For 11 Brass and 2 Percussion. Composed by Eric Ewazen. Premiered by the Boulder Brass. Contemporary. Score and part(s). With Standard notation. 36 52 pages. Duration 8 minutes. Theodore Presser Company #114-41470. Published by Theodore Presser Company (PR.114414700).

(Featuring: Oil Rig / What Are You Going to Do When You Are Not Saving the World?). By Hans Zimmer (1957-). Arranged by Mike Story. Marching Band. Marching Band; Part(s); Score. Big and Easy. Movie. Grade 2. 138 pages. Published by Alfred Music

String Quartet

SKU: PR.16400222S

Composed by Dan Welcher. Full score (study). With Standard notation. Duration 11 minutes. Theodore Presser Company #164-00222S. Published by Theodore Presser Company (PR.16400222S).

UPC: 680160037841.

This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection.   The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour.   In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature.   The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales.   The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey.   Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.

Grade 2

SKU: CL.024-4761-01

A Celebratory Statement For Band. Composed by Romeyn. Young Concert Band. Extra full score. C.L. Barnhouse #024-4761-01. Published by C.L. Barnhouse (CL.024-4761-01).

Vanguard Fanfare is a bold and regal concert opener for young band. A proud, heroic opening statement is followed by a regal, flowing melody. As the melody develops, a countermelody is introduced, and we then move into a delicate section of lighter texture. The music ends as it began, proud, heroic and strong. Changing styles and textures offer valuable teaching opportunities. This one is a real winner for concert or festival performance!

Grade 2

SKU: CL.024-4761-00

A Celebratory Statement For Band. Composed by Romeyn. Young Concert Band. Score and set of parts. C.L. Barnhouse #024-4761-00. Published by C.L. Barnhouse (CL.024-4761-00).

Vanguard Fanfare is a bold and regal concert opener for young band. A proud, heroic opening statement is followed by a regal, flowing melody. As the melody develops, a countermelody is introduced, and we then move into a delicate section of lighter texture. The music ends as it began, proud, heroic and strong. Changing styles and textures offer valuable teaching opportunities. This one is a real winner for concert or festival performance!

Fanfare Band - Grade 2

SKU: BT.GOB-000803-120

Composed by William Vean. Score Only. 20 pages. Gobelin Music Publications #GOB 000803-120. Published by Gobelin Music Publications (BT.GOB-000803-120).

‘Panem et Circenses’, Bread and Games were essential for keeping the citizens of ancient Rome in check.
While the bread was meant for the poorest among the Romans, the Games were Popular Pastime Number One for everybody.
There were different kinds of games, such as chariot races (especially popular with female spectators), or wild-beast fights, where lions, tigers, bulls or bears were set on one another or even on human beings. Most popular, however, were the Gladiator fights.

In ‘Bread and Games’ William Vean depicts one of the many fights in the antique Colosseum.
1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for, after which the Gladiators entered the Arena at the sound of heroic marching-music.
2.Swor dfight: We can hear that the fights were not mere child’s play in this part.On the contrary, they were a matter of life and death and were fought accordingly.
3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate, depending on the mercy of the audience. Waving one’s handkerchief meant mercy, a turned-down thumb meant no pardon. The Emperor had the right to take the final decision, but he usually complied with the wish of the majority of the public.
4.Lap of Honour: Gladiators were mainly selected among slaves, convicted criminals, or prisoners of war. Consequently, winning was very important, as it would mean fame, honour and sometimes even wealth. A lap of honour, therefore, was the winner’s due reward.

‘Panem et Circenses’, brood en (circus)spelen, essentieel in het Romeinse leven om de burgers in het gareel te houden.
Het brood was vooral voor de allerarmsten bedoeld, maar de spelen, dat was volksvermaak nummer één.
Erwaren verschillende soorten spelen, de Strijdwagen racen, vooral in trek bij de vrouwen, de dierengevechten of jachtpartijen, waar leeuwen, tijgers, buffels of beren tegen elkaar of tegen mensen opgehitst werden. Maar favoriet warentoch wel de gevechten der Gladiatoren.

William Vean beschrijft in ‘Bread and Games’ één van de vele gevechten in het aloude Colosseum.
1. Entrance of the Gladiators: Met krachtige (hoorn)signalen wordt de aandachtvan het volk gevraagd waarna de Gladiatoren op heldhaftige marsmuziek de Arena binnentreden.
2. Swordfight: Dat de gevechten geen kinderspel waren horen we in dit deel. Het gaat er hard aan toe, en de gevechten waren vaak op levenen dood.
3. Mercy of the Emperor: In enkele gevallen had een gewonde Gladiator geluk. Dit hing af van de stemming van het publiek. Wapperende zakdoeken betekende geluk, met de duim naar beneden wijzen betekende geen pardon.De Keizer had het laatste woord maar volgde meestal de stemming van het publiek.
4. Lap of Honour: Gladiatoren werden meestal uit slaven, veroordeelde misdadigers of krijgsgevangen geselecteerd. Winnen was daarom erg belangrijk.Dit betekende roem, eer en soms zelfs rijkdom. (vergelijkbaar met onze sporthelden) Een ereronde was dus wel op zijn plaats.

Fanfare Band - Grade 2

SKU: BT.GOB-000803-020

Composed by William Vean. Set (Score & Parts). 98 pages. Gobelin Music Publications #GOB 000803-020. Published by Gobelin Music Publications (BT.GOB-000803-020).

‘Panem et Circenses’, Bread and Games were essential for keeping the citizens of ancient Rome in check.
While the bread was meant for the poorest among the Romans, the Games were Popular Pastime Number One for everybody.
There were different kinds of games, such as chariot races (especially popular with female spectators), or wild-beast fights, where lions, tigers, bulls or bears were set on one another or even on human beings. Most popular, however, were the Gladiator fights.

In ‘Bread and Games’ William Vean depicts one of the many fights in the antique Colosseum.
1. Entrance of the Gladiators: By powerful bugle-calls the attention of the peoplewas asked for, after which the Gladiators entered the Arena at the sound of heroic marching-music.
2.Swor dfight: We can hear that the fights were not mere child’s play in this part.On the contrary, they were a matter of life and death and were fought accordingly.
3.Mercy of the Emperor: Sometimes a wounded gladiator could be fortunate, depending on the mercy of the audience. Waving one’s handkerchief meant mercy, a turned-down thumb meant no pardon. The Emperor had the right to take the final decision, but he usually complied with the wish of the majority of the public.
4.Lap of Honour: Gladiators were mainly selected among slaves, convicted criminals, or prisoners of war. Consequently, winning was very important, as it would mean fame, honour and sometimes even wealth. A lap of honour, therefore, was the winner’s due reward.

‘Panem et Circenses’, brood en (circus)spelen, essentieel in het Romeinse leven om de burgers in het gareel te houden.
Het brood was vooral voor de allerarmsten bedoeld, maar de spelen, dat was volksvermaak nummer één.
Erwaren verschillende soorten spelen, de Strijdwagen racen, vooral in trek bij de vrouwen, de dierengevechten of jachtpartijen, waar leeuwen, tijgers, buffels of beren tegen elkaar of tegen mensen opgehitst werden. Maar favoriet warentoch wel de gevechten der Gladiatoren.

William Vean beschrijft in ‘Bread and Games’ één van de vele gevechten in het aloude Colosseum.
1. Entrance of the Gladiators: Met krachtige (hoorn)signalen wordt de aandachtvan het volk gevraagd waarna de Gladiatoren op heldhaftige marsmuziek de Arena binnentreden.
2. Swordfight: Dat de gevechten geen kinderspel waren horen we in dit deel. Het gaat er hard aan toe, en de gevechten waren vaak op levenen dood.
3. Mercy of the Emperor: In enkele gevallen had een gewonde Gladiator geluk. Dit hing af van de stemming van het publiek. Wapperende zakdoeken betekende geluk, met de duim naar beneden wijzen betekende geen pardon.De Keizer had het laatste woord maar volgde meestal de stemming van het publiek.
4. Lap of Honour: Gladiatoren werden meestal uit slaven, veroordeelde misdadigers of krijgsgevangen geselecteerd. Winnen was daarom erg belangrijk.Dit betekende roem, eer en soms zelfs rijkdom. (vergelijkbaar met onze sporthelden) Een ereronde was dus wel op zijn plaats.

Fanfare Band - Grade 2.5

SKU: BT.GOB-001034-020

Composed by Jan Bosveld. Set (Score & Parts). 72 pages. Gobelin Music Publications #GOB 001034-020. Published by Gobelin Music Publications (BT.GOB-001034-020).

Fort Fincastle was built in 1793 by royal governor 'Lord Dunmore at an unusual location: Nassau, the capital of the Bahamas.
The name of the fort: Fort Fincastle' comes from Dunmore's second title of Viscount Fincastle '( Earl of Fincastle).
He gave the fort a particular shape, a circular building with a sharp expansion in the form of a bow or bow of ship. In order to deceive enemy ships.
The sounds of the first bars show the contours of a looming majestic stronghold, after a heroic theme follows. Soon we hear the threat of hostile elements.
Work on the fort means much waiting and lonely, but you should always alert and vigilant for the ever lurking attack.
After the turn of yet another attack there is a feeling of satisfaction and pride, we see the fort are on the hill towering above Nassau.

