Concert Band SKU: YM.GTW01101395 NSB: New Sounds in Brass for Concert ...(+)
Concert Band
SKU:
YM.GTW01101395
NSB: New Sounds in
Brass for Concert
Bands. Composed by
Joe Hisaishi. Studio
Ghibli. Anime Song;
J-Pop. Book. Yamaha Music
Media #GTW01101395.
Published by Yamaha Music
Media (YM.GTW01101395).
ISBN 9784636110524.
8.25 x 11.75
inches.
New Sounds
in Brass is a series for
concert bands that
collects arrangements of
various musical genres,
including Studio Ghibli,
Disney, anime titles, and
J-Pop, arranged by the
best ensemble arrangers
in Japan. This
collection features four
particularly popular
pieces composed for Hayao
Miyazaki's animated films
from the works of
renowned Japanese
composer and maestro Joe
Hisaishi. The first half
opens with the delightful
and lively The Village in
May and the charming
stroll of Hey Let's Go
from My Neighbor Totoro.
The second half
transitions into the
melancholy and leisurely
sounds of Day of the
River from Spirited Away
and the wistful Departure
from Kiki's Delivery
Service. Arranged by
Kazuhiro Morita
Duration: 7 minutes and
30 seconds
Difficulty:
★★★
Solos: Oboe, Flute
Ensemble: 1st Flute (1),
2nd Flute & Piccolo (1),
Oboe (1), Bassoon (1),
Clarinet in E-flat (1),
1st Clarinet in
B-flat(3), 2nd Clarinet
in B-flat(3), Bass
Clarinet in B-flat(1),
1st Alto Saxophone in
E-flat(1), 2nd Alto
Saxophone in E-flat(1),
Tenor Saxophone in
B-flat(1), Baritone
Saxophone in E-flat(1),
1st Trumpet in B-flat(1),
2nd Trumpet in B-flat(1),
1st Horn in F (1), 2nd
Horn in F (1), 1st
Trombone (1), 2nd
Trombone (1), Euphonium
(1), Bass in C (1),
String Bass (1), Drums
(1), Glockenspiel (1),
Vibraphone & Xylophone
(1) Medley: The
Village in May, Hey Let's
Go, Day of the River, and
Departure.
By Wolfgang Amadeus Mozart (1756-1791). Arranged by Marc Koninkx. For Bassoon an...(+)
By Wolfgang Amadeus
Mozart (1756-1791).
Arranged by Marc Koninkx.
For Bassoon and Concert
Band. Grade 4. Score.
Duration 18:00. Published
by Baton Music
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bell Tree,
Bells, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam, Timpani
and more. - Grade 2
SKU: CF.YPS208F
Shlof, Mayn Kind.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YPS208F.
Published by Carl Fischer
Music (CF.YPS208F).
ISBN 9781491152966.
UPC:
680160910465.
A
stunning and
heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
Nexus Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Hal Leonard
(for Solo Trumpet, Winds and Percussion). Composed by James Curnow. For Concert ...(+)
(for Solo Trumpet, Winds
and Percussion). Composed
by James Curnow. For
Concert Band (Score and
Parts). MusicWorks Grade
4. Grade 4. Published by
Hal Leonard
Rondo for Solo and Wind Band Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
By Wolfgang Amadeus Mozart (1756-1791). Arranged by Andy Clark. Solo. Concert Ba...(+)
By Wolfgang Amadeus
Mozart (1756-1791).
Arranged by Andy Clark.
Solo. Concert Band.
Spotlight. Grade 3. Score
and set of parts.
Composed 2004. Duration
0:04:57
Composed by Aaron Copland (1900-1990). Arranged by Robert Longfield. For Concert...(+)
Composed by Aaron Copland
(1900-1990). Arranged by
Robert Longfield. For
Concert Band (Score and
Parts). Boosey and Hawkes
Concert Band. Grade 4.
Published by Boosey and
Hawkes
Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208).
ISBN
9781491152287. UPC:
680160909780. Key: D
minor.
A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
Galloping Ghosts Orchestre d'harmonie - Intermédiaire/avancé Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-064-5 Composed by William Ryden. S...(+)
Concert band - Grade 4
SKU:
MH.1-59913-064-5
Composed by William
Ryden. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 2:45. Published
by Manhattan Beach Music
(MH.1-59913-064-5).
ISBN
9781599130644.
