
Haertel #EB 9410.
Published by Breitkopf
and Haertel (BR.EB-9410).
ISBN 9790004188842. 9
x 12 inches.
The
new Finer in Minor With
beautiful, easy to
moderately difficult,
familiar and above all
not so familiar pieces,
our bestseller Finer in
Minor has now been a
companion for many
generations on their way
to the wonderful works of
major piano literature.
In the meantime, the
sister edition Greater in
Major (EB 8936) expands
the sound palette,
showing that playing the
piano in a major key is,
of course, just as
beautiful as playing in a
minor key! In the course
of preparing it, the
desire for freshness and
renewal of the
well-established
minor-key edition
developed. Editors and
publishing house finally
gave in and decided on a
revised and expanded new
edition. The outer
appearance has been
adapted to its major-key
twin, and inside the
edition, things look new
and different, too. New
composers and even more
pieces expand the range
of minor-key music to
include new worlds of
sound and feeling. Thus,
playing the piano is
simply great - with
Greater in Major and
Finer in Minor ! Voices
to the 1st edition: It is
a good collection of easy
pieces and well edited.
(Music Teacher) The
publisher began with a
novel idea and invested
their faith in its
success by producing a
bright, colorful album
that will easily catch
the eye of the potential
buyer. (Trevor Barnard,
Music Teacher)
The
editors of the Keyboard
Crocodile have delved
into music history's
treasure chest of piano
literature and come up
with some gems in the
minor mode that offer
major enjoyment.MP3
audiofiles, performed by
Aki Sakae, are to be
found in the download
section or on YouTube.
Here you can find the
sister edition Greater in
Major.
Orchestra (Score) SKU: HL.49045561 Richard Strauss Werke Complete Edit...(+)
Orchestra (Score)
SKU:
HL.49045561
Richard Strauss Werke
Complete Edition Score
Band 4. Composed by
Richard Strauss. Edited
by Stefan Schenk and
Walter Werbeck. This
edition: Hardback/Hard
Cover. Sheet music.
Edition Schott.
Classical. Hardcover.
Composed 1888-1891. Op.
23. 236 pages. Duration
18'. Schott Music
#RSW304. Published by
Schott Music
(HL.49045561).
ISBN
9783901974045.
Stra
uss's first tone poem
distinguishes itself from
all other subsequent
orchestral compositions
in its existence in three
different versions. Even
among the operas and
other compositions in his
hand there is no other
work with a comparable
history of origin and
publication. What is
more, the final version
of Macbeth is the only
valid form of the work
and the only variant with
further sources (cf.
Critical Report) in
addition to the autograph
score. In contrast, the
second version has only
been preserved in an
autograph score and
autograph piano reduction
(the orchestral parts
which must have existed
have obviously not
survived). This was never
printed and was replaced
by the published third
version. The two
surviving versions should
therefore not be
considered to be of equal
status. Unlike the case
of Ariadne auf Naxos in
which the earlier version
was for a time the sole
valid alternative and was
yet never completely
displaced by the soon
dominating later version
of the opera, only the
final third version of
Macbeth is considered as
valid. Right from the
outset, it was a matter
of course for the editors
of the present volume to
include the second
version as a first
publication (in addition
to the above-mentioned
surviving pages of the
first version), albeit in
different forms. The
surviving pages of the
first version are
reproduced in facsimile
and the second version,
as a subordinate form of
the work, appears
alongside Strauss's piano
reduction in a modified
source edition, i.e.
without intervention on
the part of the editors.
The ultimate third
version is published as a
full edition (please
refer to the Critical
Report for further
details). In order to
facilitate a comparative
study of the second and
third versions, the
relevant page numbers of
the score are placed
opposite one another (the
autograph piano reduction
of the second version is
included at the end of
the music section of the
volume). The editors hope
that this synoptic
representation will
prompt interest in
further studies on
Strauss's art of
orchestration: a field of
research which has still
remained insufficiently
examined. A study of
Macbeth namely
illuminates as clearly as
could be wished how much
significance Strauss
allotted to sound
alongside form. The
subjects were not merely
intended to generate an
individual figure, but
also specific tonal
colours, and the
instrumentation was
simultaneously designed
to provide an optimal
communication of
thematic-motivic texture
to the audience. The 'new
path' threw up
consequences which caused
Strauss a considerable
amount of difficulty. He
was however a fast
learner and had already
swum free with Don Juan
and all the more with Tod
und Verklarung.
