(Grade 4 - Score and Parts). By Philip Sparke (1951-). For Concert Band, Flute. Anglo Music Concert Band. Grade 4. Anglo Music Press #AMP288010. Published by Anglo Music Press

Concert band (Flute 1, Flute 2, Oboe*, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon*, Eb Alto Saxophone 1*, Eb Alto Saxophone 2*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, F Horn 1, F Horn 2, Bb Trumpet 1, Bb Trumpet 2, Trombone 1/2, Euphon) - grade 3

SKU: CN.R10099

Composed by Michael Brand. Arranged by Michael Brand. Band Music. Score and parts. Duration 3:00. Published by G & M Brand Music Publishers (CN.R10099).

This lovely tune is arranged to give nearly everyone chance to shine: flute, oboe, trumpet, horns, saxes, tuba and percussion. Each variation is scored with new colours and textures, ending with a chromatic version of which Percy Grainger might have been proud!

Band concert band - Grade 3.5

SKU: KJ.WB217F

Composed by John Zdechlik. Bandworks. Score. Neil A. Kjos Music Company #WB217F. Published by Neil A. Kjos Music Company (KJ.WB217F).

a delicate and delightful feature for three solo flutes or the entire flute section!

Barcarole for flutes is a flute feature for three solo flutes. (If desired, the solo can be played by six flutes.) both the first and the last section are in unison for the solo flutes while the middle section is divisi. The piece should be performed with the band accompaniment clearly in the background. If needed, the conductor should reduce the number of players to achieve proper balance.

The piece begins with a smoothly flowing melody in the oboe and fist clarinet, accompanied by a countermelody in the alto saxophones, then flows into a lyrical melody for the solo flutes. The low woodwinds and low brass punctuate the sensitive and delicate melody with a rhythmical accompaniment. The ensemble builds in a sweeping sound toward the end of the first section. The middle section contains rhythmical variety within the flute solo as well as in an agitated accompaniment before returning to the original melody. After the return of the original melody, the brass and low woodwind accompaniment builds to a point before falling back to finish with the gentle hush of the flute solo.

For Concert Band. Composed by Michael Daugherty (1954-). Michael Daugherty Music. Softcover. Published by Hal Leonard (HL.4004650).

By Peter Ilyich Tchaikovsky. Arranged by Joseph Compello. Concert band/stage band. For Flute, Oboe, Flute II, Clarinet I, Clarinet II, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn, Tenor, Euphonium, Bassoon, Treble Baritone, Tuba, Bells, Xylophone, Timpani, Snare Drum, Bass Drum, Triangle, Tambourine. Carl Fischer First Plus Performance Series. Classical. Level: very easy. Score and parts. 20 pages. Published by Carl Fischer.

By Joseph Compello. Concert Band. For Flute, Oboe, Flute II, Clarinet I, Clarinet II, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn, Euphonium, Bassoon, Baritone (Treble Clef), Tuba, Bells, Marimba, Snare Drum, Bass Drum, Timpani, Cowbell, Mar. Carl Fischer First Plus Performance Series. Grade 1.5. Score and Set of Parts. Standard notation. 20 pages. Published by Carl Fischer

(Alto Saxophone Feature). By Derek Bourgeois (1941-). Concert Band. For Soloist(s) with Band (Solo Eb Alto Saxophone, 1st Flute/Piccolo*, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet*, 1st Bassoon, 2nd Bassoon*, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*, ). Band Music. Grade 3.5. Score. Duration 3:00. Published by G & M Brand Music Publishers

(From the Ballet Solitaire, for Symphonic Band (Full Score and Parts)). By Malcolm Arnold (1921-). Arranged by John P. Paynter. Concert Band. For Piccolo, Flute I, Flute II, Alto Flute, Oboe I, Oboe II, English Horn, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Contralto Clarninet, Contrabass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Soprano Saxophon. Carl Fischer Classic Band Editions. Score and Set of Parts. Standard notation. 16 pages

(From the Ballet Solitaire - for Symphonic Band - Full Score). By Malcolm Arnold (1921-). Arranged by John P. Paynter. Concert Band. For Piccolo, Flute I, Flute II, Alto Flute, Oboe I, Oboe II, English Horn, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Alto Clarinet, Bass Clarinet, Contralto Clarninet, Contrabass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Soprano Saxophon. Carl Fischer Classic Band Editions. Full Score. Standard notation. 16 pages

Composed by Sean O'Loughlin. Concert Band. For Flute I, Flute II, Oboe, Clarinet I, Clarinet II, Clarinet III, Bassoon, Bass Clarinet, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Trumpet III, Horn I, Horn II, Tenor I, Tenor II, Baritone (Bass Clef),. Carl Fischer Concert Performance Series. Classical. Grade 3-3.5. Score and Set of Parts. Standard notation. 36 pages. Published by Carl Fischer

Solo trumpet & Wind Ensemble (trumpet; piccolo, flute, alto flute, oboe, English horn, 3 clarinet, bass clarinet, 2 bassoon, 2 alto saxophone, tenor saxophone, baritone saxophone, 4 trumpet, 4 horn, 4 trombone, 2 euphonium, 2 tuba, piano, timpani, 3 percussion)

SKU: SU.92010220

For solo trumpet & Wind Ensemble. Composed by Roberto Sierra. Concert Band/Wind Ensemble, Brass, Trumpet. Study Score. Composed 1996. Duration 11'. Subito Music Corporation #92010220. Published by Subito Music Corporation (SU.92010220).

