The Renaissance Fair Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Bob Margolis (After Claude Gervaise). Concert band. Suitable for high school,...(+)
By Bob Margolis (After
Claude Gervaise). Concert
band. Suitable for high
school, community, and
college bands. Level:
Grade 4. Conductor score
and set of parts.
Duration 4:30. Published
by Manhattan Beach Music.
Rio Grande Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
For Symphonic Band. Composed by Michael Daugherty (1954-). Michael Daughe...(+)
For Symphonic
Band. Composed by
Michael Daugherty
(1954-). Michael
Daugherty Music.
Contemporary. Softcover.
96 pages. Published by
Hal Leonard (HL.4004651).
By Bob Margolis (After Claude Gervaise). Concert band. Suitable for middle schoo...(+)
By Bob Margolis (After
Claude Gervaise). Concert
band. Suitable for middle
school and high school
bands. Level: Grade 2.
Conductor Full Score.
Duration 4:00. Published
by Manhattan Beach Music.
The Flight of the Bumble Bee Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé C.L. Barnhouse
By Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Arranged by Andrew Glover. T...(+)
By Nikolay Andreyevich
Rimsky-Korsakov
(1844-1908). Arranged by
Andrew Glover.
Transcription. Concert
Band. Grade 4. Score and
set of parts. Composed
2005. Duration 0:01:20
Engelberg Variations Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
Engelberg Variations by William Harbinson. Concert Band. Concert Band. Alfred Co...(+)
Engelberg Variations by
William Harbinson.
Concert Band. Concert
Band. Alfred Concert
Band. Form: Variations.
Grade 4. Conductor Score
and Parts. 3 pages.
Published by Alfred Music
Publishing
Composed by James
Meredith. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
16+4+8+4+4+10+4+4+8+8+12+
6+6+2+1+2+20+8+8+4+4
pages. Duration 3
minutes, 55 seconds. Carl
Fischer Music #YPS203.
Published by Carl Fischer
Music (CF.YPS203).
ISBN 9781491152232.
UPC: 680160909735. Key: D
minor.
Imagine Bach
trying to compose in his
studio while being
pestered by a spider!
Arachnophobia and Fugue
exposes students to the
Baroque style of music
using dramatic contrasts,
light articulation,
chorale-style sections,
and multiple references
to Bach's works. The
spider is represented by
the xylophone and/or
marimba supported by the
flutes. As a humorous
bonus, auxiliary
percussion includes
rolled-up newspapers to
swat the pesky spider
throughout the
piece. Good music
played well inspires the
imagination. Imagine Bach
trying to compose in his
studio while being
pestered by a spider!
First and foremost this
is educational music
exposing kids to the
Baroque style of music.
Dramatic dynamic
contrasts, light
articulation,
chorale-style, and
multiple references to
Bach’s works form
the basis for the work.
Toccata and Fugue in D
Minor, Sleepers Wake,
Little Fugue in G Minor,
Sheep May Safely Graze,
Dies Irae, and Come Sweet
Death are the basis for
this look into an
imaginary situation with
the Great Baroque Master.
The spider is represented
by either a solo
xylophone or multiple
xylophones and/or marimba
(supported by the
flutes.) As a humorous
bonus auxiliary
percussion use rolled up
newspapers to swat the
pesky spider throughout
the piece in rhythm with
the 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.
Takayama-No
In-Sho. Composed by
Jan Van der Roost.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score and
Parts). Composed 2019. De
Haske Publications #DHP
1196070-010. Published by
De Haske Publications
(BT.DHP-1196070-010).
English-German-French-
Dutch.
This piece
was written to celebrate
the fiftieth anniversary
of the Takayama Wind
Orchestra, who also
commissioned it. The
historic city of Takayama
draws numerous visitors
from home and abroad, not
just to see its
well-preserved old houses
and buildings but also
because every year
several historic
processions take place,
with beautiful floats.
When these ride through
the city, age-old
melodies are heard played
on wooden flutes,
accompanied by muted
drums. This image is
evoked at the beginning
of the work, followed by
an archaic sounding
melody in a typically
Japanese pentatonic
sequence, that develops
throughout. In this
challenging piece Eastern
and Western influences
alternate,creating a
sensational and
overwhelming musical
effect!
Dit werk
is geschreven ter
gelegenheid van het
vijftigjarig bestaan van
het Takayama Wind
Orchestra, dat tevens de
opdrachtgever was. De
historische stad Takayama
trekt jaarlijks talloze
bezoekers uit binnen- en
buitenland, niet alleen
vanwege de goed bewaarde
oude huizen en gebouwen
die de stad rijk is, maar
ook omdat er elk jaar een
aantal historische
optochten plaatsvinden.