I
wrote Galloping Ghosts (A
Ragtime March) to
conclude a concert of my
chamber music in New York
City on October 28, 1986.
It is the final part of a
work called Rags for
Divers Players. This work
was written to show the
variety possible within
the standard rag form. I
used all the players
available for the finale
-- two violins, viola,
cello, bass, flute, oboe,
clarinet, horn, bassoon,
and piano. Since this is
a rather unusual
instrumental combination
and not easy to
reassemble, I decided to
rescore the work for
concert band. Galloping
Ghosts is written in a
standard march form but
incorporates many of the
syncopations found in
ragtime. The uniquely
American music called
ragtime traces its
history to African
rhythms brought over by
slaves. Over the years
this music became welded
to European musical forms
such as the quadrille and
the march. Drums and
banjos and the minstrel
tradition lent a special
flavor, and from all
these elements ragtime
slowly evolved within the
largely unknown black
subculture of the late
19th century. In the late
1890's it emerged as a
fully developed form in
the classic piano solos
of Scott Joplin
(1869-1917). Joplin's
1899 hit, Maple Leaf Rag,
was an overnight
sensation and brought
ragtime worldwide fame.
Ensemble instrumentation:
1 Piccolo, 8 Flute 1 and
2, 2 Oboe, 1 Eb Clarinet,
4 Bb Clarinet 1, 4 Bb
Clarinet 2, 4 Bb Clarinet
3, 2 Eb Alto Clarinet, 3
Bb Bass and Bb Contrabass
Clarinet, 2 Bassoon 1 and
2, 2 Eb Alto Saxophone 1,
2 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Cornet 1, 3 Bb Cornet 2,
3 Bb Cornet 3, 2 Horn 1
and 2 in F, 2 Horn 3 and
4 in F, 4 Trombone 1 and
2, 4 Bass Trombone, 2
Baritone (B.C.), 2
Baritone (T.C.), 4 Tuba,
1 String Bass, 1 Timpani,
1 Xylophone, 3 Percussion
1, 3 Percussion 2.
Quintessence II Orchestre d'harmonie [Conducteur et Parties séparées] C. Alan Publications
(Brass Quintet and Percussion Feature). By David Gillingham. For Soloist(s) with...(+)
(Brass Quintet and
Percussion Feature). By
David Gillingham. For
Soloist(s) with Concert
Band (Piccolo, Flute 1/2,
Oboe 1/2, Bassoon 1/2,
Clarinet in Bb 1,
Clarinet in Bb 2/3, Bass
Clarinet, Alto Saxophone
1/2, Tenor Saxophone,
Baritone Saxophone,
Trumpet i. Score and
Parts.
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.
Blue Shades Orchestre d'harmonie [Conducteur] Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Conductor Full Score.
Duration 10:00. Published
by Manhattan Beach Music.
Level: Grade 5.
Blue Shades Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 5. Conductor
score and set of parts.
Duration 10:00. Published
by Manhattan Beach Music.
A Sacred Suite Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C. Alan Publications
By Brant Karrick. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon, Clarinet ...(+)
By Brant Karrick. For
Concert Band (Piccolo,
Flute 1/2, Oboe, Bassoon,
Clarinet in Bb 1/2,
Clarinet in Bb 3, Bass
Clarinet, Alto Saxophone
1/2, Tenor Saxophone,
Baritone Saxophone,
Trumpet in Bb 1, Trumpet
in Bb 2/3, Horn in F 1/2,
Trombone 1, Trombone 2/3,
Euphonium, (Baritone
T.C.), Tuba,). Band
Music. Pioneer Band
Series. Grade 3. Score
and parts. Duration 7:20.
Published by C. Alan
Publications
Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225).
ISBN
9781491152515. UPC:
680160910014.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F).
ISBN
9781491153192. UPC:
680160910694.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Variations on a Nautical Hymn Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
Arranged by Mark Williams. Arr. Mark Williams. For Concert Band. Concert Band. A...(+)
Arranged by Mark
Williams. Arr. Mark
Williams. For Concert
Band. Concert Band.
Alfred Concert Band.
Hymn. Level: 4 (Medium
Difficult) (grade 4).
Conductor Score and
Parts. 3 pages. Published
by Alfred Publishing.
Composed by
Travis Weller. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
2+8+8+4+8+16+16+4+4+4+4+4
+4+8+8+8+4+2+6+6+6+2+2+8+
2+2+3+6+6+24 pages.
