Grade 3 SKU: CL.LDP-7134-01 Composed by Bernotas. Concert Band. Extra ful...(+)
Grade 3
SKU:
CL.LDP-7134-01
Composed by Bernotas.
Concert Band. Extra full
score. Composed 2012.
Daehn Publications
#LDP-7134-01. Published
by Daehn Publications
(CL.LDP-7134-01).
The piece
starts with an air of
mystery, a bit of
darkness and curious
light before powerful
sounds echo through the
ensemble. Heartbeats can
be heard throughout the
piece. Strong melodies,
tense harmonies and
aggressive percussion!
Dramatic and
imaginative!
Composed by Bernotas.
Concert Band. Score and
set of parts. Composed
2012. Daehn Publications
#LDP-7134-00. Published
by Daehn Publications
(CL.LDP-7134-00).
The piece
starts with an air of
mystery, a bit of
darkness and curious
light before powerful
sounds echo through the
ensemble. Heartbeats can
be heard throughout the
piece. Strong melodies,
tense harmonies and
aggressive percussion!
Dramatic and
imaginative!
Here We Go! Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-001211-010 Composed by Andr...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-001211-010
Composed by Andreas
Ludwig Schulte. Set
(Score & Parts). Composed
2014. 58 pages. Gobelin
Music Publications #GOB
001211-010. Published by
Gobelin Music
Publications
(BT.GOB-001211-010).
English-Dutch.
M
any off-beats—and in
all parts—coupled with
a catchy melody, convey a
cheerful optimism. As the
title says, Here We
Go! Andreas
Schulte’s original
entertaining work makes
an ideal opening piece
for any fun
concert.
Een stuk
vol offbeats – in
alle partijen – met
een aanstekelijke
melodie: dat is het
recept voor het scheppen
van een vrolijke sfeer.
En dat onder het motto
‘here we go’
– laten we
beginnen! Dit
verfrissende
originelemuziekstuk van
Andreas Schulte is de
ideale opening voor een
onderhoudende
concertavond.
Viel
e Offbeats und das in
allen Stimmen gepaart mit
einer eingängigen
Melodie sollen eine
fröhliche
Aufbruchstimmung
vermitteln. Frei nach dem
Motto: Here We Go Los
gehts, packen wir’s an!
Andreas Schultes
originales
Entertainment-Stück
istdamit die ideale
Eröffnung eines jeden
unterhaltsamen
Konzerts!
Andreas
Schulte a su combiner de
nombreux contretemps -
dans tous les pupitres -
une mélodie accrocheuse.
Fidèle la devise Here we
Go! (C’est parti !)
voici un morceau
incomparable, destiné
une joyeuse ouverture de
concert.
Molti
off-beat in tutte le
parti associati ad una
melodia accattivante
trasmettono un ottimismo
contagioso. Come indica
il titolo, Here We
Go! a firma di
Andreas Schulte è un
brano perfetto per aprire
un concerto.
Statue of Liberty Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1145557-010 Composed by Thier...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1145557-010
Composed by Thierry
Deleruyelle. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2014.
De Haske Publications
#DHP 1145557-010.
Published by De Haske
Publications
(BT.DHP-1145557-010).
English-German-French-
Dutch.
A brief
introduction leads to a
majestic theme in the
clarinets, supported by
pounding percussion
beats, before the brass
section takes up the
theme in a quicker,
heroic fashion. In
Statue of Liberty
the French composer
Thierry
Deleruyelledepicts the
grandeur and sheer scale
of the statue, which was
created in his homeland
as a gift to the United
States.
In deze
compositie gaat een korte
inleiding vooraf aan een
verheven thema in de
klarinetten, ondersteund
door stevige slagen in
het slagwerk. Vervolgens
introduceert de
kopersectie een
heroïsch, sneller
gespeeld thema. Het werk
besluitmajestueus, met
een terugkeer naar het
oorspronkelijke tempo. In
Statue of Liberty
omschrijft Thierry
Deleruyelle de pracht van
het Vrijheidsbeeld, dat
in Frankrijk werd gebouwd
als een geschenk aan de
Verenigde
Staten.
Eine kurze
Einleitung mündet in
ein majestätisches
Thema in den Klarinetten,
unterstützt von
hämmernden Beats im
Schlagzeug, bevor die
Blechbläser das Thema
schneller und in
würdevoller Weise
präsentieren. In
Statue of Liberty
beschreibtder Franzose
Thierry Deleruyelle die
Pracht und Größe
der Freiheitsstatue, die
in seinem Land als
Geschenk an die
Vereinigten Staaten
geschaffen
wurde.
Una breve
introduzione sfocia in un
tema maestoso dei
clarinetti, supportato da
beat martellanti della
batteria, prima che gli
ottoni presentino il tema
in una modalit più
veloce e più eroica.
