(22 Full Band Arrangements Correlated to Accent on Achievement (Bass Clarinet))....(+)
(22 Full Band
Arrangements Correlated
to Accent on Achievement
(Bass Clarinet)).
Arranged by John O'Reilly
and Mark Williams.
Concert Band. For Bass
Clarinet. Band
Supplement; Book. Accent
on Performance. Chanukah;
Christmas; Winter. 24
pages. Published by
Alfred Music
(Viola). Arranged by Various. For Viola. Book; CD; Play-Along; String Series. To...(+)
(Viola). Arranged by
Various. For Viola. Book;
CD; Play-Along; String
Series. Top Hits
Instrumental Solos. Pop;
Rock. Grade 2; Grade 3.
28 pages. Published by
Alfred Music
(Violin). Arranged by Various. For Violin. Book; CD; Play-Along; String Series. ...(+)
(Violin). Arranged by
Various. For Violin.
Book; CD; Play-Along;
String Series. Top Hits
Instrumental Solos. Pop;
Rock. Grade 2; Grade 3.
28 pages. Published by
Alfred Music
(Cello). Arranged by Various. For Cello. Book; CD; Play-Along; String Series. To...(+)
(Cello). Arranged by
Various. For Cello. Book;
CD; Play-Along; String
Series. Top Hits
Instrumental Solos. Pop;
Rock. Grade 2; Grade 3.
28 pages. Published by
Alfred Music
(Flute). Arranged by Various. For Flute. Book; CD; Instrumental Series; Play-Alo...(+)
(Flute). Arranged by
Various. For Flute. Book;
CD; Instrumental Series;
Play-Along. Top Hits
Instrumental Solos. Pop;
Rock. Grade 2; Grade 3.
28 pages. Published by
Alfred Music
(Horn in F). Arranged by Various. For Horn in F. Book; CD; Instrumental Series; ...(+)
(Horn in F). Arranged by
Various. For Horn in F.
Book; CD; Instrumental
Series; Play-Along. Top
Hits Instrumental Solos.
Pop; Rock. Grade 2; Grade
3. 28 pages. Published by
Alfred Music
(Tenor Sax). Arranged by Various. For Tenor Sax. Book; CD; Instrumental Series; ...(+)
(Tenor Sax). Arranged by
Various. For Tenor Sax.
Book; CD; Instrumental
Series; Play-Along. Top
Hits Instrumental Solos.
Pop; Rock. Grade 2; Grade
3. 28 pages. Published by
Alfred Music
(Trumpet). Arranged by Various. For Trumpet. Book; CD; Instrumental Series; Play...(+)
(Trumpet). Arranged by
Various. For Trumpet.
Book; CD; Instrumental
Series; Play-Along. Top
Hits Instrumental Solos.
Pop; Rock. Grade 2; Grade
3. 28 pages. Published by
Alfred Music
(Trombone). Arranged by Various. For Trombone. Book; CD; Instrumental Series; Pl...(+)
(Trombone). Arranged by
Various. For Trombone.
Book; CD; Instrumental
Series; Play-Along. Top
Hits Instrumental Solos.
Pop; Rock. Grade 2; Grade
3. 28 pages. Published by
Alfred Music
Concert Band Alto Clarinet SKU: AP.41313 22 Full Band Arrangements Cor...(+)
Concert Band Alto
Clarinet
SKU:
AP.41313
22 Full
Band Arrangements
Correlated to Accent on
Achievement (Alto
Clarinet). Arranged
by John O'Reilly and Mark
Williams. Band
Supplement; Collections;
Performance Music
Ensemble. Accent on
Performance. Chanukah;
Christmas; Winter. Book.
24 pages. Alfred Music
#00-41313. Published by
Alfred Music (AP.41313).
ISBN 9780739097564.
UPC: 038081462066.
English.
Over the
course of ten years,
legendary young-band
composers John O'Reilly
and Mark Williams
composed and arranged
over 100 creative works
that correlate with
specific pages in their
highly successful band
method, Accent on
Achievement. Alfred Music
is now proud to make
these arrangements
available in a book
format that includes 22
full arrangements in each
collection.
The
Holiday Collection
features creative
arrangements of many
Christmas and Hannukah
favorites. Titles: First
Christmas Sleigh Ride *
Holiday for Basses *
Early English Christmas *
Yankee Doodle Christmas *
Holiday Magic * The
Little Drummer Boy * and
16 others.