Wanneer die door de stad
trekken, weerklinken
eeuwenoude melodieën,
gespeeld op houten
fluiten en begeleid door
doffe trommen. Dit beeld
wordt opgeroepen aan het
begin van het werk,
gevolgd door een archa
sch klinkende melodie in
een typisch Japanse
pentatonische tonenreeks,
die zich in de loop van
het werkverder zal
ontwikkelen. In dit
pittige werk wisselen
oosterse en westerse
invloeden elkaar af, met
als resultaat een
meeslepend en
overweldigend muzikaal
effect!
Dieses
Stück wurde aus Anlass
des 50-jährigen
Jubiläums des Takayama
Wind Orchestra
geschrieben, das dieses
Werk auch in Auftrag
gegeben hat. Die Altstadt
von Takayama zieht jedes
Jahr zahlreiche Besucher
aus dem In- und Ausland
an, nicht nur wegen der
gut erhaltenen alten
Häuser und Gebäude,
sondern auch wegen der
historischen
Festumzüge, die dort
stattfinden. Wenn diese
durch die Stadt ziehen,
erklingen uralte
Melodien, die auf
Holzflöten gespielt
und von gedämpften
Trommeln begleitet
werden. Dieses Bild wird
zu Beginn des Werks
hervorgerufen, darauf
folgt eine archaisch
klingende Melodie mit
einer typisch japanischen
pentatonischen Sequenz,
die sich im Laufe des
Werkesweiterentwickelt.
In diesem anspruchsvollen
Werk wechseln sich
östliche und westliche
Einflüsse ab und
erzeugen einen
sensationellen und
überwältigenden
musikalischen Effekt!
Takayama-No
In-Sho. Composed by
Jan Van der Roost.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2019. 33 pages.
De Haske Publications
#DHP 1196070-140.
Published by De Haske
Publications
(BT.DHP-1196070-140).
English-German-French-
Dutch.
This piece
was written to celebrate
the fiftieth anniversary
of the Takayama Wind
Orchestra, who also
commissioned it. The
historic city of Takayama
draws numerous visitors
from home and abroad, not
just to see its
well-preserved old houses
and buildings but also
because every year
several historic
processions take place,
with beautiful floats.
When these ride through
the city, age-old
melodies are heard played
on wooden flutes,
accompanied by muted
drums. This image is
evoked at the beginning
of the work, followed by
an archaic sounding
melody in a typically
Japanese pentatonic
sequence, that develops
throughout. In this
challenging piece Eastern
and Western influences
alternate,creating a
sensational and
overwhelming musical
effect!
Dit werk
is geschreven ter
gelegenheid van het
vijftigjarig bestaan van
het Takayama Wind
Orchestra, dat tevens de
opdrachtgever was. De
historische stad Takayama
trekt jaarlijks talloze
bezoekers uit binnen- en
buitenland, niet alleen
vanwege de goed bewaarde
oude huizen en gebouwen
die de stad rijk is, maar
ook omdat er elk jaar een
aantal historische
optochten plaatsvinden.
Wanneer die door de stad
trekken, weerklinken
eeuwenoude melodieën,
gespeeld op houten
fluiten en begeleid door
doffe trommen. Dit beeld
wordt opgeroepen aan het
begin van het werk,
gevolgd door een archa
sch klinkende melodie in
een typisch Japanse
pentatonische tonenreeks,
die zich in de loop van
het werkverder zal
ontwikkelen. In dit
pittige werk wisselen
oosterse en westerse
invloeden elkaar af, met
als resultaat een
meeslepend en
overweldigend muzikaal
effect!
Dieses
Stück wurde aus Anlass
des 50-jährigen
Jubiläums des Takayama
Wind Orchestra
geschrieben, das dieses
Werk auch in Auftrag
gegeben hat. Die Altstadt
von Takayama zieht jedes
Jahr zahlreiche Besucher
aus dem In- und Ausland
an, nicht nur wegen der
gut erhaltenen alten
Häuser und Gebäude,
sondern auch wegen der
historischen
Festumzüge, die dort
stattfinden. Wenn diese
durch die Stadt ziehen,
erklingen uralte
Melodien, die auf
Holzflöten gespielt
und von gedämpften
Trommeln begleitet
werden. Dieses Bild wird
zu Beginn des Werks
hervorgerufen, darauf
folgt eine archaisch
klingende Melodie mit
einer typisch japanischen
pentatonischen Sequenz,
die sich im Laufe des
Werkesweiterentwickelt.