In Statue of
Liberty il francese
ThierryDeleruyelle
descrive lo splendore e
la grandezza della Statua
della Libert , realizzata
nel suo Paese come regalo
agli Stati Uniti.
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Concert Band Alto
Saxophone, Baritone
Saxophone, Bass Clarinet,
Bass Drum, Bassoon,
Bells, Clarinet I,
Clarinet II, Euphonium,
Field Drum, Flute, Flute
II, Horn, Oboe, Piccolo,
Sleigh Bells, Tenor,
Tenor Saxophone, Trumpet
I, Trumpet II, Tuba -
Grade 1.5
SKU:
CF.FPS54F
Good
King Wenceslas, Up on the
Housetop, Jingle
Bells. Composed by
Traditional. Arranged by
Joseph Compello. SWS.
Carl Fischer First Plus
Performance Series. Full
score. With Standard
notation. Carl Fischer
Music #FPS54F. Published
by Carl Fischer Music
(CF.FPS54F).
ISBN
9780825861741. UPC:
798408061746. 9 X 12
inches.
Arranger
Joseph Compello brings us
a nice holiday collage
that features the
percussion section
playing real street
beats. Beside being an
effective and fun
arrangment, your
percussion section will
learn different roll-offs
and streets that will be
useful for parades or
other events where street
beats are needed. Well
done Joe!
Concert Band Bass
Clarinet, Bass Drum,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Field
Drum, Flute, Flute 2,
Horn, Mallet Percussion,
Oboe, Percussion,
Percussion 1, Percussion
2, Piccolo, Sleigh Bells,
Trombone and more. -
Grade 1.5
SKU:
CF.FPS54
Good King
Wenceslas, Up on the
Housetop, Jingle
Bells. Composed by
Traditional. Arranged by
Joseph Compello. FS-SWS.
Carl Fischer First Plus
Performance Series.
Classical. Score and Set
of Parts. With Standard
notation. Carl Fischer
Music #FPS54. Published
by Carl Fischer Music
(CF.FPS54).
ISBN
9780825861734. UPC:
798408061739. 9 X 12
inches. Key: Bb
major.
Arranger
Joseph Compello brings us
a nice holiday collage
that features the
percussion section
playing real street
beats. Beside being an
effective and fun
arrangment, your
percussion section will
learn different roll-offs
and streets that will be
useful for parades or
other events where street
beats are needed. Well
done Joe!
Introduction & Punk Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000557-140 Composed by Torste...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000557-140
Composed by Torstein
Aagaard-Nilsen. Score
Only. 10 pages. Gobelin
Music Publications #GOB
000557-140. Published by
Gobelin Music
Publications
(BT.GOB-000557-140).
Torstein
Aagaard-Nilsen’s (1964)
way of composing can be
described as:
uncompromising, wilful
and contemporary. It is
not surprising,
therefore, that this
occasionally causes a
stir. In the middle
of the Seventies a trend
arose in youth culture,
which was characterized
by provocation, distrust
of the great ideologies,
and the autonomy of the
individual. Punk is
playful, aggressive,
often humorous, and
anti-everything, which
inevitably leads to
self-irony. The
first part of
Aagaard-Nielsen’s
composition
(Introduction) is a
texture based mainly on
one short theme. This
pompous theme breathes a
spirit of cold empty
plains, where icy winds
sigh around yourhead.
In the vehement Punk
(Presto barbaro!) there
is no longer any question
of a theme. The basis for
this part is formed by a
repetitive motif (a
descending minor
third). This motif is
alternated with very
powerful percussion beats
and later on shrill
harmonies.
De
wijze van componeren van
Torstein Aagaard-Nilsen
(1964) laat zich
omschrijven als:
compromisloos,
eigenzinnig en
eigentijds. Niet
verwonderlijk dat dit af
en toe wat stof doet
opwaaien. Midden
zeventiger jaren ontstaat
er eenstroming binnen de
jongerencultuur, die
provocatie, wantrouwen
tegen de grote
ideologieën en de
autonomie van het
individu centraal
stelt. Punk is
speels, agressief, veelal
humoristisch en
anti-alles, wat
onvermijdelijk leidttot
zelfspot. Het eerste
deel (Introduction) is
een weefsel, gebaseerd op
voornamelijk één kort
thema. Het pompeuze thema
ademt de sfeer van kille
lege vlakten, waar de
ijzige wind je om de oren
suist. Tijdens de
‘heftige’Punk (Presto
barbaro!) is van een
thema geen sprake meer.
De basis voor dit deel is
een steeds herhalend
motief (dalende kleine
terts). Dit motief wordt
afgewisseld met zeer
krachtige percussie
slagen en later schrille
samenklanken.Dit alles
zorgt voor een
bombastisch geheel.
