Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1012918-010

Composed by Peter Ilyich Tchaikovsky. Arranged by Wil van der Beek. The Great Classics. Set (Score & Parts). Composed 2001. De Haske Publications #DHP 1012918-010. Published by De Haske Publications (BT.DHP-1012918-010).

Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.

Tchaikowsky ist berühmt für seine rein instrumentalen Kompositionen. Er ist jedoch auch als Opernkomponist nicht zu unterschätzen.Viele seiner OPern werden immoernoch regelmäßig auf der ganzen Welt aufgeführt, wie zum Beispiel Pique Dame und Eugen OneginEugen Onegin wurde in den Jahren 1877 bis 1878 komponiert und von Tschaikowsky selbst zunächst nicht als Oper, sondern als lyrische Szenen betitelt. Der lyrische Charakter ist im ganzen Werk vorherrschend. Zwei Stellen kontrastieren jedoch deutlich mit dieser Lyrik: zwei Ballszenen ,für die Tschaikowsky einen Walzer uns eine Polonaise schrieb.Nach einem weniger bekannten Allegro Dansant als Eröffung,stellt dieses Arrangement vor allem den oben genannten Walzer in den Vordergrund, welcher guten Herzens als ein schönes russisches Gegenstück zu Charles Gounods Faustwalzer bezeichnet werden kann. In der Oper wird dieser Walzer von einer Militärkapelle gespielt. Das Arrangement schließt mit der erwähnten pompösen Polonaise, die den letztzen Akt eröffnet: die ideale Musik, um ein Bild des Hochadels im Salon eines Petersburger Palastes zu zeichnen.

Harpsichord

SKU: HL.48188385

Sonates K306 a K357 LP37. Composed by Domenico Scarlatti. Edited by Kenneth Gilbert. Leduc. Baroque. Softcover. 216 pages. Heugel & Cie #HE32485. Published by Heugel & Cie (HL.48188385).

UPC: 196288026600. 9.0x12.0x0.575 inches.

“The seventh volume of the series of twelve, Sonatas - Volume VII, LP. 37 features the Sonatas K.306 to K.357. Composed by Domenico Scarlatti, this edition by the Harpsichordist Kenneth Gilbert regroups the 555 sonatas arranged for Piano. Based on the two sets of books discovered in Venice and in Parma, this edition still contains some of the annotations initially suggested by Kirkpatrick, whose book can be considered as an essential guide for this series.”.

Band Bass Clarinet, Bass Drum, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Glockenspiel, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Percussion 4, Snare Drum, Suspended Cymbal, Tambourine and more.

SKU: CF.YPS260F

Composed by Patrick Glenn Harper. Full score. 24 pages. Carl Fischer Music #YPS260F. Published by Carl Fischer Music (CF.YPS260F).

ISBN 9781491164006. UPC: 680160922796.

A bird is considered to have fledged at the time when its wing muscles and feathers are sufficiently developed for flight. When young birds have reached this stage, but are still dependent on their parents for care and feeding, they are referred to as fledglings. This piece musically follows a fledgling as it begins the long process of learning to fly. It starts out tentatively, gains ability, struggles, and then eventually soars.In all instances where a longer note is tied to an eighth note, players should release, stopping the sound, on the eighth note. For example, a dotted half note tied to an eighth note should have a definite stop at the beginning of beat 4.Measures 20–26: The sudden changes in dynamics should be exaggerated to produce a somewhat pronounced awkward effect.Measures 52–57: The flute, oboe, and clarinet parts should produce a constant flowing sound in the slurred eighth notes, breathing on the eighth-note rests.Measures 66–67: Make sure the staccatos are very short and pronounced, but do not cover the melody in the low brass and reeds.Measures 72–86: Emphasize the accents on the upbeats in the percussion instruments.Measure 83: Emphasize the crescendo to forte and then immediately drop to mezzo-forte.