In diesem anspruchsvollen
Werk wechseln sich
östliche und westliche
Einflüsse ab und
erzeugen einen
sensationellen und
überwältigenden
musikalischen Effekt!
Portrait of a Clown Orchestre d'harmonie [Conducteur] - Facile Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for middle
school and high school
bands. Level: Grade 2.
Conductor Full Score.
Duration 2:45. Published
by Manhattan Beach Music.
Portrait of a Clown Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for middle
school and high school
bands. Level: Grade 2.
Conductor score and set
of parts. Duration 2:45.
Published by Manhattan
Beach Music.
(for Tuba and Symphonic Band). Composed by Michael Daugherty (1954-). For Concer...(+)
(for Tuba and Symphonic
Band). Composed by
Michael Daugherty
(1954-). For Concert Band
(Full Score). Michael
Daugherty Music. Grade
5-6. Softcover. Published
by Hal Leonard
Band concert band - Grade 0.5 SKU: CF.PPS56 Composed by Gene Milford. Set...(+)
Band concert band - Grade
0.5
SKU: CF.PPS56
Composed by Gene Milford.
Set of Score and Parts.
12+8+2+8+2+5+2+2+8+4+4+2+
6+2+3+1+1+3+2 pages.
Duration 1 minute, 55
seconds. Carl Fischer
Music #PPS56. Published
by Carl Fischer Music
(CF.PPS56).
ISBN
9781491159590. UPC:
680160918188.
Space
Station One is a work for
young bands which evokes
the vastness of space and
the courage of the men
and women who venture
there. The work is also
designed to provide
reinforcement for young
brass players, building
their embouchures with
repeated use of Bb to F
and D to G concert, for
clarinets to apply the
correct rolling between
the fingerings for E and
A and for flutes to move
carefully between D and
G.
Concert Band - difficult SKU: HL.49015665 Full Score. Composed by ...(+)
Concert Band - difficult
SKU: HL.49015665
Full Score.
Composed by Bertold
Hummel. This edition:
Paperback/Soft Cover.
Sheet music. Schott
Harmonie Serie (Concert
Band). Classical. Score.
Composed 1977. Op. 67.
104 pages. Duration 25'.
Schott Music #SHS1023.
Published by Schott Music
(HL.49015665).
ISBN
9790001139786. UPC:
884088156251.
9.0x12.0x0.296
inches.
Best
playability and musical
spirit - this is what
characterizes the music
of Bertold Hummel who
died in 2002, and why his
music must be part of the
repertoire of any amateur
and semi-professional
orchestra. The Oregon
Symphony occupies a
special position in his
oeuvre: it was written by
Hummel for the typically
American symphonic wind
bands, requiring almost
100 musicians, including
15 clarinets in three
groups of five alone, as
well as four piccolos and
six flutes, bass
clarinet, bassoons,
saxophones, trumpets,
horns, tubas and the
typically American
sousaphone, and five
percussionists. The work
consists of four
movements; in the rousing
finale, Hummel mixes jazz
motifs with popular
themes and even weaves
the anthem of the State
of Oregon in the final
music. For getting better
acquainted with this
music, the first movement
is also separately
available ('Symphonische
Ouverture', SHS
1001).
Picc. * 2 *
2 * Klar. in Es * 3 *
Bassklar. in B * 2
Altsax. in Es * Tenorsax.
in B * Baritonsax. in Es
* 2 - 4 * 3 (Korn.) * 3 *
Tenorhr. in B (Bar.) * 2
- P. S. (Trgl. * 4 hg.
Beck. * Beckenp. * Tamt.
* Gong * Glock. ad lib. *
Bngs. * Schellentr. * kl.
Tr. * gr. Tr. * Holzbl. *
Tempelbl. * Ratsche *
Xyl. * Vibr) (5 Spieler)
- Kb.
Orchestra, Concert Band Concert Band - Grade 4 SKU: FL.FX071876 Composed ...(+)
Orchestra, Concert Band
Concert Band - Grade 4
SKU: FL.FX071876
Composed by Gregory
Frelat. Original
Composition. Classical.
Score and Set of Parts.
FLEX Editions #FX071876.
Published by FLEX
Editions (FL.FX071876).
Concert band - Grade 4 SKU: MH.1-59913-070-X Composed by Timothy Broege. ...(+)
Concert band - Grade 4
SKU:
MH.1-59913-070-X
Composed by Timothy
Broege. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 10:00. Published
by Manhattan Beach Music
(MH.1-59913-070-X).
ISBN
9781599130705.
