Hard Rock Fanfare Orchestre d'harmonie [Conducteur et Parties séparées] Carl Fischer
Composed by Tyler Arcari. Score and part(s). 12 122 pages. Duration 1 minute, ...(+)
Composed by Tyler Arcari.
Score and part(s). 12
122 pages. Duration 1
minute, 51 seconds. Carl
Fischer #FPS0131.
Published by Carl Fischer
(CF.FPS131).
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.
Hard Drive Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band - Grade 1 SKU: CF.BPS74F Arranged by Kevin Mixon. Beginning Performa...(+)
Band - Grade 1
SKU:
CF.BPS74F
Arranged by
Kevin Mixon. Beginning
Performance Series. Full
score. With Standard
notation. 16 pages. Carl
Fischer Music #BPS74F.
Published by Carl Fischer
Music (CF.BPS74F).
ISBN 9780825892271.
UPC: 798408092276. 9 x 12
inches.
A
hard-driving composition
for beginning bands from
popular composer Kevin
Mixon. Kevin pulls from
his vast experience
teaching beginners to
provide us with a piece
that really grooves and
will be infectious for
the students and
audiences alike.
Composed by Kevin Mixon.
Arranged by Kevin Mixon.
Beginning Performance
Series. Set of Score and
Parts. With Standard
notation.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+6+8+16 pages. Duration
2 minutes, 28 seconds.
Carl Fischer Music
#BPS74. Published by Carl
Fischer Music (CF.BPS74).
ISBN 9780825892264.
UPC: 798408092269. 9 x 12
inches. Key: G
minor.
A
hard-driving composition
for beginning bands from
popular composer Kevin
Mixon. Kevin pulls from
his vast experience
teaching beginners to
provide us with a piece
that really grooves and
will be infectious for
the students and
audiences alike.
Composed by Richards H. Summers. For concert band (flute, oboe (opt. flute 2), c...(+)
Composed by Richards H.
Summers. For concert band
(flute, oboe (opt. flute
2), clarinet in Bb, bass
clarinet in Bb, alto
saxophone in Eb, tenor
saxophone in Bb, baritone
saxophone in Eb, trumpet
in Bb, alternate horn in
F, horn in F, alternate
trombone, trombone,
euphonium B.C., bassoon,
euphonium T.C. in). Grade
0.5. Score and Parts.
Duration 2 minutes, 02
seconds. Published by
Carl Fischer
Field Ayres Orchestre d'harmonie - Intermédiaire Alfred Publishing
(Drum Solo or Section Feature (Featuring: Three Camps / Downfall of Paris / Hell...(+)
(Drum Solo or Section
Feature (Featuring: Three
Camps / Downfall of Paris
/ Hell on the Wabash)).
Arranged by Douglas A.
Richard, drum parts ed.
Eric Sheffler. Concert
Band. Concert Band;
Part(s); Score;
SmartMusic. Alfred
Concert Band. Grade 4.
256 pages. Published by
Alfred Music
Aerius Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS217F Composed by Carl Strommen. Co...(+)
Band Concert Band - Grade
3
SKU: CF.CPS217F
Composed by Carl
Strommen. Concert Band
(CPS). Full score. With
Standard notation. 24
pages. Carl Fischer Music
#CPS217F. Published by
Carl Fischer Music
(CF.CPS217F).
ISBN
9781491153116. UPC:
680160910618.
The
title, Aerius, is a Latin
term meaning
“soaring†or
“rising
aloftâ€. This
piece is signature Carl
Strommen at his best. The
piece begins with a lush
brass chorale that is
developed before leading
to an energetic presto
section. The
composition comes full
circle and finishes with
a majestic return of the
chorale material from the
opening. A welcome
addition to the
repertoire. The
title Aerius is a
Latin term meaning
“soaring†or
“rising
aloft.†The
students chose this title
to signify the forward
momentum and overall
journey of their time in
the high school band
program. With new events
and performances, and a
first time commissioning
a work, this piece
signifies the great
strides the band has made
in recent years.The
opening brass chorale
section should be played
very connected, observing
the two-measure phrasing
and breathing as one
cohesive unit. The Presto
section at m. 25 should
be taken between 165-170
bpm. the vibraphone
soloist should use
medium-hard mallets with
the pedal on. The
sustained notes at m. 41
should be played way
under the upper woodwinds
to get the greatest
effect as it builds in
volume and intensity in
m. 49, and again into m.
57.At m. 69, the
percussion must sustain
the pulse to the
conductor’s tempo,
careful not to add
accents they’re
hearing among the other
sections. After the
ritardando in m. 83, push
the tempo at m. 85
slightly to where the
woodwinds feel
comfortable playing the
triplet figure with
appropriate breathing and
phrasing.- Andrew Monsen,
Hauppauge High School
Band Director, June
2017.
Band Concert Band - Grade 3 SKU: CF.CPS217 Composed by Carl Strommen. Con...(+)
Band Concert Band - Grade
3
SKU: CF.CPS217
Composed by Carl
Strommen. 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+6+8+2+2+4
+8+24+4 pages. Duration 4
minutes, 18 seconds. Carl
Fischer Music #CPS217.
