Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Concert Band - Grade 1 SKU: AP.33839S Composed by Gary Fagan. Concert Ban...(+)
Concert Band - Grade 1
SKU: AP.33839S
Composed by Gary Fagan.
Concert Band; Performance
Music Ensemble; Single
Titles. Alfred Debut
Series. Score. 12 pages.
Alfred Music #00-33839S.
Published by Alfred Music
(AP.33839S).
UPC:
038081395128.
English.
This
exciting work for
beginning band uses a
technique in which
primary themes begin on a
unison note and then move
stepwise away and back
while the other voices
remain static or proceed
in contrapuntal
inversion. This creates
chords that expand and
contract almost
continuously beneath the
melody. The percussion
section plays an
important role providing
a rhythmic base which
enhances the flow and
development of the piece
from beginning to
end.
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 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.
Composed by
Carol Brittin Chambers.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
16+4+8+16+16+4+4+4+4+4+4+
8+8+8+4+4+6+6+6+8+2+2+2+6
+12+24+4 pages. Duration
3 minutes, 55 seconds.
Carl Fischer Music
#CPS226. Published by
Carl Fischer Music
(CF.CPS226).
ISBN
9781491152522. UPC:
680160910021.
Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it!
Composed
by Carol Brittin
Chambers. Concert Band
(CPS). Full score. With
Standard notation. 24
pages. Carl Fischer Music
#CPS226F. Published by
Carl Fischer Music
(CF.CPS226F).
ISBN
9781491153208. UPC:
680160910700.
Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it!
Composed by
Michael J. Miller.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
8+2+4+2+8+16+16+4+4+4+4+4
+4+8+8+8+4+4+6+6+6+8+6+2+
2+4+10+36+4 pages.
Duration 3 minutes, 3
seconds. Carl Fischer
Music #CPS216. Published
by Carl Fischer Music
(CF.CPS216).
ISBN
9781491152423. UPC:
680160909926.
Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed.
Composed
by Michael J. Miller.
Concert Band (CPS). Full
score. With Standard
notation. 36 pages. Carl
Fischer Music #CPS216F.
Published by Carl Fischer
Music (CF.CPS216F).
ISBN 9781491153109.
UPC:
680160910601.
Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed.
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.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 20 pages. Carl
Fischer Music #YPS212F.
Published by Carl Fischer
Music (CF.YPS212F).
ISBN 9781491152997.
UPC:
680160910496.
Takin
g its title from a poem
about grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Composed by Larry Clark.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+10+20+4
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS212.
Published by Carl Fischer
Music (CF.YPS212).
ISBN 9781491152317.
UPC: 680160909810. Key: C
minor.
Taking its
title from a poem about
grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
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.
Stonehenge Orchestre d'harmonie De Haske Publications
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1053805-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.DHP-1053805-010
Composed by Jan Van der
Roost. Arranged by Tohru
Takahashi. Sovereign
Series. Concert Piece.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053805-010. Published by
De Haske Publications
(BT.DHP-1053805-010).
9x12 inches.
English-German-French-Dut
ch.
This piece
attempts to portray
atmospheric pictures
through music. The
opening section evokes
the somewhat misty and
hazy early morning
atmosphere surrounding
the ancient monument.
When the band reaches its
first dynamic climax it
is as if the massive
boulders are audible,
even touchable through
the use of minor 3rd
chords. The main theme -
constructed on the notes
CAFBG symbolises the
arrangement of the
central boulders in the
shape of a horseshoe,
which forms the focal
point of this huge
collection of stones.
Towards the end of the
work you will experience
a fantastic effect when
five soloists play a five
part hymn whilst other
members of the band
create a
specialatmosphere by
imitating a choir of
monks and druids. A
fantastic major new
concert work for advanced
bands.
Een enorme
cirkel van gigantische
rechtopstaande stenen
staat al zo’n 3500
jaar lang in het
zuidwesten van Engeland.
In dit werk zijn
sfeerbeelden omgezet in
muziek. Hoewel er geen
concreet verhaal aan ten
grondslag ligt en er
geenduidelijk scenario is
gebruikt, verklankt deze
compositie het mysterie
en de grootsheid van het
eeuwenoude geheimzinnige
monument Stonehenge op
voortreffelijke
wijze.