Aan het slot van de Punk
horen we het
intoductie-thema tussen
het punkgeweld door
terugkomen.
Introduction & Punk Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000557-010 Composed by Torste...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000557-010
Composed by Torstein
Aagaard-Nilsen. Arranged
by Marten van der Wal.
Set (Score & Parts). 80
pages. Gobelin Music
Publications #GOB
000557-010. Published by
Gobelin Music
Publications
(BT.GOB-000557-010).
Torstein
Aagaard-Nilsen’s (1964)
way of composing can be
described as:
uncompromising, wilful
and contemporary. It is
not surprising,
therefore, that this
occasionally causes a
stir. In the middle
of the Seventies a trend
arose in youth culture,
which was characterized
by provocation, distrust
of the great ideologies,
and the autonomy of the
individual. Punk is
playful, aggressive,
often humorous, and
anti-everything, which
inevitably leads to
self-irony. The
first part of
Aagaard-Nielsen’s
composition
(Introduction) is a
texture based mainly on
one short theme. This
pompous theme breathes a
spirit of cold empty
plains, where icy winds
sigh around yourhead.
In the vehement Punk
(Presto barbaro!) there
is no longer any question
of a theme. The basis for
this part is formed by a
repetitive motif (a
descending minor
third). This motif is
alternated with very
powerful percussion beats
and later on shrill
harmonies.
De
wijze van componeren van
Torstein Aagaard-Nilsen
(1964) laat zich
omschrijven als:
compromisloos,
eigenzinnig en
eigentijds. Niet
verwonderlijk dat dit af
en toe wat stof doet
opwaaien. Midden
zeventiger jaren ontstaat
er eenstroming binnen de
jongerencultuur, die
provocatie, wantrouwen
tegen de grote
ideologieën en de
autonomie van het
individu centraal
stelt. Punk is
speels, agressief, veelal
humoristisch en
anti-alles, wat
onvermijdelijk leidttot
zelfspot. Het eerste
deel (Introduction) is
een weefsel, gebaseerd op
voornamelijk één kort
thema. Het pompeuze thema
ademt de sfeer van kille
lege vlakten, waar de
ijzige wind je om de oren
suist. Tijdens de
‘heftige’Punk (Presto
barbaro!) is van een
thema geen sprake meer.
De basis voor dit deel is
een steeds herhalend
motief (dalende kleine
terts). Dit motief wordt
afgewisseld met zeer
krachtige percussie
slagen en later schrille
samenklanken.Dit alles
zorgt voor een
bombastisch geheel.
Aan het slot van de Punk
horen we het
intoductie-thema tussen
het punkgeweld door
terugkomen.
Jamaica Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000300-010 Composed by Timoth...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000300-010
Composed by Timothy
Travis. Set (Score &
Parts). 57 pages. Gobelin
Music Publications #GOB
000300-010. Published by
Gobelin Music
Publications
(BT.GOB-000300-010).
Jamaica is an
island in the
Caribbean. In 1494 it
was discovered by
Christopher Columbus, who
used it as private
property until 1509.
After some skirmishes it
fell under British rule
and the sugar trade on
the island flourished.
After the abolition
of slavery in 1834 it was
only granted Home Rule in
1944, but it remained a
member of the British
Commonwealth of Nations.
Whereas the
export of cane sugar used
to be Jamaica’s main
export product for many
years, nowadays music has
taken over this role. At
first American music used
to be very popular on the
island. Later, however,
Jamaican musicians
started to experiment and
thus in the end created
their ownmusical style
called Reggae.
Well-known Reggae
musicians are Bob Marley
and Peter Tosh.
The most important
instruments used in
Reggae are the bass and
the drums. Together they
form the base for the
style: the riddim. A bass
drum accent on the second
and fourth beat are
characteristic of a
typically reggae drum
beat. To this syncopic
patterns are often added.
The rhythm guitarist
plays chords in a
characteristic Reggae
rhythm, not on, but
between the beats.
Jamaica is een
eiland in het
Caribisch-gebied. Het
werd in 1494 ontdekt door
Christoffel Columbus, die
het tot 1509 als
privé-eiland gebruikte.
Na enige schermutselingen
viel het onder Britse
heerschappij en bloeide
de suikerhandel.Na
afschaffing van de
slavernij in 1834 kreeg
het uiteindelijk pas in
1944 volledig
zelfbestuur. Jamaica is
lid van het Britse
Gemenebest.
Jaren
na de suikerexport is op
dit moment de muziek
misschien wel het
bekendsteexportproduct. Eerst was de
Amerikaanse muziek erg
populair op het eiland.
Later begonnen de
Jamaicaanse muzikanten
zelf te experimenteren en
ontstond uiteindelijk de
Reggae. Bekende
reggea artiesten zijn Bob
Marleyen Peter
Tosh.