Who's A-Knockin' Rock Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
Composed by Joseph Compello. Score and part(s). 20 118 pages. Duration 2 minut...(+)
Composed by Joseph
Compello. Score and
part(s). 20 118 pages.
Duration 2 minutes, 47
seconds. Carl Fischer
#FPS0132. Published by
Carl Fischer (CF.FPS132).
Composed
by Chris Campbell. Full
score. 21 pages. Carl
Fischer Music #CPS256F.
Published by Carl Fischer
Music (CF.CPS256F).
ISBN 9781491159729.
UPC:
680160918317.
As
the title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
sure not to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform to any strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34 the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softer as they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow! The
sparsely orchestrated
passage at m. 68 is
understated--perhaps a
little spacey in keeping
with our theme--and not
to be overplayed until
the crescendo at m. 88,
when we return to
business as usual.
Trumpets show off again
(rarely a problem for
trumpet players) on the
D. S. back to m. 6. On
the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march--again, making sure
that the staccatos are
not too clipped--is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter. An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience!. As the
title suggests, there
should be a
tongue-in-cheek aspect to
the performance of this
piece with the idea that
it doesn't take itself
too seriously. Close
attention should be paid
to staccato notes, making
surenot to play them too
short and clipped,
keeping in mind that a
staccato quarter note
should have the length of
an eighth note and not
the length of a sixteenth
note. Although the piece
is a march, it needn't
conform toany strict
interpretation of what a
march should be. Some of
the tongued eighth-note
passages may need to be
double-tongued, depending
on tempo, using the
Dig-A-Duck method. For
instance at m. 34the
repeated eighth notes
might be tongued
dig-a-da-duck,
dig-a-duck, da dot dot.
Slurred eighth-note
passages should follow
the curve of the line,
getting slightly louder
as notes ascend and
slightly softeras they
descend. Measure 39
through m. 51 will have a
somewhat chaotic feel, so
go with the flow!The
sparsely orchestrated
passage at m. 68 is
understated—perhap
s a little spacey in
keeping with our
theme—and not to
be overplayed until the
crescendo at m. 88, when
we return to business as
usual. Trumpets show off
again (rarely a problem
for trumpet players) on
the D. S. back to m. 6.
On the Coda, another
disjointed-sounding
theme, again departing
from any strict
interpretation of a
march—again,
making sure that the
staccatos are not too
clipped—is
followed by a repeat of
the main theme, this time
layered. Care should be
taken to balance the
entrances of the layered
instrument groups as they
enter.An exuberant final
four measures puts the
cherry on top. Percussion
can play out for the most
part, very little
subtlety required.
Overall, this piece is
meant to be FUN, for both
the performers and the
audience!
(Tenor Sax). For Tenor
Sax.
Book; CD; Instrumental
Series; Play-Along.
Instrumental Solos
Series.
Pop; Pop/Rock. Grade 2;
Grade 3. 52 pages.
Published
by Alfred Music
(Trumpet). For Trumpet. Book; CD; Instrumental Series; Play-Along. Instrum...(+)
(Trumpet). For Trumpet.
Book; CD; Instrumental
Series; Play-Along.
Instrumental Solos
Series.
Pop; Pop/Rock. Grade 2;
Grade 3. 52 pages.
Published
by Alfred Music
(Alto Sax). For Alto Sax.
Book; CD; Instrumental
Series; Play-Along.
Instrumental Solos
Series.
Pop; Pop/Rock. Grade 2;
Grade 3. 52 pages.
Published
by Alfred Music
(Flute). For Flute. Book; CD; Instrumental Series; Play-Along. Instrumental ...(+)
(Flute). For Flute. Book;
CD; Instrumental Series;
Play-Along. Instrumental
Solos Series. Pop;
Pop/Rock.
Grade 2; Grade 3. 52
pages.
Published by Alfred Music
(Trombone). For Trombone. Book; CD; Instrumental Series; Play-Along. Instr...(+)
(Trombone). For Trombone.
Book; CD; Instrumental
Series; Play-Along.
Instrumental Solos
Series.
Pop; Pop/Rock. Grade 2;
Grade 3. 52 pages.
Published
by Alfred Music
(Viola). For Viola. Book;
CD; Play-Along; String
Series. Instrumental
Solos
Series. Pop; Pop/Rock.
Grade
2; Grade 3. 52 pages.