Im
Südwesten Englands
steht seit fast 3500
Jahren ein Ring riesiger
Steine: Stonehenge. Das
gleichnamige Werk von Jan
Van der Roost bringt
mystische Stimmungen und
Bilder rund um die alte
Stätte auf
musikalische Weise zum
Klingen. Das Hauptmotiv
aus fünf Tönen
zieht sich durch das
gesamte Werk und
symbolisiert den
hufeisenförmigen
inneren Ring des riesigen
Steinkreises. Später
gemahnen fünf
Vokalsolisten sowie ein
gesungener Druiden- und
Mönchs-Chor an Stimmen
aus einer fremden Welt.
Stonehenges
ungelüftetes Geheimnis
schlug den Komponisten in
seinen Bann und
inspirierte ihn zu diesem
ebenso unwiderstehlichen
Werk, das Tohru Takahashi
nun für Blasorchester
transkribierte.
Stonehenge Orchestre d'harmonie De Haske Publications
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1053805-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.DHP-1053805-140
Composed by Jan Van der
Roost. Arranged by Tohru
Takahashi. Sovereign
Series. Concert Piece.
Score Only. Composed
2005. 86 pages. De Haske
Publications #DHP
1053805-140. Published by
De Haske Publications
(BT.DHP-1053805-140).
340 X 250 inches.
English-German-French-Dut
ch.
This piece
attempts to portray
atmospheric pictures
through music. The
opening section evokes
the somewhat misty and
hazy early morning
atmosphere surrounding
the ancient monument.
When the band reaches its
first dynamic climax itis
as if the massive
boulders are audible,
even touchable through
the use of minor 3rd
chords. The main theme,
constructed on the notes
CAFBG, symbolises the
arrangement of the
central boulders in the
shape of a horseshoe,
whichforms the focal
point of this huge
collection of stones.
Towards the end of the
work you will experience
a fantastic effect when
five soloists play a five
part hymn whilst other
members of the band
create a special
atmosphere byimitating a
choir of monks and
druids. A fantastic major
new concert work for
advanced
bands.
Een enorme
cirkel van gigantische
rechtopstaande stenen
staat al zo’n 3500
jaar lang in het
zuidwesten van Engeland.
In dit werk zijn
sfeerbeelden omgezet in
muziek. Hoewel er geen
concreet verhaal aan ten
grondslag ligt en er
geenduidelijk scenario is
gebruikt, verklankt deze
compositie het mysterie
en de grootsheid van het
eeuwenoude geheimzinnige
monument Stonehenge op
voortreffelijke
wijze.
Im
Südwesten Englands
steht seit fast 3500
Jahren ein Ring riesiger
Steine: Stonehenge. Das
gleichnamige Werk von Jan
Van der Roost bringt
mystische Stimmungen und
Bilder rund um die alte
Stätte auf
musikalische Weise zum
Klingen. Das Hauptmotiv
aus fünf Tönen
zieht sich durch das
gesamte Werk und
symbolisiert den
hufeisenförmigen
inneren Ring des riesigen
Steinkreises. Später
gemahnen fünf
Vokalsolisten sowie ein
gesungener Druiden- und
Mönchs-Chor an Stimmen
aus einer fremden Welt.
Stonehenges
ungelüftetes Geheimnis
schlug den Komponisten in
seinen Bann und
inspirierte ihn zu diesem
ebenso unwiderstehlichen
Werk, das Tohru Takahashi
nun für Blasorchester
transkribierte.
Danceries by Kenneth Hesketh. Concert Band. For Wind Band. Part(s); Score; Wind ...(+)
Danceries by Kenneth
Hesketh. Concert Band.
For Wind Band. Part(s);
Score; Wind Band. Faber
Edition: Faber Wind Band
Series. 20th Century;
Masterwork. Published by
Faber Music
Orchestre d'harmonie [Conducteur] Faber Music Limited
Composed by Kenneth Hesketh. 5 or More; Performance Music Ensemble; Solo Small E...(+)
Composed by Kenneth
Hesketh. 5 or More;
Performance Music
Ensemble; Solo Small
Ensembles; Wind Band.
Faber Edition: Faber Wind
Band Series. Form: Dance.
20th Century; Masterwork.
Score. Faber Music
#12-0571564704. Published
by Faber Music
Stonehenge Orchestre d'harmonie De Haske Publications
Concert Band - Grade 6 SKU: BT.DHP-1053805-040 Composed by Jan Van der Ro...(+)
Concert Band - Grade 6
SKU:
BT.DHP-1053805-040
Composed by Jan Van der
Roost. Arranged by Tohru
Takahashi. Sovereign
Series. Concert Piece.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053805-040. Published by
De Haske Publications
(BT.DHP-1053805-040).
9x12 inches.
English-German-French-Dut
ch.