3 Etudes pour la Methode des Methodes. Composed by Frederic Chopin (1810-1849)...(+)
3 Etudes pour la Methode
des
Methodes. Composed by
Frederic Chopin
(1810-1849).
Piano (Solo). The
Complete
Chopin - A New Critical
Edition. Score. Edition
Peters #EP73229.
Published
by Edition Peters
By Bruce Pearson. Edited by Charles Forque, Gerald Anderson. Band Methods. Best ...(+)
By Bruce Pearson. Edited
by Charles Forque, Gerald
Anderson. Band Methods.
Best in Class Band
Method. Level: Book A,1.
Music Book. Published by
Neil A. Kjos Music
Company.
By Bruce Pearson. Edited by Charles Forque, Gerald Anderson. For Bassoon. Band M...(+)
By Bruce Pearson. Edited
by Charles Forque, Gerald
Anderson. For Bassoon.
Band Methods. Best in
Class Band Method.
Instructional method.
Book A,1. Method book
Choral SATB choir, piano SKU: CF.CM9713 Composed by Jacob Narverud. 16 pa...(+)
Choral SATB choir, piano
SKU: CF.CM9713
Composed by Jacob
Narverud. 16 pages.
Duration 4:01. Carl
Fischer Music #CM9713.
Published by Carl Fischer
Music (CF.CM9713).
ISBN 9781491160084.
UPC: 680160918683. Key: G
major. English. Robert
Bode. Original.
The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering support.
Performance Notes This
lighthearted piece is a
great way to bring
multiple choirs together
in harmony. It may be
sung by a single SATB
choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs: Rehearsal Letters
A to B: Elementary choir
only (two-part, Soprano,
Alto) Rehearsal Letter B:
add Middle Level Soprano,
Alto with Elementary
choir Rehearsal Letter C:
Middle Level choir only
Rehearsal Letter D: High
School choir only
Rehearsal Letter E to the
end: Everyone! Song of
the Sound: Running on the
beach, digging in the
sand, Seaweed in my toes,
bucket in my hand. When
I'm at the shore, way
above the rest, These are
all the things that I
love the best. Skipping
like a stone on the
water, diving deep in the
silvery foam, Swimming
far where the land cannot
hold us, where the
lighthouse calls us home.
Flying free above the
marshes, soaring high
above the sea, Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing shore:
Where the gentle breezes
whisper and the mighty
breakers roar. We will
look to the shining
ocean, to the East, where
the new day dawned: We
will sing a song of the
edge of the world and the
waiting sky beyond. -Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019) About
the Composer: Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.com YouTube
& Spotify:
@jacobnarverud. The
piece was commissioned by
Kevin Scully, Director of
Creative Arts, for the
Port Washington School
District, New York, with
special thanks to the Ed
Foundation and HEARTS for
their unwavering
support.Performance
NotesThis lighthearted
piece is a great way to
bring multiple choirs
together in harmony. It
may be sung by a single
SATB choir, though it is
intended to be performed
by multiple choirs of
varying age levels. Song
of the Sound was written
for an all-district
feeder festival piece for
combined elementary,
middle level, and high
school choirs. Here is a
suggested outline for
combining multiple
choirs:Rehearsal Letters
AÂ to B: Elementary
choir only (two-part,
Soprano, Alto)Rehearsal
Letter B: add Middle
Level Soprano, Alto with
Elementary choirRehearsal
Letter C: Middle
Level choir onlyRehearsal
Letter D: High School
choir onlyRehearsal
Letter E to the end:
Everyone!Song of the
Sound:Running on the
beach, digging in the
sand,Seaweed in my toes,
bucket in my hand.When
I'm at the shore, way
above the rest,These are
all the things that I
love the
best. Skipping like a
stone on the water,
diving deep in the
silvery foam,Swimming far
where the land cannot
hold us, where the
lighthouse calls us
home.Flying free above
the marshes, soaring high
above the sea,Where the
tern and cormorant and
plover call to lands we
cannot see.Come let us go
to the water, let us go
to the singing
shore:Where the gentle
breezes whisper and the
mighty breakers roar.We
will look to the shining
ocean, to the East, where
the new day dawned:We
will sing a song of the
edge of the world and the
waiting sky beyond.-Poem
by Robert Bode (Hope
Springs Retreat Center,
Ohio. August 2019)About
the Composer:Jacob
Narverud (b. 1986) is an
American composer,
arranger, and conductor.