Prog
ram Notes: Stylistically
diverse -- tranquil,
spirited pastoral,
sensitive, energetic --
exhibiting a remarkable
palette, the five
movements of SINFONIA IX
form a unique symphonic
statement. Movement I,
Prelude, is about
contrasts: A lazy,
smooth, motive in brasses
alternates with, and then
joins, an active and
detached motive in
woodwinds. The spirited
Movement II, Morley's
Ghost, is an intricate
canonic collage and
homage to that venerable
theoretician & composer,
Thomas Morley. By
contrast, movement III,
Dialog, speaks in a
relaxed, lyrical, and
pastoral language as it
develops its gently
rising and falling
motives. Movement IV,
Waltz, innocently
celebrates the joys of
childhood with a lilting
melody and rondo form.
For the rousing Finale,
Movement V begins with a
martial call of
repeated-notes, heralding
a headstrong journey of
power and excitement.
Like a number of the
composer's other works,
SINFONIA IX is based on
earlier material: A brass
sextet, written in 1966
when the composer was
nineteen years old, forms
the raw material for the
first, third and fifth
movements, while a later
work, Martin's Waltz (a
children's piece for
flutes and clarinets
composed in 1975) is the
basis of the fourth
movement. The second
movement, however, is a
fanciful contrapuntal
commentary on Thomas
Morley's 16th-century
canzonet, Fire and
Lightning. SINFONIA IX is
dedicated to John
Raforth, a distinguished
band director and music
educator at West High
School in Madison,
Wisconsin. The work was
commissioned by his
friends and former
students, and was
completed in 1977. Its
first publication some
twenty years later is a
result of the increasing
attention paid by
university band directors
to the earlier Sinfonias,
particularly Sinfonia III
(Hymns and Dances);
Sinfonia V (Sinfonia
Sacra et Profana); and
now, Sinfonia IX. Whereas
the first two works are
wind ensemble
compositions that have
been championed equally
by the concert band,
Sinfonia IX is the
composer's first
college-level Sinfonia
written especially for
concert band. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1-2, 2
Oboe, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 3 Bb
Bass Clarinet, 2 Bassoon,
4 Eb Alto Saxophone, 2 Bb
Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1-2, 2 F Horn 3-4, 3
Trombone 1, 3 Trombone 2,
3 Baritone B.C., 2
Baritone T.C., 4 Tuba, 3
String Bass, 2 Timpani, 5
Percussion.
Concert band - Grade 4 SKU: MH.1-59913-071-8 Composed by Timothy Broege. ...(+)
Concert band - Grade 4
SKU:
MH.1-59913-071-8
Composed by Timothy
Broege. Suitable for high
school, community, and
college bands. Conductor
Full Score. Duration
10:00. Published by
Manhattan Beach Music
(MH.1-59913-071-8).
ISBN
9781599130712.
Prog
ram Notes: Stylistically
diverse -- tranquil,
spirited pastoral,
sensitive, energetic --
exhibiting a remarkable
palette, the five
movements of SINFONIA IX
form a unique symphonic
statement. Movement I,
Prelude, is about
contrasts: A lazy,
smooth, motive in brasses
alternates with, and then
joins, an active and
detached motive in
woodwinds. The spirited
Movement II, Morley's
Ghost, is an intricate
canonic collage and
homage to that venerable
theoretician & composer,
Thomas Morley. By
contrast, movement III,
Dialog, speaks in a
relaxed, lyrical, and
pastoral language as it
develops its gently
rising and falling
motives. Movement IV,
Waltz, innocently
celebrates the joys of
childhood with a lilting
melody and rondo form.
For the rousing Finale,
Movement V begins with a
martial call of
repeated-notes, heralding
a headstrong journey of
power and excitement.
Like a number of the
composer's other works,
SINFONIA IX is based on
earlier material: A brass
sextet, written in 1966
when the composer was
nineteen years old, forms
the raw material for the
first, third and fifth
movements, while a later
work, Martin's Waltz (a
children's piece for
flutes and clarinets
composed in 1975) is the
basis of the fourth
movement. The second
movement, however, is a
fanciful contrapuntal
commentary on Thomas
Morley's 16th-century
canzonet, Fire and
Lightning. SINFONIA IX is
dedicated to John
Raforth, a distinguished
band director and music
educator at West High
School in Madison,
Wisconsin. The work was
commissioned by his
friends and former
students, and was
completed in 1977. Its
first publication some
twenty years later is a
result of the increasing
attention paid by
university band directors
to the earlier Sinfonias,
particularly Sinfonia III
(Hymns and Dances);
Sinfonia V (Sinfonia
Sacra et Profana); and
now, Sinfonia IX. Whereas
the first two works are
wind ensemble
compositions that have
been championed equally
by the concert band,
Sinfonia IX is the
composer's first
college-level Sinfonia
written especially for
concert band. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1-2, 2
Oboe, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 3 Bb
Bass Clarinet, 2 Bassoon,
4 Eb Alto Saxophone, 2 Bb
Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1-2, 2 F Horn 3-4, 3
Trombone 1, 3 Trombone 2,
3 Baritone B.C., 2
Baritone T.C., 4 Tuba, 3
String Bass, 2 Timpani, 5
Percussion.
