By Rob Romeyn. Concert band. Young Band. Command Series. Audio recording available separately (item CL.WFR369). Grade 2.5. Score and parts. Composed 2010. Duration 2 minutes, 51 seconds. Published by C.L. Barnhouse

Grade 2

SKU: CL.026-4680-00

Composed by Romeyn. Concert Band. Build-A-Band. Score and set of parts. Composed 2018. Duration 2 minutes, 32 seconds. C.L. Barnhouse #026-4680-00. Published by C.L. Barnhouse (CL.026-4680-00).

As an outstanding example of lyric and expressive music for young bands, Colors of Fall has become a mainstay for concert and festival use. Varied textures and changing tonal colors convey the image of breathtaking fall foliage. The beautiful and haunting melody is presented in a variety of ways melodically and harmonically, offering a wonderful opportunity for a mature and sophisticated sound for the young band, as well as invaluable teaching opportunities. This arrangement for Build A Band ensures success with even the most awkward of instrumentations. Don't miss this outstanding lyric selection!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

Grade 2

SKU: CL.011-3932-01

Composed by Romeyn. Young Concert Band. Command Series. Audio recording available separately (items CL.WFR369 & CL.WFR387). Extra full score. Composed 2010. Duration 2 minutes, 51 seconds. C.L. Barnhouse #011-3932-01. Published by C.L. Barnhouse (CL.011-3932-01).

As an outstanding example of lyric and expressive music for young bands, Colors of Fall is destined to become a mainstay for concert and festival use. Varied textures and changing tonal colors convey the image of breathtaking fall foliage. The beautiful and haunting melody is presented in a variety of ways melodically and harmonically, offering a wonderful opportunity for a mature and sophisticated sound for the young band as well as invaluable teaching opportunities. Don't miss this outstanding lyric selection!

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.

Grade 2

SKU: CL.026-4680-01

Composed by Romeyn. Concert Band. Build-A-Band. Extra full score. Composed 2018. Duration 2 minutes, 32 seconds. C.L. Barnhouse #026-4680-01. Published by C.L. Barnhouse (CL.026-4680-01).

As an outstanding example of lyric and expressive music for young bands, Colors of Fall has become a mainstay for concert and festival use. Varied textures and changing tonal colors convey the image of breathtaking fall foliage. The beautiful and haunting melody is presented in a variety of ways melodically and harmonically, offering a wonderful opportunity for a mature and sophisticated sound for the young band, as well as invaluable teaching opportunities. This arrangement for Build A Band ensures success with even the most awkward of instrumentations. Don't miss this outstanding lyric selection!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

By Billy Steinberg and Tom Kelly. Arranged by Michael Brown. Score and Parts. Discovery Plus Concert Band. Grade 2. Softcover. Published by Hal Leonard

By Stephen Schwartz, Alan Menken. Arranged by Eric Osterling. Score and full set of parts. Discovery Concert Band. Grade 1.5. Published by Hal Leonard.

By Stephen Schwartz, Alan Menken. Arranged by John Higgins. Essential Elements - Concert Band, Master Level (Grade 2). Score and full set of parts. Published by Hal Leonard.

By Robert W. Smith. For young concert band. Sound Foundation Series. Grade 0.5. Score and set of parts. Duration 2 minutes, 3 seconds. Published by C.L. Barnhouse

Performed by Vanessa Williams. By Stephen Schwartz, Alan Menken. Arranged by Paul Lavender. Score and full set of parts. Young Band (Concert Band). Grade 3. Size 9x12 inches. Published by Hal Leonard.

(Third Movement of A Tribute to Arthur Delamont). Composed by Robert Buckley. For Concert Band (Score and Parts). MusicWorks Grade 4. Grade 4. Published by Hal Leonard

Grade 2

SKU: CL.LDP-7289-00

March. Composed by Knoener. Concert Band. Score and set of parts. Composed 2012. Daehn Publications #LDP-7289-00. Published by Daehn Publications (CL.LDP-7289-00).

Written in the style of a U. S. Civil War marching song, this captivating little march features the historic flag-raising bugle call, To the Colors. Delightful!

Grade 2

SKU: CL.LDP-7289-01

March. Composed by Knoener. Concert Band. Extra full score. Composed 2012. Daehn Publications #LDP-7289-01. Published by Daehn Publications (CL.LDP-7289-01).