Dr. Narverud is an active
guest Conductor/Clinician
for Choral Festivals and
All-State Choirs across
the country and is the
Founder/Artistic Director
of the Tallgrass Chamber
Choir, a professional
ensemble comprised of
musicians from across the
Great Plains. As a
sought-after composer,
Narverud has been
commissioned to write new
works for a variety of
choral ensembles and
organizations. Many of
his Editors' Choirs
compositions are
publisher Best Sellers
and are performed
worldwide by choirs of
all levels. Website:
www.jnarverud.comÂ
YouTube & Spotify:
@jacobnarverud.
By Bruce Pearson. Edited by Charles Forque, Gerald Anderson. Band Methods. Best ...(+)
By Bruce Pearson. Edited
by Charles Forque, Gerald
Anderson. Band Methods.
Best in Class Band
Method. Level: Book A,1.
Music Book. Published by
Neil A. Kjos Music
Company.
By Bruce Pearson. Edited by Charles Forque, Gerald Anderson. For Bb Bass Clarine...(+)
By Bruce Pearson. Edited
by Charles Forque, Gerald
Anderson. For Bb Bass
Clarinet. Band Methods.
Best in Class Band
Method. Instructional
method. Book A,1. Method
book
(Foreword and Additional Editing by Richard Hughey). By Camille Saint-Saens Dani...(+)
(Foreword and Additional
Editing by Richard
Hughey). By Camille
Saint-Saens Daniel
Francois Van Goens.
Edited by Richard Hughey,
Larry Clark. For Cello,
Cello and Piano. 104
pages. Published by Carl
Fischer
SKU: BA.BVK02312 February 1847 to November 1847. Composed by Felix...(+)
SKU: BA.BVK02312
February 1847 to
November 1847.
Composed by Felix
Bartholdy Mendelssohn.
Edited by Helmut Loos,
Lucian Schiwietz, Stefan
Münnich, Uta Wald, and
Wilhelm Seidel. Linen.
Book. Baerenreiter Verlag
#BVK02312_00. Published
by Baerenreiter Verlag
(BA.BVK02312).
ISBN
9783761823125. 23.7 x
16.5 cm inches. Preface:
Seidel,
Wilhelm.
Felix
Mendelssohn Bartholdy as
letter-writer: at the
heart of 19th century
European
culture
As one of
the most important
letter-writers of the
19th century, Felix
Mendelssohn Bartholdy
maintained an extensive
correspondence. With
great style and eloquence
he wrote letters to
friends and family,
letters from his travels
and he also wrote to
leading composers,
musicians, artists as
well as publishers. He
corresponded with famous
contemporaries such as
Robert Schumann, Franz
Liszt and Richard Wagner
as well as Johann
Wolfgang von Goethe, Carl
Friedrich Zelter and
Alexander von
Humboldt.
The
correspondence begins in
1816 and ends in 1847
with the
composer’s death.
These letters are
invaluable documents
shedding light not only
on the genesis,
publication and revision
of his musical works, but
also on a period when
relations between
Christians and Jews still
had a chance to become
harmonious, as Moses
Mendelssohn, the imminent
scholar and grandfather
of the composer had
advocated.
This
edition will therefore be
of great interest far
beyond the circles of
musicologists and music
specialists. It will
appeal to those who are
interested in the history
of culture and ideas and
to those who perceive
Mendelssohn and his
family as representatives
of a unique, diverse
cultural epoch.
The complete
correspondence shows that
Mendelssohn not only went
on to become one of the
leading figures of German
musical culture in the
1840s, but that he also
maintained a network of
musical contacts
throughout
Europe.
The
edition of the complete
letters This
scholarly-critical
complete edition
comprises 5,855 letters
by Felix Mendelssohn
Bartholdy. Previously
only a small part of his
correspondence had been
published and made
accessible to the public.
The complete edition is
based on Mendelssohn
letters which have been
compiled over decades by
Rudolf Elvers as well as
on international research
carried out by an
academic workgroup in
Leipzig spearheaded by
chief editors Helmut Loos
and Wilhelm Seidel. They
determined 500 additional
letters hitherto
unknown.
Versions
of the letter texts have
been compiled from a
scholarly-critical
analysis of the sources,
their historical context
has been discussed and
comments on all points in
need of explanation have
been made.
This
edition of the complete
letters consists of 12
volumes and a CD-ROM.
Each volume contains
indices of mentioned
individuals and
institutions,
compositions by Felix
Mendelssohn Bartholdy and
Fanny Hensel as well as a
register of place names
and currencies. In this
way one obtains an
all-encompassing view of
this unique historical
cosmos.