De
belangrijkste
instrumenten bij reggae
zijn de bas en de drums.
Samen leggen zij de basis
voor de stijl neer. de
riddim. Een
bassdrum-accent op de
tweede en de vierde tel,
in plaats van de eerste
enderde, zijn kenmerkend
voor een typisch
reggae-drumritme. Dit
wordt vaak aangevuld met
syncopische patronen. De
slag-gitarist speelt de
akkoorden in de
kenmerkende reggaeslag,
niet op maar tussen de
tellen.
Jamaica Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000300-140 Composed by Timoth...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000300-140
Composed by Timothy
Travis. Score Only. 12
pages. Gobelin Music
Publications #GOB
000300-140. Published by
Gobelin Music
Publications
(BT.GOB-000300-140).
Jamaica is an
island in the
Caribbean. In 1494 it
was discovered by
Christopher Columbus, who
used it as private
property until 1509.
After some skirmishes it
fell under British rule
and the sugar trade on
the island flourished.
After the abolition
of slavery in 1834 it was
only granted Home Rule in
1944, but it remained a
member of the British
Commonwealth of Nations.
Whereas the
export of cane sugar used
to be Jamaica’s main
export product for many
years, nowadays music has
taken over this role. At
first American music used
to be very popular on the
island. Later, however,
Jamaican musicians
started to experiment and
thus in the end created
their ownmusical style
called Reggae.
Well-known Reggae
musicians are Bob Marley
and Peter Tosh.
The most important
instruments used in
Reggae are the bass and
the drums. Together they
form the base for the
style: the riddim. A bass
drum accent on the second
and fourth beat are
characteristic of a
typically reggae drum
beat. To this syncopic
patterns are often added.
The rhythm guitarist
plays chords in a
characteristic Reggae
rhythm, not on, but
between the beats.
Jamaica is een
eiland in het
Caribisch-gebied. Het
werd in 1494 ontdekt door
Christoffel Columbus, die
het tot 1509 als
privé-eiland gebruikte.
Na enige schermutselingen
viel het onder Britse
heerschappij en bloeide
de suikerhandel.Na
afschaffing van de
slavernij in 1834 kreeg
het uiteindelijk pas in
1944 volledig
zelfbestuur. Jamaica is
lid van het Britse
Gemenebest.
Jaren
na de suikerexport is op
dit moment de muziek
misschien wel het
bekendsteexportproduct. Eerst was de
Amerikaanse muziek erg
populair op het eiland.
Later begonnen de
Jamaicaanse muzikanten
zelf te experimenteren en
ontstond uiteindelijk de
Reggae. Bekende
reggea artiesten zijn Bob
Marleyen Peter
Tosh.
De
belangrijkste
instrumenten bij reggae
zijn de bas en de drums.
Samen leggen zij de basis
voor de stijl neer. de
riddim. Een
bassdrum-accent op de
tweede en de vierde tel,
in plaats van de eerste
enderde, zijn kenmerkend
voor een typisch
reggae-drumritme. Dit
wordt vaak aangevuld met
syncopische patronen. De
slag-gitarist speelt de
akkoorden in de
kenmerkende reggaeslag,
niet op maar tussen de
tellen.
Phantom Ship Orchestre d'harmonie [Conducteur et Parties séparées] - Facile FJH
By Elliot Del Borgo. For concert band. FJH Young Band. Full set (score and parts...(+)
By Elliot Del Borgo. For
concert band. FJH Young
Band. Full set (score and
parts). Score only also
available: B1015S.
Halloween. Grade 2. Score
and set of parts.
Composed 2000. Published
by The FJH Music Company
Inc
Outburst Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Hal Leonard
Score and Parts Concert Band (Score & Parts) - Grade 6 SKU: HL.4008987 (+)
Score and Parts Concert
Band (Score & Parts) -
Grade 6
SKU:
HL.4008987
Concert
Band, Grdae 6 3:08 Score
and Parts. Composed
by Georges Sadeler.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 188
seconds. Hal Leonard
#SDP285-24-02. Published
by Hal Leonard
(HL.4008987).
UPC:
196288283812.
“Ou
tburst” is a
spectacular opening for
any concert. The entire
orchestra can showcase
its impressive skills for
over three minutes. The
initial fanfare is
abruptly interrupted by a
pulsating, faster tempo,
driven by powerful drum
beats and orchestral
rhythms. Following this,
the first four notes of
the fanfare resound in
various variations. Each
instrument section has
its glorious moment and
contributes collectively
to the impressive
finale.
Concert
Band, Grdae 6 3:08
Score. Composed by
Georges Sadeler.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 188
seconds. Hal Leonard
#SDP285-24-01. Published
by Hal Leonard
(HL.4008988).
UPC:
196288283829.
