Orchestre, Orchestre
d'Harmonie Concert Band -
Grade 4
SKU:
FL.FX071592
Composed
by Gilles Arcens.
Original Composition.
Classical. Score and Set
of Parts. Duration 8
minutes, 45 seconds. FLEX
Editions #FX071592.
Published by FLEX
Editions (FL.FX071592).
Solo Tuba & Concert Band - advanced SKU: CY.CC2470 Composed by Johann B W...(+)
Solo Tuba & Concert Band
- advanced
SKU:
CY.CC2470
Composed by
Johann B Wanhal. Arranged
by Janet Yarbrough.
Classical. Score and
parts. Published by
Cherry Classics
(CY.CC2470).
Johann Wanhal
(Vanhal) was an important
classical composer from
Bohemian/Czech heritage
(1739-1813). His main
living was as an organist
and choirmaster, however
Wanhal's musical output
as a composer includes
over a dozen concerti,
many symphonies, chamber
music, operas and much
sacred music including 58
masses. Wanhal is rumored
to have played chamber
music with Mozart, Haydn
and Dittersdorf, with
Wanhal on the cello. In
the 1770's Wanhal met the
contrabassist Johannes
Matthias Sperger and
wrote a double bass
concerto for him. The
Concerto is in the key of
E-Flat (original key of D
for the double bass) in
three movements and has
been expertly arranged
for Tuba and classical
wind ensemble by Ms.
Janet Yarbrough of Duke
University. This work
will also be available
soon with a piano
reduction.
Band solo cello and concert band SKU: PR.41541144L For Cello and Wind ...(+)
Band solo cello and
concert band
SKU:
PR.41541144L
For
Cello and Wind
Ensemble. Composed by
Narong Prangcharoen.
Contemporary. Large
Score. With Standard
Notation. Duration 18
minutes. Theodore Presser
Company #415-41144L.
Published by Theodore
Presser Company
(PR.41541144L).
Band solo cello and concert band SKU: PR.415411440 For Cello and Wind ...(+)
Band solo cello and
concert band
SKU:
PR.415411440
For
Cello and Wind
Ensemble. Composed by
Narong Prangcharoen.
Contemporary. Study
Score. With Standard
Notation. 45 pages.
Duration 18 minutes.
Theodore Presser Company
#415-41144. Published by
Theodore Presser Company
(PR.415411440).
Lads of Wamphray Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
By Percy Aldridge Grainger. Arranged by Joseph Kreines. Concert band/stage band....(+)
By Percy Aldridge
Grainger. Arranged by
Joseph Kreines. Concert
band/stage band. For
Piccolo, Fife (in BB),
Flute I, Flute II, Flute
III, Clarinet (in Eb),
Oboe I, Oboe II, Clarinet
I, Clarinet II, Clarinet
III, Alto Clarinet, Bass
Clarinet, Bassoon I,
Bassoon II, Contra
Bassoon, Soprano
Saxophone, Alto Saxophone
I, Alto Saxophone II,
Tenor Saxophone, Baritone
Saxophone, Bass
Saxophone, Cornet I,
Cornet II, Cornet III,
Trumpet I, Trumpet II,
Horn I, Horn II, Horn
III, Horn IV, Tenor I,
Tenor II, Tenor III,
Euphonium, Tuba, Double
Bass, Timpani, Suspended
Cymbal, Rattle, Snare
Drum, Bass Drum. Percy
Grainger Critical
Edition. Score and parts.
47 pages. Published by
Carl Fische
Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225).
ISBN
9781491152515. UPC:
680160910014.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F).
ISBN
9781491153192. UPC:
680160910694.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
9X12 Band Score.
Composed by Ellen Taaffe
Zwilich. Sws. Wind Band
Select. Contemporary.
Full score. With Standard
notation. Composed 2010.
28 pages. Duration 12:30.
Theodore Presser Company
#145-40034F. Published by
Theodore Presser Company
(PR.14540034F).
ISBN
9781598063240. UPC:
680160595914. 9x12
inches. Key: G
major.
Originally
composed for orchestra
with 3 offstage brass
sextets, Fanfare;
Reminiscence and
Celebration has been
re-created by Ellen
Taaffe Zwilich for
symphonic band plus three
offstage brass sextets
for a dazzling
theater-in-the-round
concert experience. The
score is provided in
11x17 format for ease in
reading. For advanced and
university ensembles.
Duration: 12’.
Variations On America Orchestre d'harmonie [Conducteur et Parties séparées] Theodore Presser Co.