(Piano/Vocal/Guitar). For Guitar; Keyboard; Piano; Voice. This edition: Piano/Vocal/Guitar. Book; P/V/C Mixed Folio; Piano/Vocal/Chords. Country. 120 pages. Published by Alfred Music Publishing

By Kenneth Gilbert. By Domenico Scarlatti (1685- 1757). Heugel. Classical. Softcover. 220 pages. Heugel & Cie #HE32430. Published by Heugel & Cie

Piano/Vocal/Chords Songbook (Arrangements for piano and voice with guitar chords). Size 9x12 inches. 416 pages. Published by Hal Leonard.

Arranged by Lily Afshar. For mandolin. Saddle-stitched. Beginning-Intermediate. Book. Published by Mel Bay Publications, Inc

Choir and various instruments

SKU: MN.56-0078A

Composed by Howard Goodall. Instrumental part. MorningStar Music Publishers #56-0078A. Published by MorningStar Music Publishers (MN.56-0078A).

UPC: 688670220913.

By Various. For Guitar. Guitar Collection. Softcover. Guitar tablature. 256 pages. Published by Hal Leonard

Double Bass; Orchestra (STUDY SCORE)

SKU: HL.51487451

Study Score. Composed by Serge Koussevitzky. Edited by Tobias Glö and ckler. Henle Study Scores. Classical. Softcover. 92 pages. G. Henle #HN7451. Published by G. Henle (HL.51487451).

UPC: 196288158110. 6.75x9.5x0.294 inches.

Thanks to its skilful combination of Romantic melody and sparkling virtuosity, Koussevitzky’s Double Bass Concerto op. 3 has been one of the most popular works of its genre since its Moscow premiere in 1905. No wonder, for the virtuoso double bass player Koussevitzky had composed it for his very own instrument. As early as 1906/07 a first piano reduction was published in Moscow, followed by a second in 1910 in Leipzig. However, both contain so many mistakes in the solo part that there is still uncertainty about the correct musical text in many passages to this day. The double bass player Tobias Glöckler has therefore prepared his Urtext edition using several sources: as well as the manuscript performance material and the piano reductions published during the composer's lifetime, he has also studied recordings with Koussevitzky as soloist - thereby finally producing a thoroughly-researchedUrte xt edition of the orchestral score and piano reduction of this classic of the double bass literature. As with all double bass concertos published by Henle Publishers, this edition also contains the piano reduction by Christoph Sobanski in two keys (E minor and F sharp minor) for performance with solo or orchestral tuning.

About Henle Urtext

What I can expect from Henle Urtext editions:

• error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
• preface in 3 languages with information on the genesis and history of the work 
• Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions 
• most beautiful music engraving 
• page-turns, fold-out pages, and cues where you need them 
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• longest Urtext experience (founded 1948 exclusively for Urtext editions)

Concert Band Concert Band - Grade 2.5

SKU: FJ.B1402S

Score Only. Arranged by Chris Sharp. Concert Band. FJH Young Band. Christmas; Holiday Pops. Score. Duration 2:45. The FJH Music Company Inc #98-B1402S. Published by The FJH Music Company Inc (FJ.B1402S).

English.

Give your holiday concert a dose of world music with this catchy medley that includes The Virgin Mary Had a Baby Boy; Bring a Torch, Jeannette, Isabella; and Go, Tell It on the Mountain. A wealth of percussion instruments help set the Caribbean styles which include calypso and reggae along with a reference to the Creole influence on the islands. A fantastic upbeat medley that will be the highlight of your program!

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

Orchestra

SKU: HL.14033079

Composed by Per Norgard. Music Sales America. Classical. Score. 164 pages. Music Sales #KP01073. Published by Music Sales (HL.14033079).

ISBN 9788759858332. Danish.

There were wild oatsAnd the soil was blackBut sparkledWhen the sun was outThe air sharp in the nostrilsHard to defineSomewhere between knife and coal andAcid and that special light and sweetWhiteness thornbushes exhaleIt was nothing specialBecause everything was special...Thus the opening line of the poem TERRAINS VAGUES by Klaus Rifbjerg, the Danish Poet. I chose to adopt this title for my orchestral work, because of its closeness in associations: an indeterminable, often polarized, state of rhythmic and tonal ambiguity.The expression seems created by the Franch author, Victor Hugo:And here lies the fascination: in the kinds of terrains vagues, which are simultaniously bizarre and ugly, as if created by two alien species of nature. To watch the suburb is like observing and amphibium: trees vanish, roofs appear, grass vanish, cobble stones appear, ploughing fields vanish, shops appear, beaten tracks vanish - passions appear; the murmur of Nature Divine ends, the noise of Mankind takes over. (Victor Hugo)Still, the atmosphere as well as the material of TERRAINS VAGUES have its origin, in my SYMPHONY NO. 6 (1999), the last minute of which, cut up rough, appears as the start of my new work. The music of TERRAINS VAGUES subdivides itself, without breaks, into three sections, or shades:I: TERRAINS - II: VAGUES (Waves) III: TERRAINS VAGUES.Per Norgard, March 2001.