The
Complete edition has been
produced to the highest
standards in terms of
layout, cover and
binding. It is an ideal
collector’s item
for bibliophiles,
providing an excellent
means for studying the
composer and the period
in which he
lived.
The CD-ROM
forms a valuable addition
to the printed volumes.
It offers the complete
printed edition in the
form of pdf. files,
thereby making its
approximately 9,500 pages
digitally accessible and
enabling letters and the
corresponding commentary
to be read in parallel.
All terms can be located
quickly and conveniently
via a full text
search. (The 12
volumes as well as the
CD-ROM can only be
purchased
complete).
-
German text
only
The
Editors Helmut Loos is
Professor of Musicology
at the University of
Leipzig. He specialises
in the music of the 19th
and 20th centuries, in
particular the reception
of Beethoven, sacred
music and links between
Germany and Central and
Eastern Europe.
Wilhelm Seidel was
professor at the
universities of
Heidelberg, Marburg and
Leipzig. His publications
are devoted to the
temporal structure of
music, music aesthetics
in the 18th and 19th
centuries and music of
the 16th to 20th
centuries, currently on
Mozart and
Mendelssohn.
By Bruce Pearson. Edited by Charles Forque, Gerald Anderson. Band Methods. Best ...(+)
By Bruce Pearson. Edited
by Charles Forque, Gerald
Anderson. Band Methods.
Best in Class Band
Method. Level: Book A,1.
Music Book. Published by
Neil A. Kjos Music
Company.
(Foreword and Additional Editing by Doris Gazda). By Giovanni Marco Bordogni Geo...(+)
(Foreword and Additional
Editing by Doris Gazda).
By Giovanni Marco
Bordogni Georg Philipp
Telemann. Edited by
Various. For Viola. Book.
52 pages. Published by
Carl Fischer
Resignation Piano seul EMB (Editio Musica Budapest)
Piano SKU: HL.50511294 1st and 2nd Versions. Composed by Franz Lis...(+)
Piano
SKU:
HL.50511294
1st
and 2nd Versions.
Composed by Franz Liszt.
Romantic. EMB. Book Only.
Editio Musica Budapest
#Z13961. Published by
Editio Musica Budapest
(HL.50511294).
ISBN
9790080139615. UPC:
073999346435. Bach (23 x
30,2 cm) inches.
Hungarian, English,
German. Ferenc Liszt;
Imre Sulyok; Imre
Mezo.
The
catalogues list under the
title 'Resignazione' a
short work for organ
consisting merely of 29
bars. The investigation
of sources carried out by
the editors in connection
with the New Complete
Edition of Liszt's Works
revealed that this is, in
fact a work for piano the
final version of which
was worked out later.
Liszt never published
this manuscript and this
late masterpiece has
remained unknown for
scholars as well. The
present edition publishes
the work for the first
time. The publication
includes the first
version of the work
too.
Organ SKU: HL.14034566 Music Sales America. Classical. Book [Softcover]. ...(+)
Organ
SKU:
HL.14034566
Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV952307.
Published by Music Sales
(HL.14034566).
There exists
already and abundant
supply of original
compositions and
arrangements suitable for
performance on large and
comprehensive organs, but
many organists who have
only a small instrument
at their disposal in
country churches often
have some difficulty in
finding short and easy
voluntaries suitable for
their own use and the
instruction of their
pupils. It is hoped that
The Village
Organist may
supply this want, so much
felt by that valuable and
zealous class of
church-workers to whom
the work is inscribed.
The editors have
endeavoured to bring
together a collection of
pieces which they trust
will prove to be at once
simple, without being
uninteresting,and
effective where the
instrumental resources
are limited.
Organ SKU: HL.14034977 Music Sales America. Classical. Book [Softcover]. ...(+)
Organ
SKU:
HL.14034977
Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV952313.
Published by Music Sales
(HL.14034977).
There exists
already and abundant
supply of original
compositions and
arrangements suitable for
performance on large and
comprehensive organs, but
many organists who have
only a small instrument
at their disposal in
country churches often
have some difficulty in
finding short and easy
voluntaries suitable for
their own use and the
instruction of their
pupils. It is hoped that
The Village
Organist may
supply this want, so much
felt by that valuable and
zealous class of
church-workers to whom
the work is inscribed.
The editors have
endeavoured to bring
together a collection of
pieces which they trust
will prove to be at once
simple, without being
uninteresting,and
effective where the
instrumental resources
are limited.
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l 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.