A Shaker Gift Song Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for middle
school and high school
bands. Grade 2. Conductor
score and set of parts.
Duration 2:15. Published
by Manhattan Beach Music
Arthur Orchestre d'harmonie - Intermédiaire/avancé FLEX Editions
Orchestra, Concert Band Concert Band - Grade 4 SKU: FL.FX071878 Composed ...(+)
Orchestra, Concert Band
Concert Band - Grade 4
SKU: FL.FX071878
Composed by Gregory
Frelat. Original
Composition. Classical.
Score and Set of Parts.
FLEX Editions #FX071878.
Published by FLEX
Editions (FL.FX071878).
Gold-Rush Rag Orchestre d'harmonie - Intermédiaire/avancé Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-066-1 Composed by Stephen Kent Goo...(+)
Concert band - Grade 4
SKU:
MH.1-59913-066-1
Composed by Stephen Kent
Goodman. Suitable for
high school, community,
and college bands.
Conductor score and set
of parts. Duration 3:00.
Published by Manhattan
Beach Music
(MH.1-59913-066-1).
ISBN
9781599130668.
The
discovery of the yellow
metal at Sutter's Mill in
California's Sacramento
Valley in 1849 was only
the beginning of
subsequent gold-rushes to
occur in the state.
Gold-Rush Rag was written
to commemorate all of the
California gold rushes
from past to present --
not only for the precious
metal, but for all the
opportunities that
California has offered.
This work is dedicated to
the Sacramento Valley
Symphonic Band, conducted
by Dr. Lester E. Lehr.
Ensemble instrumentation:
1 Piccolo, 6 Flutes, 2
Oboe 1-2, 2 Bassoon 1-2,
1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 1 Eb
Alto Clarinet, 3 Bb Bass
Clarinet, 4 Eb Alto
Saxophone 1-2, 1 Bb Tenor
Saxophone, 1 Eb Baritone
Saxophone, 3 Bb Cornet 1,
3 Bb Cornet 2, 3 Bb
Cornet 3, 2 Horn in F
1-2, 2 Horn in F 3-4, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
BC, 2 Euphonium TC, 5
Tuba, 1 Bells, 2
Triangle/Tambourine, 3
Snare Drum/Bass
Drum/Crash Cymbals.
Cajun Folk Songs Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:40.
Published by Manhattan
Beach Music.
Cajun Folk Songs Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:40. Published
by Manhattan Beach Music.
Band concert band - Level 2 SKU: KJ.JB94F Composed by Jack Stamp. Score o...(+)
Band concert band - Level
2
SKU: KJ.JB94F
Composed by Jack Stamp.
Score only. Neil A. Kjos
Music Company #JB94F.
Published by Neil A. Kjos
Music Company (KJ.JB94F).
UPC:
084027043462.
A
Song of Hope is a brief
musical expression of
sorrow for young
musicians to perform in
memory of the students at
Sandy Hook Elementary
School and all victims of
senseless violence. Bells
and chimes punctuate the
plaintive opening
statement of the
clarinets. Frequent meter
changes of 2/4, 3/4, and
4/4 are used as are
frequent changes of key
(Eb, F, C, Bb). Jack
Stamp deftly arranges the
modulations so that
unfamiliar tonalities are
easily handled by young
ensembles. A Song of Hope
is playable with a
limited woodwind section
of just 2 Flutes, 2
Clarinets, and Alto
Saxophone.
Orchestra, Concert Band Concert Band - Grade 3 SKU: FL.FX072470 Composed ...(+)
Orchestra, Concert Band
Concert Band - Grade 3
SKU: FL.FX072470
Composed by Gregory
Frelat. Original
Composition. Classical.
Score and Set of Parts.
Duration 1 minute, 45
seconds. FLEX Editions
#FX072470. Published by
FLEX Editions
(FL.FX072470).
For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L).
UPC:
680160039531. 11 x 17
inches.
Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland.