Composed by Vittorio Monti (1868-1922). Arranged by Andrew Glover. For concert band. Spotlight Series. Grade 3. Score and parts. Duration 4 minutes, 19 seconds. Published by C.L. Barnhouse

Jazz ensemble - Grade 3

SKU: CL.032-4215-01

Composed by Sherburne. Jazz Ensemble. Audio recording available separately (item CL.991-2013-01). Extra full score. Composed 2013. Duration 4 minutes, 4 seconds. C.L. Barnhouse #032-4215-01. Published by C.L. Barnhouse (CL.032-4215-01).

The name says it all in this swingin' piece featuring the trombone section with a brassy attitude. It's a twelve bar, B-flat blues tune that gives the trombones a chance to shine with both unison and harmonized lines. The trumpets and saxes add in with complimentary hits and counter melodies. The piece works great as an easy laid back swing or with an up tempo groove. The ranges are modest but everyone in audience will know if some have a 'bone to pick with them!

Jazz ensemble - Grade 4

SKU: CL.SCM-1018-01

Composed by Iacona. Jazz Ensemble. Extra full score. Composed 2004. Duration 3 minutes, 4 seconds. C.L. Barnhouse #SCM-1018-01. Published by C.L. Barnhouse (CL.SCM-1018-01).

Extended blues form shifts from a Swing Shuffle to a Funk bridge then back again. Optional lead trumpet notes save chops but won't take the energy away from this chart.

Jazz ensemble - Grade 4

SKU: CL.SCM-1018-00

Composed by Iacona. Jazz Ensemble. Smart Chart Music - Jazz Arrangements Series. Score and set of parts. Composed 2004. Duration 3 minutes, 4 seconds. C.L. Barnhouse #SCM-1018-00. Published by C.L. Barnhouse (CL.SCM-1018-00).

Extended blues form shifts from a Swing Shuffle to a Funk bridge then back again. Optional lead trumpet notes save chops but won't take the energy away from this chart.

Composed by Josh Hobbs. Trumpet Ensemble. For 6 trumpets. Small Ensemble. Key: C Major. Modern. Grade 7. Score and parts. Standard notation. Composed 2013. 28 pages. Duration 4 minutes, 9 seconds. Published by Triplo Press

Composed by Francois Couperin (1668-1733). Score and parts. Published by Alea Publishing (A7.ALEA1113).

Composed by Richard Wagner (1813-1883). Arranged by James Olcott. Small Ensemble. Key: C Major. Romantic. Score and parts. With Standard notation. 59 pages. Duration 4 minutes. Published by Triplo Press (T3.TRP-097).

By Maria Xaveria Peruchona (1652-1709). Edited by Barbara Jackson. SAT choir and basso continuo. For SAT voices and continuo (SAT and continuo (choral or soli)). Trio. Trio. Baroque. Adult. Sheet music. 20 pages. Duration 4 minutes, 3 seconds. Published b. Baroque.

By R. K. Biggs. For organ solo. Dramatic and dynamic set of continuous variations. Neo Romantic. Advanced. Score. Duration 4 minutes. Published by Consort Press

Bassoon, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.16400261S

Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S).

UPC: 680160038411.

Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is.   As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words.   The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings.   The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended.   The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3 and more. - Grade 3.5

SKU: CF.CPS228

Composed by George Sweet. Concert Band (CPS). Set of Score and Parts. With Standard notation. 8+8+4+8+16+16+4+4+4+4+4+4 +8+8+8+4+4+6+6+6+8+1+2+2+ 2+2+4+8+2+28+4 pages. Duration 4 minutes, 35 seconds. Carl Fischer Music #CPS228. Published by Carl Fischer Music (CF.CPS228).

ISBN 9781491152546. UPC: 680160910045.

Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was a large influencing factor for George Sweet in the composition of this piece. Richly scored for the modern concert band, Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.
Black light is defined as infrared or ultraviolet light which is invisible to the naked eye. The idea of an entire spectra existing out of the range of human perception was an influencing factor on the composition of the piece. Black Light is written in a post-minimalist style and is also heavily influenced by the work of American composers Steve Reich, John Adams, and Philip Glass.This begins with strict motor accompaniment. Take care to maintain equal balance among the different “moving parts” so that they blend to create a solid whole both here and throughout the piece. The primary thematic material is stated by the trumpets and horns at m. 12. This material is the basis for much of the harmonic and thematic material that follows. A slightly varied statement of the main theme is presented again at m. 26 with a different type of motor accompaniment. This leads to a B-section at m. 44, which is a bold fanfare-like presentation of the main material. Another series of variations on the main theme begins at m. 50 and incorporates many different textural and harmonic ideas in the accompaniment. Once again, be careful to not let any one “moving part” overwhelm another and keep the texture evenly balanced.  A second, broader presentation of the B-section occurs at m. 90 and leads to a subdued C-section at m. 100 with new melodic material presented in the trumpet. A whimsical march-like section pushes to the return of the introductory motor material at m. 131. A final heroic presentation of the main thematic material results in a somewhat ambiguous coda, which brings the piece to a dramatic conclusion.

Composed by Austin Jaquith. Trumpet Ensemble. For 8 trumpets (4 C trumpets and 4 Bb trumpets). Small Ensemble. Key: A minor. Modern. Grade 7. Score and parts. Standard notation. Composed 2011. 64 pages. Duration 8 minutes, 10 seconds. Published by Triplo Press