Published by Alfred Music
(22 Full Band Arrangements Correlated to Accent on Achievement (Bass Clarinet))....(+)
(22 Full Band
Arrangements Correlated
to Accent on Achievement
(Bass Clarinet)). By John
O'Reilly and Mark
Williams. Concert Band.
For Bass Clarinet. Band
Supplement; Book. Accent
on Performance. 24 pages.
Published by Alfred Music
Instrumentation Flexible [Partition] Alfred Publishing
(B-Flat Clarinet, Bass Clarinet). Arranged by Michael Story and Michael Story. F...(+)
(B-Flat Clarinet, Bass
Clarinet). Arranged by
Michael Story and Michael
Story. For B-Flat
Clarinet, Bass Clarinet.
Mixed Instruments -
Flexible Instrumentation;
Quartet. Instrumental
Ensembles for All. Movie.
Book. 24 pages
Composed by Harl
Mcdonald. This edition:
Study Score.
Contemporary. Full score.
With Standard notation.
84 pages. Duration 15
minutes. Theodore Presser
Company #466-41177.
Published by Theodore
Presser Company
(PR.466411770).
UPC:
680160640850. 9 x 12
inches.
Mississippi
I. Father of Waters: born
of the Highlands and the
Lakes; the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. Saga of the
Mississippi Harl McDonald
Born near Boulder,
Colorado, July 27, 1899
Now living in
Philadelphia The original
suggestion for a
symphonic work on the
subject of the
Mississippi came
indirectly from the late
Booth Tarkington who saw
in it color and movement
and atmosphere
translatable into the
terms of music. In the
course of time, by the
mysterious processes of
composers' chemistry, it
took shape as a tone-poem
of two sections, one
representing the rise of
the great stream from its
primeval geologic
sources, the other the
human history of the
river. Mr. McDonald
devised the following
verbal outline of the
general scheme of his
diptych: I. Father of
Waters: born of the
Highlands and the Lakes;
the Glaciers, the
Mountains, and the
Prairies. The picture of
your birth is clounded in
the ice and mists of
ancient ages but your
spirit remains our life
stream. II. The Red Man
knew your bountiful gifts
and gave thanks to the
Great Spirit on your
banks. -- The Spanish and
French Fathers brought
the glory of Christianity
to America on
Mississippi. But all men,
white and dark; --
Indian, Spaniard, and
Negro; Bourbon and
Yankee, combined to make
Mississippi the heart of
America. The first of the
two movements, beginning
molto andante, is vaguel
modal to hint at
antiquity. It is built
upon the conventional two
themes, with an episode,
poco piu mosso,
misterioso, for
prehistoric murk and
muck. There are various
changes of pace and mood.
The second, Allegro ma
vigorosamente, prefigures
an Indian ceremony. A
theme presented by flute,
clarinet and bassoon is a
Canadian Indian fishing
call collected by the
late J.B. Beck. A later
passage of
quasi-Gregorian chant
identifies the French and
Spanish priests who made
the great river their
highway. The fishing-call
is altered in rhythm and
harmony to represent
Negro field hands and
roustabous. A turbulent
close brings all these
elemts together in the
muddy swirling currents
of the Mississippi. The
work was begun in the
summer of 1945, and was
revised and completed in
the summer of 1947. Harl
McDonald, who is the
manager of The
Philadelphia Orchestra,
has concerned himself
with music as an art, as
a science and as a
business in course of his
career. He was born on a
cattle ranch in the
Rockies, but since his
was a musical family, his
up-bringing combined
piano lessons with ranch
life. Years of study and
professional experience
followed in Los Angeles
and in Germany. In 1927
he was appointed lecuter
in composition at the
University of
Pennsylvania and he has
since then made is home
in Philadelphia. In 1933
under a grant of the
Rockefeller FOundation he
collaborated with
physicists in research
dealing with the
measurement of
instrumental and vocal
tone, new scale divisions
and the resultant
harmonies. In that same
year he was named head of
the University's music
faculty and conductor of
its choral organizations.
In 1939, having been a
member of the Board of
Directors for five years,
he was appointed manager
of The Philadelphia
Orchestra. He continus to
write, but otherwise his
entire attention is now
devoted to managerial
duties. Chief items in
the catalogue of his
compositions are four
symphonies, three
orchestra suites, a
half-dozen tone-poems,
three concertos and
considerable quantity of
choral music.