Written in the style of a U. S. Civil War marching song, this captivating little march features the historic flag-raising bugle call, To the Colors. Delightful!

A true "classic" in every sense of the word, this delightful Percy Grainger work continues to be an audience favorite. Douglas Wagner has scored this brilliant abridged version while retaining Grainger's original compositional integrity. The wonderful vitality of Grainger's unique tonal colors and whimsical rhythms guarantee a superior experience for your concert and contest performances. List/syllabus: Midwest Clinic Band 2011-12 Concert/Contest. About 2011 Midwest Clinic Performance Pieces This title was performed at the 2011 Midwest Clinic, the largest band and choral educational conference in the United States. Over thirty performances are given each year by diverse ensembles of varying levels - elementary school, high school, college, military and more. Each performance title is carefully selected and represents the very best in educational sheet music. The Midwest Clinic aims to raise the standards of music education while supporting teachers and music educators.

By Robert W. Smith. For young concert band. Sound Foundation Series. Grade 0.5. Score only. Duration 2 minutes, 3 seconds. Published by C.L. Barnhouse

Concert Band

SKU: HL.49015105

An American Folk Dance. Composed by Wolfgang Fortner. Edition Schott. Classical. Study Score. Composed 1952. 60 pages. Schott Music #HL50486775. Published by Schott Music (HL.49015105).

ISBN 9781423442103. UPC: 884088247980. 305 X 229 inches. Latin.

Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed in a variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publication brings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00

Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed ina variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publicationbrings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00

Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed in a variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publication brings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00

Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed in a variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publication brings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00

Based on an early American fiddle tune, Grainger created a setting as he describes that aims at preserving a pioneer blend of lonesome wistfulness and sturdy persistence. The 16-measure melody is fully explored and developed in a variety of harmonizations and instrumental colors, and is particularly noteworthy for the extensive use of tuneful percussion (bells, chimes, xylophone, marimba) as well as important parts for piano and harp. This publication brings back the classic 1967 edition arranged for band by Glenn Cliffe Bainum. (Grade 4) Dur: 6:00.

Concert Band/Harmonie - Grade 2.5

SKU: BT.DHP-0981152-140

Composed by Jacob De Haan. Applause Series. Festive and Solemn Music. Score Only. Composed 1998. De Haske Publications #DHP 0981152-140. Published by De Haske Publications (BT.DHP-0981152-140).

In October 1997, Jacob de Haan visited the Swiss village of St. Moritz, where he worked as a conductor with a symphonic wind band. The Mountains around St. Moritz were covered in marvelous autumn colors. The Colors, the quietness and nature itself inspired Jacob de Haan to compose this lyrical composition.

Oktober 1997. Jacob de Haan besucht St. Moritz in der Schweiz, wo er als Dirigent mit einem Symphonischen Blasorchester arbeitet. Die Berge rings um die Stadt, die Rhätischen Alpen, leuchten in kräftigen Herbstfarben. Die Berggipfel nahe der italienischen Grenze scheinen noch einmal tief Atem zu holen, bevor der erste Schnee fällt und Horden von Touristen das Gebiet wieder bevölkern. Die Farben, die Gerüche, die Ruhe und die Natur inspirierten mich.“ Kaum wieder zu Hause, schreibt Jacob de Haan die lyrische Komposition Yellow Mountains.

En octobre 1997, Jacob de Haan se rend Saint-Moritz en Suisse. La nature a quitté ses habits d’été pour revêtir une extraordinaire palette de couleurs. Les montagnes radieuses retiennent leur souffle dans l’attente des premières neiges et le paysage tout entier diffuse un sentiment de paix et de sérénité. Le modèle est idéal et inspire Jacob de Haan cette pièce aux couleurs tonales variées. Tel un peintre, il créé une œuvre aux traits fluides et souples, où les arrondis donnent naissance des teintes chaleureuses.

Nell 'ottobre del 1997, Jacob de Haan visitò il paese svizzero di St. Moritz, dove lavorò come direttore di una banda sinfonica di fiati. Le montagne intorno a St. Moritz erano ricoperte dei meravigliosi colori dell'autunno. La variet cromatica e la quiete della natura ispirarono a Jacob de Haan questa composizione lirica.