“Ou
tburst” is a
spectacular opening for
any concert. The entire
orchestra can showcase
its impressive skills for
over three minutes. The
initial fanfare is
abruptly interrupted by a
pulsating, faster tempo,
driven by powerful drum
beats and orchestral
rhythms. Following this,
the first four notes of
the fanfare resound in
various variations. Each
instrument section has
its glorious moment and
contributes collectively
to the impressive
finale.
Concert Band - Grade 2.5 SKU: AP.44921S Featuring: The Vinciguerra Aff...(+)
Concert Band - Grade 2.5
SKU: AP.44921S
Featuring: The
Vinciguerra Affair /
Bugs, Beats, and Bowties
/ We Have Location.
Composed by Daniel
Pemberton. Arranged by
Victor Lopez. Concert
Band; Performance Music
Ensemble; Single Titles.
Pop Young Band. Form:
Medley. Movie. Score. 28
pages. Duration 4:00.
Alfred Music #00-44921S.
Published by Alfred Music
(AP.44921S).
UPC:
038081515861.
English.
This
exciting medley is
guaranteed to make
students and audiences
feel as if they are in
the middle of the chase
to save the world. So get
going and join the United
Network Command of Law
and Enforcement mission!
Suitable for junior high
and high school, three
exciting tunes are joined
to create this epic film
score recreation that
will provide an espionage
adventure from beginning
to end. (4:00).
Horn-A-Plenty Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 2 SKU: CL.011-2301-00 Composed by Huckeby. Young Concert Band. Comm...(+)
Grade 2
SKU:
CL.011-2301-00
Composed by Huckeby.
Young Concert Band.
Command Series. Score and
set of parts. Composed
1990. C.L. Barnhouse
#011-2301-00. Published
by C.L. Barnhouse
(CL.011-2301-00).
This exciting
new work for French
horn(s) and concert band
is the perfect medium for
featuring that
up-and-coming young horn
player who is tired of
playing after-beats or
harmony parts. Written
for horn solo with
optional section parts
(can be used as a solo,
section feature or horn
ensemble feature),
HORN-A-PLENTY utilizes
the best range of the
instrument without
placing excessive demands
on young players. The
up-tempo character of
this piece makes it a
great choice, even for
more advanced bands.
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.
Heartbeat of a City Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Score and Parts Concert Band Set (Score & Parts) - Level 3.5 SKU: HL.4008300<...(+)
Score and Parts Concert
Band Set (Score & Parts)
- Level 3.5
SKU:
HL.4008300
For
Concert Band, Grade 3.5
9:10 Score and Parts.
Composed by Otto Schwarz.
Symphonic Dimensions.
Concert. Softcover.
Duration 550 seconds. Hal
Leonard #SDP1042102.
Published by Hal Leonard
(HL.4008300).
ISBN
9781705197059. UPC:
196288145219.
A
city is
founded—– it
has a heart that beats.
But visible achievements
such as buildings and
infrastructure merely
bear witness to what its
true heart is made
of—the people who
have lived, and still
live, in the city. The
pulse of the city,
brought to life by
itsheartbeat, changes
over time. Who hasn't
seen those time-lapse
images showing twinkling
lines of car lights as
people make their wayto
work, while others stand
at traffic lights, only
moving as if at the push
of a button? These are
like life flowing in the
veins, driven by a strong
heart. Leonardo da Vinci
had already imagined the
rivers as the blood
vessels of the Earth. In
any city, though, it's
not the rivers but the
movement and activities
of the people who live
there. The heart doesn't
always beat steadily,
however, but its rhythm
can be influenced by joy,
fear, and many other
things. Every city has
its own pulse. This is
also true of the
university city of
Marburg, where people
from over 100 nations now
live together in a
cosmopolitan and tolerant
community. This work
describes the city from
its founding in 1222, and
the charity of Saint
Elizabeth, all the way to
the present day.
Concert Band Concert Band - late intermediate SKU: RU.10265 Composed by H...(+)
Concert Band Concert Band
- late intermediate
SKU: RU.10265
Composed by Henry
Fillmore. Edited by
Timothy Rhea. Arranged by
Edited by Timothy Rhea.
Contest/Festival. Legacy
of the March. Score and
Parts. RBC Publications
#10265. Published by RBC
Publications (RU.10265).
9 x 12
inches.
Trooper’s
Tribunal is a
lesser-known Fillmore
march that was published
in 1905. The Trooper’s
Tribunal title was a joke
in that Fillmore
intentionally misspelled
Troupers so that it would
appear as a military
parade title (Troopers on
Review) as opposed to a
circus march. This joke
resulted from a
disagreement between
Henry and his Father,
J.H. Fillmore, who felt
that the Fillmore
Brothers Company should
only publish music of a
religious and serious
nature. J.H. Fillmore
considered the circus to
be beneath the dignity of
his son. Trooper’s
Tribunal has a wonderful
circus flavor and if full
of technical requirements
of all band members. It
is very much a delightful
and happy march. As this
is a circus march, a
tempo between 132-160
beats per minute is
acceptable, with the
technique of the ensemble
defining what is most
appropriate.