For Band: Complete Set - Full Score, Condensed Score, and Parts. By Charles Ives...(+)
For Band: Complete Set -
Full Score, Condensed
Score, and Parts. By
Charles Ives; William
Schuman. Arranged by
William Schuman. Concert
band/stage band. For
Piccolo, Flute I, Flute
II, Oboe I, Oboe II,
English Horn, Clarinet
(in Eb), Clarinet I,
Clarinet II, Clarinet
III, Alto Clarinet, Bass
Clarinet, Bassoon I,
Bassoon II, Saxophone I,
Alto Saxophone II, Tenor
Saxophone, Baritone
Saxophone, Trumpet I,
Trumpet II, Trumpet III,
Horn I, Horn II, Horn
III, Horn IV, Tenor I,
Tenor II, Tenor III,
Baritone (Treble Clef),
Euphonium (Baritone),
Double Bass, Bass,
Timpani, Tambourine,
Snare Drum, Bass Drum,
Castanet, Suspended
Cymbal, Triangle,
Xylophone, Bells. Presser
Summit Band Series.
Classical. Co
Wedding Dances Orchestre d'harmonie [Conducteur] Carl Fischer
From the Opera "Bandanna" - Full Score. By Daron Hagen. Arranged by Ma...(+)
From the Opera
"Bandanna" -
Full Score. By Daron
Hagen. Arranged by Mark
Spede. Concert band/stage
band. For Piccolo, Flute
I, Flute II, Oboe I, Oboe
II, Clarinet I, Clarinet
II, Clarinet III, Bass
Clarinet, Bassoon I,
Bassoon II, Alto
Saxophone I, Alto
Saxophone II, Tenor
Saxophone, Baritone
Saxophone, Trumpet I,
Trumpet II, Trumpet III,
Trumpet IV, Horn I, Horn
II, Horn III, Horn IV,
Tenor I, Tenor II, Bass
Trombone, Euphonium,
Tuba, Double Bass,
Timpani, Tambourine,
Claves, Marimba,
Glockenspiel, Guiro,
Castanet, Ratchet,
Tam-Tam, Piano,
Vibraphone, Snare Drum,
Bass Drum, Suspended
Cymbal, Drum Set, Shaker,
Triangle, Tenor Drum,
Tom-Tom. Carl Fischer P
Id?e Fixe Orchestre d'harmonie [Partition] Mitropa Music
((First Movement from the Zeppelin Symphony - Symphony No. 1)). By Thomas Doss. ...(+)
((First Movement from the
Zeppelin Symphony -
Symphony No. 1)). By
Thomas Doss. Mitropa
Music Concert Band. Grade
5. Softcover. Published
by Mitropa Music
Apollo Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
By Jan Van der Roost. For Concert Band (Score and Parts). De Haske Concert Band....(+)
By Jan Van der Roost. For
Concert Band (Score and
Parts). De Haske Concert
Band. Grade 4. De Haske
Publications #1094849010.
Published by De Haske
Publications
By Julius Fucik. Edited by Van Ragsdale. Concert band/stage band. For Piccolo, F...(+)
By Julius Fucik. Edited
by Van Ragsdale. Concert
band/stage band. For
Piccolo, Flute I, Flute
II, Oboe I, Oboe II,
Clarinet I, Clarinet II,
Clarinet III, Bass
Clarinet, Bassoon I,
Bassoon II, Alto
Saxophone I, Alto
Saxophone II, Tenor
Saxophone, Baritone
Saxophone, Trumpet I,
Trumpet II, Trumpet III,
Trumpet IV, Horn I, Horn
II, Horn III, Horn IV,
Tenor I, Tenor II, Tenor
III, Euphonium, Tuba,
Double Bass, Timpani,
Bells, Snare Drum, Bass
Drum. Carl Fischer
Classic Band Edition.
Score and parts. 19
pages. Published by Carl
Fischer.
Overture for Band, Based On William Billings' Hymn and Marching Song of the Amer...(+)
Overture for Band, Based
On William Billings' Hymn
and Marching Song of the
American Revolution
(Condensed Score). By
William Schuman. Concert
band/stage band. For
Piccolo, Flute I, Flute
II, Oboe I, Oboe II,
Clarinet (in Eb),
Clarinet I, Clarinet II,
Clarinet III, Alto
Clarinet, Bass Clarinet,
Bassoon I, Bassoon II,
Alto Saxophone I, Alto
Saxophone II, Tenor
Saxophone, Baritone
Saxophone, Bass
Saxophone, Cornet I,
Cornet II, Cornet III,
Horn I, Horn II, Horn
III, Horn IV, Tenor I,
Tenor II, Tenor III,
Euphonium, Double Bass,
Tuba, Percussion,
Timpani. Condensed Score.
12 pages. Duration 6:00.
Published by Theodore
Presser Company.
Hellas Orchestre d'harmonie EMB (Editio Musica Budapest)
Greek Suite for Wind Orchestra. Composed by Istv and István Bog&aacut...(+)
Greek Suite for Wind
Orchestra. Composed by
Istv
and István
Bogár. EMB.
Classical. Editio Musica
Budapest #Z14690SET.
Published by Editio
Musica
Budapest