Band concert band - Grade 3

SKU: CF.CPS250

Composed by Peter Sciaino. Set of Score and Parts. 27+12+12+6+12+12+12+6+6+6 +6+4+4+8+8+8+4+4+6+6+6+4+ 12+4+2+6+10 pages. Duration 4 minutes, 40 seconds. Carl Fischer Music #CPS250. Published by Carl Fischer Music (CF.CPS250).

ISBN 9781491159576. UPC: 680160918164.

Kalei doscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight--heights are not my thing--I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line. Melodic lines should soar with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not cloud the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.
Kaleidoscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight—heights are not my thing—I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line.Melodic lines should “soar” with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not “cloud” the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.

Band concert band - Grade 3

SKU: CF.CPS250F

Composed by Peter Sciaino. Full score. 27 pages. Carl Fischer Music #CPS250F. Published by Carl Fischer Music (CF.CPS250F).

ISBN 9781491159583. UPC: 680160918171.

Kalei doscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight--heights are not my thing--I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line. Melodic lines should soar with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not cloud the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.
Kaleidoscope Sky is inspired by the breathtaking pastime of hot-air ballooning and the glorious festivals around the world that honor the practice. A sky full of colorful spheres elegantly floating at the Albuquerque International Balloon Fiesta, International Balloon Festival of Saint-Jean-sur-Richelieu, Bristol International Balloon Fiesta, Mondial Air Ballons and more draw thousands of people to witness awe-inspiring scenes full of passionate balloonists. Traditional hot-air balloons mix with creatively designed balloons to thrill the tens of thousands of spectators below. While I personally am not a person who dreams of taking my own flight—heights are not my thing—I have to marvel at how gently and easily these vessels float among the clouds. It truly is an image of exquisite freedom. This piece reflects the view and experience of the onlooker taking in an elegantly shifting scene reminiscent of kaleidoscope patterns. Spectators like me can appreciate the beauty and vibrancy associated with a horizon full of adventurous balloonists and their wondrous aircrafts. Kaleidoscope Sky starts in a triumphant and celebratory fashion and continues to conjure images reminiscent of the wide variety of soaring colors on display at a hot-air balloon event. Ultimately, the piece appropriately concludes with a suspenseful, yet graceful, run to the finish line.Melodic lines should “soar” with attention being paid to phrase markings and assigned articulations. Encourage musicians to allow room for the melodic material to be heard in thicker textures where supporting harmonies are often rhythmic in nature. These harmonies should support, and not “cloud” the melodies. The meter changes should sound effortless, and the continuous figures in the percussion will help to achieve this effect. The snare drum, in particular, should bring accented notes to the foreground while maintaining a steady textural effect with non-accented notes as a rhythmic background. This will go a long way in finding a cohesive subdivision and ensemble pulse.

Concert Band - Grade 4

SKU: PE.TSGB010

Composed by Tyler S. Grant. Concert Band; MakeMusic Cloud; Performance Music Ensemble. Tyler S. Grant Music Works. Score and Part(s). Duration 7:00. Edition Peters #98-TSGB010. Published by Edition Peters (PE.TSGB010).

UPC: 038081584034.

Instr umental colors abound in this emotionally moving memorial piece, Solace in the Equinox by Tyler S. Grant. Impressionistic passages float in and out of varied instrumental combinations, creating sonic palettes of pastel colors and swirling shapes. Just as the fall equinox balances darkness and light, the music exhibits a harmonious balance between moments of quiet and delicate textures with contrasting fully scored statements of brightness and joy. (7:00).

Concert Band - Grade 4

SKU: PE.TSGB010S

Composed by Tyler S. Grant. Concert Band; Performance Music Ensemble. Tyler S. Grant Music Works. Score. Duration 7:00. Edition Peters #98-TSGB010S. Published by Edition Peters (PE.TSGB010S).

UPC: 038081584317.

Instr umental colors abound in this emotionally moving memorial piece, Solace in the Equinox by Tyler S. Grant. Impressionistic passages float in and out of varied instrumental combinations, creating sonic palettes of pastel colors and swirling shapes. Just as the fall equinox balances darkness and light, the music exhibits a harmonious balance between moments of quiet and delicate textures with contrasting fully scored statements of brightness and joy. (7:00).

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3

SKU: CF.CPS226

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!