(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. 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. 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-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; 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; 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-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; Play-Along. Top Hits Instrumental Solos. Pop; Rock. Grade 2; Grade 3. 28 pages. Published by Alfred Music

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).

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3

SKU: CF.CPS256F

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. 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 Solos Series. Pop; Pop/Rock. Grade 2; Grade 3. 52 pages. Published by Alfred Music

(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)). By John O'Reilly and Mark Williams. Concert Band. For Bass Clarinet. Band Supplement; Book. Accent on Performance. 24 pages. Published by Alfred Music

(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

Orchestra 2 Bassoons, 2 Oboes, 3 Clarinets, 3 Flutes, 3 Trombones, 3 Trumpets, 4 Horns, Bass Drum, Contra-bassoon, Cymbal, English Horn, Percussion: Snare Drum, Strings, Timpani, Tuba

SKU: PR.466411770

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.

(22 Full Band Arrangements Correlated to Accent on Achievement (Clarinet 2)). Arranged by John O'Reilly and Mark Williams. Concert Band. For Clarinet 2. Band Supplement; Book. Accent on Performance. Chanukah; Christmas; Winter. 24 pages. Published by Alfr