Piano - Grade 5

SKU: FA.MFCD017B

By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B).

8.27 x 11.69 inches.

Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence

From Robert Orledge's notes:

My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).

For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.

It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.

So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.

By Robert W. Smith. For young concert band. Sound Foundations Series. Grade 0.5. Score and set of parts. Duration 1 minute, 58 seconds. Published by C.L. Barnhouse

Composed by Rob Romeyn. Young band. Command Series. Score and parts. Duration 0:3:11. Published by C.L. Barnhouse (CL.011-4460-00).

By James Swearingen. For concert band. Young Concert Band. Command. Grade 2.5. Score and set of parts. Composed 2004. Duration 3 minutes, 35 seconds. Published by C.L. Barnhouse

By Larry Neeck. For concert band. Concert Band. Level: Grade 4. Published by C.L. Barnhouse.

By Martin Luther; Rowland H. Prichard; Wolfgang Amadeus Mozart; Anonymous; Antonin Dvorak; Charles F. Gounod; Franz Schubert; Hans Leo Hassler; Johann Pachelbel; Johann Sebastian Bach. Edited by Steven L Rosenhaus; William Arms Fisher. Arranged by Johann Sebastian Bach; Steven L Rosenhaus. For Flute Solo, Piano. Classical. Solo part with piano reduction. Composed 1999. 32 pages. Published by Theodore Presser Company.

(100 Years - 100 Songs). By Woody Guthrie. For Melody/Lyrics/Chords. Richmond Music . Softcover. 128 pages. Published by TRO - The Richmond Organization

By Larry Neeck. For concert band. Grade 3. Score and set of parts. Duration 3 minutes, 49 seconds. Published by C.L. Barnhouse

By Rob Romeyn. For young concert band. Sound Foundations Series. Grade 1. Score and set of parts. Duration 2 minutes, 43 seconds. Published by C.L. Barnhouse

By James Swearingen. Bestseller,sacred. Concert Band. Level: Grade 4. Score and set of parts. Composed 1992. Duration 0:07:35. Published by C.L. Barnhouse.

By Various. Almost 600 pages of world-famous Sher Music transcriptions! Don't go to the gig without it!. Various. Fake Book. Published by Sher Music Company.

Arranged by Orcino. Build-A-Band. Score and parts. Composed 2017. Duration 2 minutes, 48 seconds. Published by C.L. Barnhouse (CL.026-4563-00).

By Matt Conaway. For concert band. Young Band. Sound Foundations Series. Grade 0.5. Score and set of parts. Duration 1 minute, 41 seconds. Published by C.L. Barnhouse

Grade 3

SKU: CL.026-4661-00

Canada, United Kingdom, France. Arranged by Stanton. Concert Band. Build-A-Band. Score and set of parts. Composed 2018. Duration 3 minutes, 16 seconds. C.L. Barnhouse #026-4661-00. Published by C.L. Barnhouse (CL.026-4661-00).

Take your musicians on a cultural exchange trip to Canada, France and the United Kingdom! You can play any of these three national anthems individually, or pair them with the Star Spangled Banner (available separately in Build-A-Band format) as an opening travel-log at your next concert. Lots of ways to teach across the curriculum with these easy, great sounding arrangements meant for smaller bands with limited instrumentation. Hosting foreign exchange students from these countries? Honor them at your concert with their national anthem! Please stand, remove hats and join in the presentation of the national anthems!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

Grade 3

SKU: CL.026-4661-01

Canada, United Kingdom, France. Arranged by Stanton. Concert Band. Build-A-Band. Extra full score. Composed 2018. Duration 3 minutes, 16 seconds. C.L. Barnhouse #026-4661-01. Published by C.L. Barnhouse (CL.026-4661-01).

Take your musicians on a cultural exchange trip to Canada, France and the United Kingdom! You can play any of these three national anthems individually, or pair them with the Star Spangled Banner (available separately in Build-A-Band format) as an opening travel-log at your next concert. Lots of ways to teach across the curriculum with these easy, great sounding arrangements meant for smaller bands with limited instrumentation. Hosting foreign exchange students from these countries? Honor them at your concert with their national anthem! Please stand, remove hats and join in the presentation of the national anthems!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

By Robert W. Smith. Concert band. For concert band. Young Band. Command. Grade 3. Score and set of parts. Composed 2009. Duration 2 minutes, 38 seconds. Published by C.L. Barnhouse

The Quest (Symphony No. 3, 'Don Quixote,' Mvt. I) by Robert W. Smith. Concert band. Opus III Series. Audio recording available separately (item CL.WFR356). Medium advanced. Score and set of parts. Composed 2008. Duration 7 minutes, 1 second. Published by C.L. Barnhouse

By Andy Clark. Jazz ensemble. Solo. Audio recording available separately (items CL.991-2001-01 and CL.991-2001-02). Solo. Grade 3. Score and set of parts. Composed 2001. Duration 5 minutes, 40 seconds. Published by C.L. Barnhouse

By Wolfgang Amadeus Mozart (1756-1791). Arranged by Ed Huckeby. Concert band. Classics Series. Audio recording available separately (item CL.WFR328). Transcription. Grade 3. Score and set of parts. Composed 1991. Duration 3 minutes, 29 seconds. Published by C.L. Barnhouse

By Wolfgang Amadeus Mozart (1756-1791). Arranged by Ed Huckeby. Concert band. Classics Series. Audio recording available separately (item CL.WFR328). Grade 3. Extra full score. Composed 1991. Duration 3 minutes, 29 seconds. Published by C.L. Barnhouse

By Larry Neeck. Concert band. Young Band. Command Series. Audio recording available separately (item CL.WFR369). Grade 2.5. Score and parts. Composed 2010. Duration 2 minutes, 4 seconds. Published by C.L. Barnhouse

Composed by Romeyn. For concert band. Young Band. Rising Band. Grade 1.5. Score and parts. Duration 2 minutes, 04 seconds. Published by C.L. Barnhouse

By Peter Ilyich Tchaikovsky (1840-1893). Arranged by Ed Huckeby. For concert band. This edition: Build-A-Band edition. Build-A-Band Series. Grade 3. Score and set of parts. Composed 2010. Duration 4 minutes, 9 seconds. Published by C.L. Barnhouse

Composed by James Reese Europe. Arranged by Chandler L. Wilson. Concert Band Series. Composed 2020. Duration 2 minutes, 4 seconds. Published by C.L. Barnhouse