Duration 3 minutes, 1
seconds. Carl Fischer
Music #CPS200. Published
by Carl Fischer Music
(CF.CPS200).
ISBN
9781491152355. UPC:
680160909858.
Altho
ugh some stories in Greek
mythology reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicating joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and the
performer. Program
NotesAmong the many
stories in Greek
mythology, Apollo holds a
unique place as a complex
Olympian god known for
truth, prophecy, healing,
poetry, plague,
knowledge, light and
music. Although some
stories reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicated joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band, ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and
performer. From the
dynamic opening fanfare
to the soaring motifs and
rhythms that follow,
Apollo Arise provides a
wonderful opportunity for
the ensemble to reach for
new musical heights in
their performance! Â
 Rehearsal Notes and
SuggestionsThe opening
twenty-four measures of
the work are important
for the rest of the work
to unfold successfully.
Encourage the ensemble to
play with a unified
articulation style,
maintain a proper
balance, and establish a
consistent tempo through
this section as several
recurring rhythms must be
performed consistently.
Measure 38 features a
trumpet solo, so be sure
that the rest of the
ensemble balances their
line to support the solo
instrument. In the
section that begins at m.
67, there is an optional
solo opportunity for
trumpet and trombone.
Both of these sections
provide nice contrast
against the full ensemble
sections that are present
in the work. The section
at m. 81 includes a
call-and-response section
between woodwind, brass
and percussion groups. Be
sure that as groups
enter, the tempo remains
consistent and that the
winds articulation style
is unified and
complimentary to the
percussion. As the
opening fanfare returns
at m. 101, remind the
ensemble to play with
consistent style, balance
and tempo as they did in
the opening. As the
ensemble begins the part
of the journey with
Apollo at m. 110, the
music contains unique
layers that must work
together to be effective
and set up the material
that begins at m. 127.
Encourage the group to
play so they can hear all
other lines, and allow
their energy to grow into
a focused musical
celebration by the final
note. Thank you in
advance for your support
of this music, and I wish
you and your ensemble
well as Apollo Arise
welcomes the audience to
your concert hall.
Composed
by Travis Weller. Concert
Band (CPS). Full score.
With Standard notation.
24 pages. Carl Fischer
Music #CPS200F. Published
by Carl Fischer Music
(CF.CPS200F).
ISBN
9781491153031. UPC:
680160910533.
Altho
ugh some stories in Greek
mythology reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicating joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and the
performer. Program
NotesAmong the many
stories in Greek
mythology, Apollo holds a
unique place as a complex
Olympian god known for
truth, prophecy, healing,
poetry, plague,
knowledge, light and
music. Although some
stories reveal a
different side to his
character, Apollo was
widely regarded to hold a
cheerful personality and
communicated joy through
the music he played on
his lyre. Apollo Arise is
an energetic and spirited
work for band, ideal for
opening a concert. The
uplifting and exuberant
melodic material lead the
group on a sonic journey
to capture the joy and
light music can bring to
both the audience and
performer. From the
dynamic opening fanfare
to the soaring motifs and
rhythms that follow,
Apollo Arise provides a
wonderful opportunity for
the ensemble to reach for
new musical heights in
their performance! Â
 Rehearsal Notes and
SuggestionsThe opening
twenty-four measures of
the work are important
for the rest of the work
to unfold successfully.
Encourage the ensemble to
play with a unified
articulation style,
maintain a proper
balance, and establish a
consistent tempo through
this section as several
recurring rhythms must be
performed consistently.
Measure 38 features a
trumpet solo, so be sure
that the rest of the
ensemble balances their
line to support the solo
instrument. In the
section that begins at m.
67, there is an optional
solo opportunity for
trumpet and trombone.
Both of these sections
provide nice contrast
against the full ensemble
sections that are present
in the work. The section
at m. 81 includes a
call-and-response section
between woodwind, brass
and percussion groups. Be
sure that as groups
enter, the tempo remains
consistent and that the
winds articulation style
is unified and
complimentary to the
percussion. As the
opening fanfare returns
at m. 101, remind the
ensemble to play with
consistent style, balance
and tempo as they did in
the opening. As the
ensemble begins the part
of the journey with
Apollo at m. 110, the
music contains unique
layers that must work
together to be effective
and set up the material
that begins at m. 127.