This piece
attempts to portray
atmospheric pictures
through music. The
opening section evokes
the somewhat misty and
hazy early morning
atmosphere surrounding
the ancient monument.
When the band reaches its
first dynamic climax it
is as if the massive
boulders are audible,
even touchable through
the use of minor 3rd
chords. The main theme -
constructed on the notes
CAFBG symbolises the
arrangement of the
central boulders in the
shape of a horseshoe,
which forms the focal
point of this huge
collection of stones.
Towards the end of the
work you will experience
a fantastic effect when
five soloists play a five
part hymn whilst other
members of the band
create a
specialatmosphere by
imitating a choir of
monks and druids. A
fantastic major new
concert work for advanced
bands.
Een enorme
cirkel van gigantische
rechtopstaande stenen
staat al zo’n 3500
jaar lang in het
zuidwesten van Engeland.
In dit werk zijn
sfeerbeelden omgezet in
muziek. Hoewel er geen
concreet verhaal aan ten
grondslag ligt en er
geenduidelijk scenario is
gebruikt, verklankt deze
compositie het mysterie
en de grootsheid van het
eeuwenoude geheimzinnige
monument Stonehenge op
voortreffelijke
wijze.
Im
Südwesten Englands
steht seit fast 3500
Jahren ein Ring riesiger
Steine: Stonehenge. Das
gleichnamige Werk von Jan
Van der Roost bringt
mystische Stimmungen und
Bilder rund um die alte
Stätte auf
musikalische Weise zum
Klingen. Das Hauptmotiv
aus fünf Tönen
zieht sich durch das
gesamte Werk und
symbolisiert den
hufeisenförmigen
inneren Ring des riesigen
Steinkreises. Später
gemahnen fünf
Vokalsolisten sowie ein
gesungener Druiden- und
Mönchs-Chor an Stimmen
aus einer fremden Welt.
Stonehenges
ungelüftetes Geheimnis
schlug den Komponisten in
seinen Bann und
inspirierte ihn zu diesem
ebenso unwiderstehlichen
Werk, das Tohru Takahashi
nun für Blasorchester
transkribierte.
Das
sinfonische Gedicht El
Golpe Fatal zeichnet in
musikalisch
ausdrucksstarken Bildern
einen
lateinamerikanischen
Stierkampf, eine corrida
de torros nach. Von der
feierlichen Eröffnung
der corrida, über den
verhängnisvollen
Schlag bis hin zur
Ehrenrunde des
siegreichen Matadors kann
der Zuhörer den
Verlauf dieses spannenden
Zweikampfes verfolgen.El
Gople Fatal, eine
höchst anspruchsvolle
Komposition, ist für
jedes Orchester eine
echte
Herausforderung.
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.
Concert Band - Grade 4 SKU: AP.50883S Composed by Rossano Galante. Concer...(+)
Concert Band - Grade 4
SKU: AP.50883S
Composed by Rossano
Galante. Concert Band;
Performance Music
Ensemble; Single Titles.
Alfred Concert Band.
Score. Duration 4:00.
Alfred Music #00-50883S.
Published by Alfred Music
(AP.50883S).
ISBN
9781470668464. UPC:
038081587332.
English.
The Ascent
from Darkness, by Rossano
Galante, pays homage to
the human race that
endured the pandemic. He
creates a musical
landscape that depicts
strength, tenacity, and
compassion. The main
theme, which is broad and
lyrical, is stated by
horns and winds. As the
piece develops, the theme
is played by full,
chordal brass accompanied
by rhythmic woodwind
lines. The B section is
lightly orchestrated with
a solo oboe accompanied
by the clarinet section,
slowly growing to a tutti
statement. The piece
recapitulates with bold
brass chords. The work
ends as it begins,
quietly incorporating the
first motive. (4:00).
Concert Band - Grade 4 SKU: AP.50883 Composed by Rossano Galante. Concert...(+)
Concert Band - Grade 4
SKU: AP.50883
Composed by Rossano
Galante. Concert Band;
Performance Music
Ensemble; Single Titles.
Alfred Concert Band.
Score and Part(s).
Duration 4:00. Alfred
Music #00-50883.
Published by Alfred Music
(AP.50883).
ISBN
9781470668457. UPC:
038081587325.
English.
The Ascent
from Darkness, by Rossano
Galante, pays homage to
the human race that
endured the pandemic. He
creates a musical
landscape that depicts
strength, tenacity, and
compassion. The main
theme, which is broad and
lyrical, is stated by
horns and winds. As the
piece develops, the theme
is played by full,
chordal brass accompanied
by rhythmic woodwind
lines. The B section is
lightly orchestrated with
a solo oboe accompanied
by the clarinet section,
slowly growing to a tutti
statement. The piece
recapitulates with bold
brass chords. The work
ends as it begins,
quietly incorporating the
first motive. (4:00).