Instrumentation : trumpet; picc, fl, al fl, ob, eh, 3 cl, bs cl, 2 bn, 2 al sx, ten sax, bari sax, 4 tpt, 4 hn, 4 tbn, 2 euph, 2 tuba, pno, timp, 3 perc Duration: 11' Set of Parts: available for sale (#92010221) Composed: 1996 Published by: Subito Music Publishing.

Solo trumpet & Wind Ensemble (trumpet; piccolo, flute, alto flute, oboe, English horn, 3 clarinet, bass clarinet, 2 bassoon, 2 alto saxophone, tenor saxophone, baritone saxophone, 4 trumpet, 4 horn, 4 trombone, 2 euphonium, 2 tuba, piano, timpani, 3 percussion)

SKU: SU.92010221

For solo trumpet & Wind Ensemble. Composed by Roberto Sierra. Concert Band/Wind Ensemble, Brass, Trumpet. Score & Parts. Composed 1996. Duration 11'. Subito Music Corporation #92010221. Published by Subito Music Corporation (SU.92010221).

Instrumentation : trumpet; picc, fl, al fl, ob, eh, 3 cl, bs cl, 2 bn, 2 al sx, ten sax, bari sax, 4 tpt, 4 hn, 4 tbn, 2 euph, 2 tuba, pno, timp, 3 perc Duration: 11' Full Score: available for sale (#92010220) Composed: 1996 Published by: Subito Music Publishing.

By Vittorio Monti. Arranged by Marc Reift. Concert Band. For solo instrument (flute, oboe, clarinet, bassoon, alto saxophone, baritone, trombone, bass trombone, tuba, euphonium, or violin) and concert band. Swiss import. Level: 5. Score and parts. Published by Editions Marc Reift. (EMR 10147)

(Flute Feature). By Charles Rochester Young. For Soloist(s) with Concert Band (Solo Flute, Oboe, Clarinet 1 in B flat (optional A Clarinet part), Clarinet 2 in B flat (optional A Clarinet part), Clarinet 3 in B flat (optional A Clarinet part), Bass Clarinet in B flat, Bassoon , Alto Saxophone in E flat, Trumpet in C, Horn in F , Tro). Grade 4. Score and parts. Duration 8:50. Published by C. Alan Publications

(Flute Feature). By Charles Rochester Young. For Soloist(s) with Concert Band (Solo Flute, Oboe, Clarinet 1 in B flat (optional A Clarinet part), Clarinet 2 in B flat (optional A Clarinet part), Clarinet 3 in B flat (optional A Clarinet part), Bass Clarinet in B flat, Bassoon , Alto Saxophone in E flat, Trumpet in C, Horn in F , Tro). Grade 4. Score only. Duration 8:50. Published by C. Alan Publications

Wind band, percussion (Flute, Alto flute, Oboe, English Horn, Clarinet B-flat, Bass Clarinet B-flat, Bassoon, Horn 1-2 in F, Trumpet 1-2 in C, Trombone and Percussion (Vibraphone, Tubular Bells, Crotales))

SKU: FG.55011-482-1

Score & parts. Composed by Kai Nieminen. Classical. Score and parts. Fennica Gehrman #55011-482-1. Published by Fennica Gehrman (FG.55011-482-1).

Kai Nieminen's Time Around Autumn explores the mental images of the ensemble's 12 musicians, about the autumn, melancholy and freedom; as a counterpoint to the freedom an exact rhythmic pulse emerges finally lulling to sleep.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Claves, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani, Triangle and more. - Grade 2

SKU: CF.YPS88F

Composed by Gene Milford. SWS. Carl Fischer Young Performance Series. Full score. With Standard notation. 16 pages. Duration 2 minutes, 25 seconds. Carl Fischer Music #YPS88F. Published by Carl Fischer Music (CF.YPS88F).

ISBN 9780825874024. UPC: 798408074029. 9x12 inches.

A true rhapsody for band, reminiscent of the famous rhapsodies by Clare Grundman. Gene Milford takes folk songs from the state of California and develops them into a stunning new concert work for the young band. This piece plus a nice concert overture would make a great selection for festival.