Encourage the group to
play so they can hear all
other lines, and allow
their energy to grow into
a focused musical
celebration by the final
note. Thank you in
advance for your support
of this music, and I wish
you and your ensemble
well as Apollo Arise
welcomes the audience to
your concert hall.
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.
Too-Ra-Loo-Ra-Loo-Ral<
/i>. Composed by James
Royce Shannon. Arranged
by Carl Strommen. Concert
Band (CPS). Full score.
With Standard notation.
12 pages. Carl Fischer
Music #CPS215F. Published
by Carl Fischer Music
(CF.CPS215F).
ISBN
9781491153093. UPC:
680160910595.
Irish
Lullaby is based on
the song
Too-Ra-Loo-Ra-Loo-RalÂ
(That's an Irish
Lullaby). Carl
Strommen does what he
does best in creating a
beautifully orchestrated
piece with diverse
harmonies that will be
the highlight of your
next concert. It will be
a great piece to teach
phrasing and
musicianship. Too-Ra-L
oo-Ra-Loo-Ral
(“That’s An
Irish Lullaby†)
was written in 1913 by
composer James Royce
Shannon
(1881–1946) for
the Tin Pan Alley
musical, Shameen Dhu. The
original recording by
Chauncy Olcott became No.
1 on the music charts.
The song was then brought
back to prominence by
Bing Crosby’s
performance in the film
Going My Way (1944).
Crosby’s solo sold
over one million
copies.The University of
Notre Dame Band, started
in 1845, is the oldest
college band (in
continuous existence) in
the United States. The
band played as students
left to join the armies
during the Civil War,
World War 1 and 2, Korea
and Vietnam. In 1871, the
band played a benefit
concert for the victims
of the Great Chicago
Fire. The bands
performances in countless
settings and venues
include the Sydney Opera
House, Bejing Concert
Hall, Carnegie Hall, and,
in 2011, was awarded the
prestigious Sudler
Trophy, considered the
“Heisman
Trophy†of
Collegiate bands.The
Bands Director, Ken Dye,
is only the sixth
director in its long
history. Dr. Dye served
as composer/arranger for
the Sydney 2000 Olympic
band, and has produced
over 1800 works for band
and orchestra.
Too-Ra-Loo-Ra-Loo-Ral<
/i>. Composed by James
Royce Shannon. Arranged
by Carl Strommen. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
4+4+2+4+8+8+2+2+2+2+2+2+4
+4+4+2+2+3+3+3+3+4+1+1+2+
12+2 pages. Duration 3
minutes, 37 seconds. Carl
Fischer Music #CPS215.
Published by Carl Fischer
Music (CF.CPS215).
ISBN 9781491152416.
UPC:
680160909919.
Irish
Lullaby is based on
the song
Too-Ra-Loo-Ra-Loo-RalÂ
(That's an Irish
Lullaby). Carl
Strommen does what he
does best in creating a
beautifully orchestrated
piece with diverse
harmonies that will be
the highlight of your
next concert. It will be
a great piece to teach
phrasing and
musicianship. Too-Ra-L
oo-Ra-Loo-Ral
(“That’s An
Irish Lullaby†)
was written in 1913 by
composer James Royce
Shannon
(1881–1946) for
the Tin Pan Alley
musical, Shameen Dhu. The
original recording by
Chauncy Olcott became No.
1 on the music charts.
The song was then brought
back to prominence by
Bing Crosby’s
performance in the film
Going My Way (1944).
Crosby’s solo sold
over one million
copies.The University of
Notre Dame Band, started
in 1845, is the oldest
college band (in
continuous existence) in
the United States. The
band played as students
left to join the armies
during the Civil War,
World War 1 and 2, Korea
and Vietnam. In 1871, the
band played a benefit
concert for the victims
of the Great Chicago
Fire. The bands
performances in countless
settings and venues
include the Sydney Opera
House, Bejing Concert
Hall, Carnegie Hall, and,
in 2011, was awarded the
prestigious Sudler
Trophy, considered the
“Heisman
Trophy†of
Collegiate bands.The
Bands Director, Ken Dye,
is only the sixth
director in its long
history. Dr. Dye served
as composer/arranger for
the Sydney 2000 Olympic
band, and has produced
over 1800 works for band
and orchestra.
Composed
by James Meredith. Young
Band (YPS). Full score.