Concert Band (Score & Parts) - Grade 3 SKU: HL.35019838 Composed by Scott...(+)
Concert Band (Score &
Parts) - Grade 3
SKU:
HL.35019838
Composed
by Scott Watson. Shawnee
Press. Shawnee Press
#K0608. Published by
Shawnee Press
(HL.35019838).
UPC:
747510066033. 8.5x11
inches.
An air of
mystery and suspense will
fi ll the rehearsal and
performancehall during
the opening of The Siege
of Badon Hill. With the
innovative use of
voiceand sound, the
introduction of the piece
develops into a rich and
dark majesty.The rhythmic
ostinato of the allegro
con brio creates a sense
of drive and purposethat
leads into a variety of
rhythmic and syncopated
melodic fi gures that
will be sureto keep every
member of the ensemble
engaged in the piece
right up to the fi
nalchords. The percussion
score is written to play
a vital role in the
fabric of the piece andis
certain to keep
percussionists involved
in both rehearsal and
performance.The
combination of
contemporary themes and
traditional sonorities
makes TheSiege of Badon
Hill a perfect choice for
both concert and
contest.
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.
Pisa Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1165673-010 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1165673-010
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2016. De
Haske Publications #DHP
1165673-010. Published by
De Haske Publications
(BT.DHP-1165673-010).
English-German-French-
Dutch.
The Tower of
Pisa is beyond doubt the
most famous and legendary
tower in the world. The
main motif symbolizes the
three bells of the tower.
The motif is transformed
throughout the piece in
which the spectacular
effect of a downward
motive playedagainst
sustained chords,
symbolizing the leaning
tower, is used. The
finale portrays a
parade of all bands from
around Pisa coming to
town to celebrate,
accompanied by the bells
of the tower!
De
Toren van Pisa is zonder
twijfel de beroemdste en
meest legendarische toren
van de wereld. In dit
werk symboliseert het
hoofdmotief de drie
klokken van de toren. Dit
hoofdthema wordt
gaandeweg
getransformeerd, terwijl
halverwege de
compositieeen
spectaculair neerwaarts
motief tegenover
aangehouden akkoorden
staat voor het scheef
hellen van de toren. De
finale weerspiegelt een
optocht van blaasorkesten
uit de omgeving, op weg
naar Pisa om er feest te
vieren, begeleid door
hetklokkenmotief!
Der Schiefe Turm von Pisa
gehört zweifellos zu
den berühmtesten und
legendärsten Türmen
der Welt. Das Hauptmotiv
des Stückes
symbolisiert die drei
Glocken des Turms. Das
Thema mit dem
großartigen Effekt
eines abwärtsgehenden
Motivs, welches
denschiefen Turm
symbolisiert, im Kontrast
zu den gehaltenen
Akkorden, kehrt im
gesamten Stück in
verschiedenen Versionen
wieder. Das Finale stellt
eine Parade aller
Orchester aus der
Umgebung von Pisa dar,
die zum Feiern in die
Stadt kommen und von
denGlocken des Turms
begleitet
werden!
Quella di Pisa
è, con ogni probabilit
, la più famosa torre
al mondo. Il leitmotif
del brano di de Haan
simbolizza le tre campane
della torre, mentre tutta
l’opera mantiene
un andamento fluttuante
capace di rendere
pienamente il senso di
pendenza della torre. Il
finale illustra una
grande parata alla quale
partecipano tutte le
bande dei dintorni della
citt , festanti e
accompagnate dal suono
gioioso delle
campane.
Grade 2.5 SKU: CL.011-2648-01 Composed by A. Clark. Young Concert Band. C...(+)
Grade 2.5
SKU:
CL.011-2648-01
Composed by A. Clark.
Young Concert Band.
Command Series. Audio
recording available
separately (item
CL.WFR324). Extra full
score. Composed 1994.
C.L. Barnhouse
#011-2648-01. Published
by C.L. Barnhouse
(CL.011-2648-01).
An exciting
rock tune that includes
an optional section where
you can give any of your
students a chance to play
an improvised solo.
Includes parts for
Keyboard, Electric Bass
and Drum Set and solo
sheets to help your young
players understand the
chords and scales to the
solo section. A perfect
way to introduce
improvisation to all of
your students!
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.