Concert Band (Score) - Level 3.5 SKU: HL.4007273 Composed by Oliver Waesp...(+)
Concert Band (Score) -
Level 3.5
SKU:
HL.4007273
Composed
by Oliver Waespi. Beriato
Music Concert Band Set.
Concert, Concert Band.
Duration 565 seconds.
Beriato Music
#BMP19015650. Published
by Beriato Music
(HL.4007273).
UPC:
840126992977.
Frien
dly Takeover was composed
for the 2016 Swiss Wind
Band Convention in
Montreux. In this three
movement piece the
composer experiments with
lyrical motives combined
with rhythmical pulses in
different meters
throughout the piece. In
the finale, the musical
scene is taken over
completely by
groove-based rhythms.
This takeover, however,
is of a friendly nature,
as the various beats are
not being conceived as
rivals of the lyrical
motives, but are rather
supposed to infuse energy
and vitality to the
latter. Thus, one gets
the impression of an
ongoing acceleration
throughout the piece.
Score and Parts Concert Band (Score & Parts) - Level 3.5 SKU: HL.4007272 ...(+)
Score and Parts Concert
Band (Score & Parts) -
Level 3.5
SKU:
HL.4007272
Composed
by Oliver Waespi. Beriato
Music Concert Band Set.
Concert, Concert Band.
Softcover. Duration 565
seconds. Beriato Music
#BMP10025472. Published
by Beriato Music
(HL.4007272).
UPC:
840126992960.
Frien
dly Takeover was composed
for the 2016 Swiss Wind
Band Convention in
Montreux. In this three
movement piece the
composer experiments with
lyrical motives combined
with rhythmical pulses in
different meters
throughout the piece. In
the finale, the musical
scene is taken over
completely by
groove-based rhythms.
This takeover, however,
is of a friendly nature,
as the various beats are
not being conceived as
rivals of the lyrical
motives, but are rather
supposed to infuse energy
and vitality to the
latter. Thus, one gets
the impression of an
ongoing acceleration
throughout the piece.
Concert Band Concert Band - late intermediate SKU: RU.10283S March...(+)
Concert Band Concert Band
- late intermediate
SKU: RU.10283S
March. Composed by
William Paris Chambers.
Edited by Timothy Rhea.
Arranged by Edited by
Timothy Rhea.
Contest/Festival. Legacy
of the March. Score. RBC
Publications #10283S.
Published by RBC
Publications (RU.10283S).
9 x 12
inches.
The title
of this march, The
Trombone Section, is
rather misleading, for it
is not the trombones that
have the most technical
parts, but rather the
trumpets and upper
woodwinds. Composed in
1920, the opening of the
march makes a great
concert opener. A bold
and technical fanfare is
followed by a more
relaxed, yet still
technical first strain,
which is in turn followed
by a very driving second
strain. The trio features
a wonderful obligato
scored in first trumpet
and woodwinds, while the
trombones carry the
melodic material. The
march works well as
various tempos between
108 and 144 beats per
minute depending upon the
technical facility of the
ensemble.
Action Front Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire RBC Publications
Concert Band Concert Band - late intermediate SKU: RU.10261 Composed by H...(+)
Concert Band Concert Band
- late intermediate
SKU: RU.10261
Composed by H.L.
Blankenburg. Edited by
Timothy Rhea. Arranged by
Edited by Timothy Rhea.
Contest/Festival. Legacy
of the March. Score and
Parts. RBC Publications
#10261. Published by RBC
Publications (RU.10261).
9 x 12
inches.
“Klar zum
Gefect (Action Front) was
published in 1912. The
title is a naval term
used in preparation for
combat – “man the
guns. As this is a German
march, a tempo between
104-112 beats per minute
would be most
appropriate.
Concert Band - Grade 2.5 SKU: AP.44921 Featuring: The Vinciguerra Affa...(+)
Concert Band - Grade 2.5
SKU: AP.44921
Featuring: The
Vinciguerra Affair /
Bugs, Beats, and Bowties
/ We Have Location.
Composed by Daniel
Pemberton. Arranged by
Victor Lopez. Concert
Band; Performance Music
Ensemble; Single Titles.
Pop Young Band. Form:
Medley. Movie. Score and
Part(s). 284 pages.
Duration 4:00. Alfred
Music #00-44921.
Published by Alfred Music
(AP.44921).
UPC:
038081515854.
English.
This
exciting medley is
guaranteed to make
students and audiences
feel as if they are in
the middle of the chase
to save the world. So get
going and join the United
Network Command of Law
and Enforcement mission!