Pieces for Grade 1 Bands - Full Score with Piano Reduction and CD. By Andrew Balent, Johann A.P. Schulz, James Pierpont. Edited by Andrew Balent, Joseph Compello. Arranged by Andrew Balent; Joseph Compello. For Flute, Oboe, Clarinet, Alto Saxophone, Bass Clarinet, Euphonium, Tenor Saxophone, Trumpet, Horn, Tenor, Bassoon, Tuba, Percussion. Sounds Spectacular. Score and Audio CD. 76 pages. Published by Carl Fischer.

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

Concert band (Flute 1/Piccolo, Flute 2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet (optional), Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2, Bb Cornet 3, Bb Trumpet 1/2, Ho) - grade 4

SKU: CN.S11042

Composed by George Lloyd. Band Music. Score only. Duration 10:00. Published by G & M Brand Music Publishers (CN.S11042).

This symphonic sketch for concert band is packed full different motives thrown around the ensemble hinting at the programmatic leitmotifs of Wagner. Every section of the ensemble gets a workout in this delightful 10-minute work.

A Symphonic Sketch for Concert Band. The resurgence of interest in George Lloyd's music must give us faith that such talent will ultimately prevail against sometimes unhappy circumstances. Lloyd was Cornish and showed precocious gifts at an early age - he had completed his first symphony by the age of nineteen. During the 1930s he completed two operas, one of which - The Serf - was produced at Covent Garden in 1938. He was set for a glittering career as a composer. The Second World War intervened and he was invalidad out of the Navy in a shell-shocked state, and having written very little serious music since 1937 went to Switzerland to recuperate, looked after by his wife, Nancy. Painfully, he began writing again - symphonies Nos. 4 and 5 - and then returned to England. He needed to earn a living and he set up a mushroom farm in Dorset. But slowly he began to compose again and drafted more symphonies in short score. By this time he was virtually unknown - despite being considered the equal of Walton, Britten, and other young stars of English music some 30 years earlier. Lloyd decided to embark on a series of recordings of his symphonies, and slowly popular acclaim enabled him to regain his position. The Forest of Arden was written in 1987 as a result of a commission by the Solihull Youth Wind Band. Although Lloyd's music feels instinctively written one should not be misled - it is carefully crafted, but the craft and structure are always subordinated to create a flow with a strongly melodic content. Instead of two or three themes, The Forest of Arden contains an abundance of ideas which can be described in two groups. The first group contains the opening rhythmic motif, quickly developed into a short rising quaver passage in the woodwinds, and later then a chromatic ostinato bass - only 8 bars at this stage but later expanded. The second group is broad and expansive, initially based on intervals of rising fifths introduced by euphonium, tubas, and baritone saxophone, immediately echoed by horns. Low brass and winds expand the theme into rising sixths and octaves. There is a hint of development, bit this is arrested as the music moves to a piu tranquillo section introduced by the alto saxophone which further develops the rising sixth theme. There follows a true development of the opening material, starting with the ostinato bass and gradually passing through different tonal centers until the rising fifths of the second theme group are heralded - fortissimo and poco piu largamente shortly before the end. The structure is almost Wagnerian (albeit on a much smaller scale), with themes being used as leitmotifs, but this is music which, even within the space of ten minutes is conceived on a grand design.

Composed by Tyler Arcari. Score and part(s). 20 168 pages. Duration 3 minutes, 20 seconds. Carl Fischer #YPS0171. Published by Carl Fischer (CF.YPS171).

Grade 3

SKU: CL.013-0128-00

March and Two-Step. Composed by Barnhouse. Band. Score and set of parts. Composed 1896. C.L. Barnhouse #013-0128-00. Published by C.L. Barnhouse (CL.013-0128-00).

Instrumentation : As published: Piccolo (Db), Eb Clarinet, 1st Bb Clarinet, 2nd & 3rd Bb Clarinets, Eb Cornet, Solo Bb Cornet (Conductor), 1st Bb Cornet, 2nd & 3rd Bb Cornets, 1st Eb Alto, 2nd Eb Alto, 3rd & 4th Eb Altos, 1st Trombone, 2nd Trombone, 3rd Trombone, 1st & 2nd Bb Tenors (Treble Clef), Bb Bass (Treble Clef), Baritone (Bass Clef), Baritone (Treble Clef), Basses, Drums. These parts were later added, and are included: Flute & Piccolo in C, Oboe, Bassoon, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone.).

By Philip R. Buttall. Concert Band. For solo instrument (flute, clarinet, oboe, bassoon, alto saxophone, tenor saxophone, horn in F, trumpet, trombone, bass trombone, tuba, or euphonium); or trio (3 clarinets; 3 flutes; clarinet, alto, and tenor saxophone; flute, oboe and clarinet; trumpet, alto saxophone, and trombone; or trumpet tenor saxophone, and trombone); and concert band. Swiss import. Level: 4. Score and parts. Published by Editions Marc Reift. (EMR 10199)

By Bob Margolis (After Claude Gervaise). Concert band. Suitable for high school, community, and college bands. Level: Grade 4. Conductor score and set of parts. Duration 4:30. Published by Manhattan Beach Music.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 6:40. Published by Manhattan Beach Music.