Concert Band Concert Band - Grade 2.5

SKU: FJ.B1084S

Score Only. Composed by John Bacchus Dykes. Arranged by Chris Sharp. Concert Band. FJH Young Band. Form: Chorale. Sacred. Score. Duration 2:45. The FJH Music Company Inc #98-B1084S. Published by The FJH Music Company Inc (FJ.B1084S).

English.

Opening with the rich sounds of the woodwind choir, here is a magnificent setting of John B. Dykes' familiar hymn tune, Holy, Holy, Holy. Rich brass writing sets up the fanfare and key change to a dramatic tutti finale. (2:45).

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

Piano

SKU: PA.H07911

Fur Klavier. Composed by Luboš Fišer. Stapled. Performance score. With Text Language: Czech/German/English. Editio Baerenreiter Praha #H07911_00. Published by Editio Baerenreiter Praha (PA.H07911).

ISBN 9790260104457. 31 x 23.5 cm inches.

Lubos Fiser (1935-1999) was one of the most talented Czech composers of his generation. Born in Prague, he studied at the Prague Conservatoire from 1952-1956 and then at the Academy of Music. He was known to the public for his many film scores but it was his other compositions, many of them written under difficult political conditions, which mark him out as a composer of significance.

Fise r's eight piano sonatas have a special place in his oeuvre. Fiser subsequently eliminated his second sonata (1956) from his compositional repertoire. From the third sonata onwards (1960), subtitled Fantasia, the composer wrote a two-movement composition, in which he continued to incorporate as his fundamental musical device the confrontation of sharp contrasts in tempo and mood. Beginning with his fourth sonata (1962-1964), Fiser created a single-movement work in an expressive, formally focused composition which betrays a progression towards greater compactness of musical shape in a concise yet effective musical testimony. The fifth sonata was written in 1974, the sixth sonata in 1978. The seventh sonata from 1985 was dedicated to Frantisek Maxian, the eighth sonata was written in 1995.

Piano Sonata No.1 was written in 1955. Fiser worked on it during his last year at the Prague Conservatoire under the supervision of Emil Hlobil. The piece is one of Fiser's early works which still respect a traditional compositional approach. Unlike his major and late piano sonatas, this sonata has three movements, each representing the traditional Classical-Romantic form. The sonata was premiered by Fiser's fellow-student and friend Antonin Jemelik in Theatre D34 on 30 January 1956.

The new setting for this piece is based on the single edition to date (SNKLHU, 1957); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music, acquisition number 297/2006).

By Eugene Record and William Sanders. Arranged by Victor Lopez. Jazz Ensemble. Jazz Ensemble; Part(s); Score. Jazz Band Series. Jazz. Grade 3. 98 pages. Published by Alfred Music

For Clarinet and String Quartet. Composed by John Corigliano (1938-). Ensemble. Classical. G. Schirmer #ED4691. Published by G. Schirmer (HL.50600931).

Concert band - Grade 4

SKU: MH.1-59913-072-6

Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:00. Published by Manhattan Beach Music (MH.1-59913-072-6).

ISBN 9781599130729.

Prog ram Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.

The Decade Series for Guitar. Performed by Various. Guitar Recorded Version Mixed. With notes and tablature. Size 9x12 inches. 256 pages. Published by Hal Leonard.

Double Bass and Piano Reduction. Composed by Serge Koussevitzky (1874-1951). Edited by ckler and Tobias Glö. Henle Music Folios. Classical. Softcover. 88 pages. G. Henle #HN1451. Published by G. Henle