In 1793 werd Fort Fincastle gebouwd door ‘royal governor’ Lord Dunmore op een bijzondere plek: Nassau, de hoofdstad van de Bahamas.
De naam van het fort: ‘Fort Fincastle’ is afkomstig van Dunmore’s tweede titel ‘Viscount Fincastle’(Graafvan Fincastle).
Hij gaf het fort een bijzonder vorm, een cirkelvormig gebouw met een puntige uitbouw, in de vorm van een boeg of voorsteven van schip. Dit om vijandige schepen te misleiden.
De klanken van de eerstematen laten de contouren van een majestueus verdedigingsbolwerk opdoemen, waarna een heldhaftig thema volgt. Al snel horen we de dreiging van vijandige elementen .
Werken op het fort betekent veel wachten en is best eenzaam,toch moet je altijd alert en waakzaam zijn voor de immer op de loer liggende aanval.
Na het afslaan van de zoveelste aanval heerst er een gevoel van tevredenheid en zien we het fort trots liggen op de heuvel die bovenNassau uit torent.

Fanfare Band - Grade 2.5

SKU: BT.GOB-001034-120

Composed by Jan Bosveld. Score Only. 16 pages. Gobelin Music Publications #GOB 001034-120. Published by Gobelin Music Publications (BT.GOB-001034-120).

Fort Fincastle was built in 1793 by royal governor 'Lord Dunmore at an unusual location: Nassau, the capital of the Bahamas.
The name of the fort: Fort Fincastle' comes from Dunmore's second title of Viscount Fincastle '( Earl of Fincastle).
He gave the fort a particular shape, a circular building with a sharp expansion in the form of a bow or bow of ship. In order to deceive enemy ships.
The sounds of the first bars show the contours of a looming majestic stronghold, after a heroic theme follows. Soon we hear the threat of hostile elements.
Work on the fort means much waiting and lonely, but you should always alert and vigilant for the ever lurking attack.
After the turn of yet another attack there is a feeling of satisfaction and pride, we see the fort are on the hill towering above Nassau.

In 1793 werd Fort Fincastle gebouwd door ‘royal governor’ Lord Dunmore op een bijzondere plek: Nassau, de hoofdstad van de Bahamas.
De naam van het fort: ‘Fort Fincastle’ is afkomstig van Dunmore’s tweede titel ‘Viscount Fincastle’(Graafvan Fincastle).
Hij gaf het fort een bijzonder vorm, een cirkelvormig gebouw met een puntige uitbouw, in de vorm van een boeg of voorsteven van schip. Dit om vijandige schepen te misleiden.
De klanken van de eerstematen laten de contouren van een majestueus verdedigingsbolwerk opdoemen, waarna een heldhaftig thema volgt. Al snel horen we de dreiging van vijandige elementen .
Werken op het fort betekent veel wachten en is best eenzaam,toch moet je altijd alert en waakzaam zijn voor de immer op de loer liggende aanval.
Na het afslaan van de zoveelste aanval heerst er een gevoel van tevredenheid en zien we het fort trots liggen op de heuvel die bovenNassau uit torent.

Grade 2

SKU: CL.011-3722-01

The Saga of Larry LaRoo. Composed by Orcino. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR359). Extra full score. Composed 2008. Duration 8 minutes, 51 seconds. C.L. Barnhouse #011-3722-01. Published by C.L. Barnhouse (CL.011-3722-01).

Here’s a fun-filled and entertaining selection! A heroic fanfare announces the opening curtain of a musical melodrama right out of the golden age of silent film. The hero, the damsel in distress and their perilous journey all set to well-known musical tunes, with your band replacing the theater organ. It’s perfect for featuring your principal or other celebrity as narrator! Use a little creativity and allow your students to play the silent actors and even make their own silent movie. Encourage your audience to hiss, boo and cheer during the unfolding story. Easily rehearsed and fun for all! Your audience and students wont stop talking (and laughing) about this entertaining feature.

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.

By Mark Williams. Music by Mark Williams. For Concert Band. Concert Band. Accent on Achievement. Level: Level 1 1/2 (grade 1.5). Conductor Score & Parts. 1 pages. Published by Alfred Publishing.

By Mark Williams. Music by Mark Williams. For Concert Band. Concert Band. Growing Band Series. Level: 3 (Medium) (grade 3). Conductor Score and Parts. 2 pages. Published by Alfred Publishing.

By Rob Romeyn. For concert band. Young Band. Rising Band Series. Grade 1.5. Score and set of parts. Duration 2 minutes, 28 seconds. Published by C.L. Barnhouse

Grade 4

SKU: CL.RWS-2011-00

Composed by Bankston. Concert Band. RWS Concert Band Series. Score and set of parts. Composed 2020. Duration 2 minutes, 17 seconds. RWS Music Company #RWS-2011-00. Published by RWS Music Company (CL.RWS-2011-00).

Are your students ready for a challenge? Get ready for a musical adventure packed with bold and heroic lines that play out in shifting textures. Written in 4/4 with triplet figures, energetic rhythms and interesting harmonies, your band will make a strong opening statement at your concert or festival performance.