Suitable for junior high
and high school, three
exciting tunes are joined
to create this epic film
score recreation that
will provide an espionage
adventure from beginning
to end. (4:00).
Concert Band (Score) - Level 3.5 SKU: HL.4008301 For Concert Band, Gra...(+)
Concert Band (Score) -
Level 3.5
SKU:
HL.4008301
For
Concert Band, Grade 3.5
9:10 Score. Composed
by Otto Schwarz.
Symphonic Dimensions.
Concert. Softcover. 48
pages. Duration 550
seconds. Hal Leonard
#SDP1042101. Published by
Hal Leonard (HL.4008301).
UPC:
196288145226.
A
city is
founded—– it
has a heart that beats.
But visible achievements
such as buildings and
infrastructure merely
bear witness to what its
true heart is made
of—the people who
have lived, and still
live, in the city. The
pulse of the city,
brought to life by
itsheartbeat, changes
over time. Who hasn't
seen those time-lapse
images showing twinkling
lines of car lights as
people make their wayto
work, while others stand
at traffic lights, only
moving as if at the push
of a button? These are
like life flowing in the
veins, driven by a strong
heart. Leonardo da Vinci
had already imagined the
rivers as the blood
vessels of the Earth. In
any city, though, it's
not the rivers but the
movement and activities
of the people who live
there. The heart doesn't
always beat steadily,
however, but its rhythm
can be influenced by joy,
fear, and many other
things. Every city has
its own pulse. This is
also true of the
university city of
Marburg, where people
from over 100 nations now
live together in a
cosmopolitan and tolerant
community. This work
describes the city from
its founding in 1222, and
the charity of Saint
Elizabeth, all the way to
the present day.
Concert Band Concert Band - late intermediate SKU: RU.10285S Composed by ...(+)
Concert Band Concert Band
- late intermediate
SKU: RU.10285S
Composed by Fred Jewell.
Edited by Timothy Rhea.
Arranged by Edited by
Timothy Rhea.
Contest/Festival. Legacy
of the March. Score. RBC
Publications #10285S.
Published by RBC
Publications (RU.10285S).
9 x 12
inches.
“Supreme
Triumph is a great march
that evokes an image of
the big top. Written in
1920, this march has
challenging parts for all
players. The excitement
generated from the
performance of this piece
is a wonderful way to end
a concert. As this is a
circus march, a tempo
between 132-160 beats per
minute is acceptable,
with the technique of the
ensemble defining what is
most appropriate.
Concert Band Concert Band - late intermediate SKU: RU.10266S Composed by ...(+)
Concert Band Concert Band
- late intermediate
SKU: RU.10266S
Composed by William Paris
Chambers. Edited by
Timothy Rhea. Arranged by
Edited by Timothy Rhea.
Contest/Festival. Legacy
of the March. Score. RBC
Publications #10266S.
Published by RBC
Publications (RU.10266S).
9 x 12
inches.
Northwind
is a musical description
of the winter wind that
Paris Chambers
encountered on his way to
work in New York City.
The wind can particularly
be heard in the upper
woodwinds during the
first strain of the
march. Northwind has
often been employed for
use by circus bands. As
this may be classified as
a circus march, a tempo
between 120-160 beats per
minute is acceptable,
with the technique of the
ensemble defining what is
most appropriate.
Composed by Matthew R.
Putnam. First Plus Band
(FPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+5+2+2+4+4+4+6+3
+2+1+3+8+16+2 pages.
Duration 2 minutes, 6
seconds. Carl Fischer
Music #FPS150. Published
by Carl Fischer Music
(CF.FPS150).
ISBN
9781491152102. UPC:
680160909605.
The
title is a play on words,
but the composer had his
own ulterior motives in
mind when composing this
piece. He wanted a piece
that was fun to play, but
that helped developing
musicians work on their
rhythmic skills. Matt
Putnam uses the feel of
action film soundtracks
to create the mood of
this interesting new
piece. Interesting
grooves in the percussion
throughout add to the
piece’s feel of
mystery and thrill. To
understand my thoughts in
writing this piece, I
thought it best to define
the two ideas that give
the piece its title:
ulterior motives and
musical motifs. Ulterior
motives occur when you
believe that a person is
doing something for some
unknown or hidden reason.
Often, they are used in
action films or
literature to increase
the drama and tension of
the story. Musically, a
motif is a short rhythmic
and/or melodic idea. When
I wrote this piece, I
must confess that I had
my own ulterior motives:
I wanted to create a
piece that was fun to
play, but I also wanted a
piece that would help
students develop their
rhythmic counting skills.