With Standard notation.
20 pages. Carl Fischer
Music #YPS203F. Published
by Carl Fischer Music
(CF.YPS203F).
ISBN
9781491152911. UPC:
680160910410.
Imagi
ne 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.
200 B.C. Orchestre d'harmonie - Intermédiaire/avancé Oxford University Press
Concert band - Grade 4 SKU: MH.0-931329-53-1 Composed by Gregory B.Rudger...(+)
Concert band - Grade 4
SKU:
MH.0-931329-53-1
Composed by Gregory
B.Rudgers. Suitable for
high school, community,
and college bands.
Conductor score and set
of parts. Duration 7:30.
Published by Manhattan
Beach Music
(MH.0-931329-53-1).
ISBN
9780931329531.
Jour
ney back to ancient
Greece and view a place
of long-gone legend.
Follow the trail to the
Kingdom of Ithaca, from
the heroic palace, to a
place of tranquility, to
a reckless dance of
abandon, to the return of
Odysseus. The melodic
material used in 200 B.C.
is from a two thousand
year old Greek hymn to
Apollo. The legendary
adventures of Odysseus as
described by Homer in the
Odyssey (ca. 700 B.C.)
provide the programmatic
material. The music is
freely based upon the
First Delphic Hymn (or
Paen to Apollo), composed
ca. 200 B.C. The source
is a transcription
appearing on pages 363 -
367 of Ancient and
Oriental Music, Edited by
Egon Wellesz (Oxford
University Press: London,
1957). Each movement of
the work depicts a key
event in the epic Homeric
poem, as described below.
Movement I: Intrada - The
first four notes of this
movement, C - Bb - G -
Bb, are the melodic and
harmonic foundation for
the entire work. These
pitches, introduced in a
simple and direct manner,
are subsequently
developed in more complex
fashions throughout the
suite. Following this
stately introduction is a
militaristic fanfare that
introduces the
dotted-eighth and
sixteenth-note figure
later reprised in the
second and fourth
movements. Indeed, all
the musical ideas which
will be central to the
remaining movements first
appear in the Intrada.
This movement depicts the
grandeur of Odysseus and
his kingdom in Ithaca,
and establishes the
heroic mood of the entire
work. Movement II: Ballad
- After a brief
restatement of the
opening
dotted-eighth-and-sixteen
th fanfare, the second
movement extracts the
falling third (Bb to G)
from the C - Bb - G - Bb
motif and extends it and
expands it into a
haunting solo for alto
saxophone. The C - Bb - G
- Bb motif appears again
(see measures 23 - 33 in
trumpets) as counterpoint
to this melody, now
pulsing through the thick
texture of the band. Many
performers have come to
view the Ballad as the
emotional epicenter of
the entire suite; my
conception of the Ballad
is to achieve a union of
pathos and strength.
Programmatically, this
movement depicts
Odysseus's son,
Telemachos, as he both
longs for Odysseus's
return and stoically
defends his father's
kingdom. Movement III:
Dance - It will take
Odysseus twenty years to
return to Ithaca. During
his absence, noblemen
besiege his palace,
violating the sanctity of
the household and seeking
the hand of his wife,
Penelope. This movement
depicts the wanton
revelries that result.
The original four-note
motif is chromatically
altered and the meter is
made irregular. The rapid
tempo, driving
percussion, and angular
meter and melodies
combine in an explosion
of reckless abandon.
Movement IV: March
Building from a delicate
woodwind ensemble
accompanied by finger
cymbals to a fully
orchestrated statement
replete with thundering
percussion, this is a
resounding march of
victory. Odysseus has
returned in triumph to
restore dignity to his
household and to reclaim
the throne of the Kingdom
of Ithaca. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1 - 2, 2
Oboe 1 - 2, 4 Bb Clarinet
1, 4 Bb Clarinet 2, 4 Bb
Clarinet 3, 1 Eb Alto
Clarinet, 3 Bb Bass
Clarinet, 2 Bassoon 1 -
2, 3 Eb Alto Saxophone 1,
3 Eb Alto Saxophone 2, 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, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
(B.C.), 2 Euphonium T.C.,
4 Tuba, 1 Timpani, 2
Mallet Percussion: Bells,
Xylophone, 2 Percussion
1: Snare Drum,
Tambourine, 2 Percussion
2: Crash Cymbals,
Suspended Cymbal,
Tom-Tom, Finger Cymbals,
1 Percussion 3: Bass
Drum.