In this piece, I use a
motif of a two
eighth-note pattern which
jumps from section to
section to help me
achieve my ulterior
motive.Mimicking the mood
of action films whose
characters often have
ulterior motives, the
mood of the piece is
suspenseful and exciting
as the motif jumps from
section to section
throughout the ensemble.
The motif keeps you
guessing as it occurs on
all four different beats
of the measure sometimes
ascending, sometimes
descending, and occurs
sometimes in the interval
of a second and sometimes
the interval of a third.
Interesting grooves in
the percussion throughout
add to the piece’s
feel of mystery and
thrill.I have no ulterior
motives when I say that I
hope you enjoy playing
Ulterior Motifs.
Composed by Matthew R.
Putnam. First Plus Band
(FPS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#FPS150F. Published by
Carl Fischer Music
(CF.FPS150F).
ISBN
9781491152782. UPC:
680160910281.
The
title is a play on words,
but the composer had his
own ulterior motives in
mind when composing this
piece. He wanted a piece
that was fun to play, but
that helped developing
musicians work on their
rhythmic skills. Matt
Putnam uses the feel of
action film soundtracks
to create the mood of
this interesting new
piece. Interesting
grooves in the percussion
throughout add to the
piece’s feel of
mystery and thrill. To
understand my thoughts in
writing this piece, I
thought it best to define
the two ideas that give
the piece its title:
ulterior motives and
musical motifs. Ulterior
motives occur when you
believe that a person is
doing something for some
unknown or hidden reason.
Often, they are used in
action films or
literature to increase
the drama and tension of
the story. Musically, a
motif is a short rhythmic
and/or melodic idea. When
I wrote this piece, I
must confess that I had
my own ulterior motives:
I wanted to create a
piece that was fun to
play, but I also wanted a
piece that would help
students develop their
rhythmic counting skills.
In this piece, I use a
motif of a two
eighth-note pattern which
jumps from section to
section to help me
achieve my ulterior
motive.Mimicking the mood
of action films whose
characters often have
ulterior motives, the
mood of the piece is
suspenseful and exciting
as the motif jumps from
section to section
throughout the ensemble.
The motif keeps you
guessing as it occurs on
all four different beats
of the measure sometimes
ascending, sometimes
descending, and occurs
sometimes in the interval
of a second and sometimes
the interval of a third.
Interesting grooves in
the percussion throughout
add to the piece’s
feel of mystery and
thrill.I have no ulterior
motives when I say that I
hope you enjoy playing
Ulterior Motifs.
Concert Band Concert Band - late intermediate SKU: RU.10281S March...(+)
Concert Band Concert Band
- late intermediate
SKU: RU.10281S
March. Composed by
R.B. Hall. Edited by
Timothy Rhea. Arranged by
Edited by Timothy Rhea.
Contest/Festival. Legacy
of the March. Score. RBC
Publications #10281S.
Published by RBC
Publications (RU.10281S).
9 x 12
inches.
Independent
ia March was first
published in 1895. At
least eight of Hall’s
other marches were also
published in 1895. He was
living in Waterville,
Maine, at that time, was
thirty-seven years old,
and had established
certain principles in the
composition of his
marches. As demonstrated
by Independentia,
Hall’s marches were
composed primarily for
the typical community
bands in the New England
area around the turn of
the century. If the
prestigious military and
professional bands in the
United States and Europe
chose to play his music
(and they did), that was
fine! His marches are
gems of simplicity and
understatement, composed
of flowing melodies and
countermelodies,
contrasting dynamics, and
occasionally an element
of surprise – as in the
two beats of silence (or
bass drum & cymbal solos)
just before the last
strain of this march.
Concert Band Concert Band - late intermediate SKU: RU.10265S Composed by ...(+)
Concert Band Concert Band
- late intermediate
SKU: RU.10265S
Composed by Henry
Fillmore. Edited by
Timothy Rhea. Arranged by
Edited by Timothy Rhea.
Contest/Festival. Legacy
of the March. Score. RBC
Publications #10265S.
Published by RBC
Publications (RU.10265S).
9 x 12
inches.
Trooper’s
Tribunal is a
lesser-known Fillmore
march that was published
in 1905. The Trooper’s
Tribunal title was a joke
in that Fillmore
intentionally misspelled
Troupers so that it would
appear as a military
parade title (Troopers on
Review) as opposed to a
circus march. This joke
resulted from a
disagreement between
Henry and his Father,
J.H. Fillmore, who felt
that the Fillmore
Brothers Company should
only publish music of a
religious and serious
nature. J.H. Fillmore
considered the circus to
be beneath the dignity of
his son. Trooper’s
Tribunal has a wonderful
circus flavor and if full
of technical requirements
of all band members. It
is very much a delightful
and happy march. As this
is a circus march, a
tempo between 132-160
beats per minute is
acceptable, with the
technique of the ensemble
defining what is most
appropriate.