Fantasia Nova Orchestre d'harmonie - Avancé Manhattan Beach Music
Concert band - Grade 5 SKU: MH.1-59913-082-3 Composed by Bob Margolis. Su...(+)
Concert band - Grade 5
SKU:
MH.1-59913-082-3
Composed by Bob Margolis.
Suitable for community
bands, high school bands,
and college bands. 14
minutes duration if
played as a suite; or
movements 1 or 3 may be
performed separately.
Conductor score and set
of parts. Duration 14:00.
Published by Manhattan
Beach Music
(MH.1-59913-082-3).
ISBN
9781599130828.
Fant
asia Nova is a suite
comprising two concert
marches and a slow,
middle movement that
derives its themes from
both marches. Ragtime
(composed in early
September, 1978) is a new
from old sort of piece.
Although its tunefulness
and harmonies have an
old-fashioned character,
its structure,
development, and
orchestration are unusual
for a march. In the
chorale section (measures
111 - 148) the band
director must be very
careful in balancing, for
each of the elements must
come through. More
important is that the
audience be brought up by
this section -- filled
with a joyous exaltation;
great attention must be
paid to sonority and the
band must play earnestly.
Ragtime stands on its own
and may be performed
separately. Dreams
(composed in late
September, 1978) is the
traditional march of the
two. It is very closely
modeled (in structure
only) to Sousa's Stars
and Stripes Forever. It
even includes a tricky
piccolo solo, although
the accompaniment has a
chorale texture, almost
like a school alma mater.
This march has a
patriotic, inspirational
sound, because it was
composed for the town of
Irondequoit, New York --
for a Town March contest
held by the town's
community concert band.
It did not, so far as I
know, become the town's
march; one can hear the
name, Irondequoit,
throughout the Trio, for
every turn of the melody
(in fact, each group of
four notes) fits the
accent pattern
(Ih-RON-dih-kwoit) of the
town's name. Parade
stands on its own as a
complete work and may be
performed separately.
Ensemble instrumentation:
1 Piccolo, 6 Flutes, 2
1st & 2nd Oboes, 1
English Horn, 1 Eb
Clarinet, 3 1st Bb
Clarinet, 3 2nd Bb
Clarinet, 3 3rd Bb
Clarinet, 1 Eb Alto
Clarinet, 2 Bb Bass
Clarinet, 1 Eb Contrabass
Clarinet (optional), 2
1st & 2nd Bassoons, 1
Contrabassoon (optional),
1 1st Eb Alto Saxophone,
1 2nd Eb Alto Saxophone,
1 Bb Tenor Saxophone, 1
Eb Baritone Saxophone, 3
1st Bb Cornets, 3 2nd Bb
Cornets, 3 3rd Bb
Cornets, 1 1st Horn in F,
1 2nd Horn in F, 2 3rd
and 4th Horns in F, 2 1st
Trombones, 2 2nd
Trombones, 2 3rd
Trombones, 1 Euphonium
(Treble Clef), 2
Euphonium (Bass Clef), 4
Tuba, 1 String Bass, 1
Timpani (Triangle), 5
Percussion.
White Light Orchestre d'harmonie - Intermédiaire Anglo Music
Grade 3 - Score and Parts. Composed by Philip Sparke (1951-). Anglo Music...(+)
Grade 3 - Score and
Parts. Composed by
Philip Sparke (1951-).
Anglo Music Concert Band.
Anglo Music Press
#AMP317010. Published by
Anglo Music Press
(HL.44011004).
Pacific Fanfare Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band - antiphonal. Suitable for the most advanced high...(+)
By Frank Ticheli. Concert
band - antiphonal.
Suitable for the most
advanced high school
bands, community,
college, university, and
professional bands. Grade
5. Conductor score and
set of parts. Duration
5:30
Lyric Music Orchestre d'harmonie - Intermédiaire Manhattan Beach Music
By Robert Starer (1924-2001). Concert band - solo trumpet feature. Suitable for ...(+)
By Robert Starer
(1924-2001). Concert band
- solo trumpet feature.
Suitable for advanced
middle school, high
school, community and
college bands. Grade 3.
Conductor Condensed
Score. Duration 4:00.
Published by Manhattan
Beach Music