Published by Carl Fischer
Music (CF.CPS217).
ISBN 9781491152430.
UPC:
680160909933.
The
title, Aerius, is a Latin
term meaning
“soaring†or
“rising
aloftâ€. This
piece is signature Carl
Strommen at his best. The
piece begins with a lush
brass chorale that is
developed before leading
to an energetic presto
section. The
composition comes full
circle and finishes with
a majestic return of the
chorale material from the
opening. A welcome
addition to the
repertoire. The
title Aerius is a
Latin term meaning
“soaring†or
“rising
aloft.†The
students chose this title
to signify the forward
momentum and overall
journey of their time in
the high school band
program. With new events
and performances, and a
first time commissioning
a work, this piece
signifies the great
strides the band has made
in recent years.The
opening brass chorale
section should be played
very connected, observing
the two-measure phrasing
and breathing as one
cohesive unit. The Presto
section at m. 25 should
be taken between 165-170
bpm. the vibraphone
soloist should use
medium-hard mallets with
the pedal on. The
sustained notes at m. 41
should be played way
under the upper woodwinds
to get the greatest
effect as it builds in
volume and intensity in
m. 49, and again into m.
57.At m. 69, the
percussion must sustain
the pulse to the
conductor’s tempo,
careful not to add
accents they’re
hearing among the other
sections. After the
ritardando in m. 83, push
the tempo at m. 85
slightly to where the
woodwinds feel
comfortable playing the
triplet figure with
appropriate breathing and
phrasing.- Andrew Monsen,
Hauppauge High School
Band Director, June
2017.
Richard Meyer : Clarinetics Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Richard Meyer. Music by Richard Meyer. Concert Band. Alfred Concert Band. Lev...(+)
By Richard Meyer. Music
by Richard Meyer. Concert
Band. Alfred Concert
Band. Level: Level 3
(grade 3). Conductor
Score and Parts. 2 pages.
Published by Alfred
Publishing.
((Concerto No. 1, 3rd Movement)). By Richard Strauss (1864-1949). Arranged by An...(+)
((Concerto No. 1, 3rd
Movement)). By Richard
Strauss (1864-1949).
Arranged by Andrew
Glover. Concert band.
Spotlight Series. Audio
recording available
separately (item
CL.WFR365). Grade 3.5.
Score and set of parts.
Composed 2009. Duration 5
minutes, 23 se. Score and
Parts.
Wolverine Trail Orchestre d'harmonie - Débutant Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS118 March. Composed by Matt...(+)
Band concert band - Grade
1
SKU: CF.BPS118
March. Composed by
Matthew R. Putnam.
Beginning Band (BPS). Set
of Score and Parts. With
Standard notation.
8+2+8+2+5+2+2+8+3+6+3+1+1
+3+3+16+2 pages. Duration
2 minutes, 9 seconds.
Carl Fischer Music
#BPS118. Published by
Carl Fischer Music
(CF.BPS118).
ISBN
9781491152041. UPC:
680160909544.
Wolve
rine Trail is a
concert march for
beginning bands and is
rather helpful in
introducing beginners to
the march form and style.
This piece is based in
the key of Eb major and
uses only the first seven
notes taught in most
method books. It is also
rhythmically accessible
to beginners, as simple
eighth-note combinations
are the most difficult
rhythms in this march.
The piece follows
standard march form
except that is does not
modulate at the trio
section. When writing
this piece, I was
thinking of my beginning
band students at Polk
County Middle School. Our
school is located at the
foothills of the
Appalachian Mountains and
is surrounded by dense
pine forests. The mascot
of our school is rather
fittingly the wolverine;
hence, our school is
located on the street
named “Wolverine
Trail.†Learning to
be a musician is not an
easy trial, as it
requires hard work,
dedication, and
endurance. However, the
trail to becoming a
musician is full of
rewarding and
breathtaking experiences.
As I wrote this piece, I
was inspired by the
rugged beauty of our
school’s location
and also how I am helping
my beginner students to
start on the trail to
becoming mature
musicians.Wolverine Trail
is a concert march for
beginning bands and is
rather helpful in
introducing beginners to
the march form and style.
This piece is based in
the key of Eb major and
uses only the first seven
notes taught in most
method books. It is also
rhythmically accessible
to beginners, as simple
eighth-note combinations
are the most difficult
rhythms in this march.
The piece follows
standard march form
except that is does not
modulate at the trio
section which begins at
m. 57. It is my hope that
this piece will help you
and your beginners start
your own musical
trailblazing.
Wolverine Trail Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS118F March. Composed by Mat...(+)
Band concert band - Grade
1
SKU: CF.BPS118F
March. Composed by
Matthew R. Putnam.
Beginning Band (BPS).
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #BPS118F.
Published by Carl Fischer
Music (CF.BPS118F).
ISBN 9781491152720.
UPC:
680160910229.
Wolve
rine Trail is a
concert march for
beginning bands and is
rather helpful in
introducing beginners to
the march form and style.
This piece is based in
the key of Eb major and
uses only the first seven
notes taught in most
method books. It is also
rhythmically accessible
to beginners, as simple
eighth-note combinations
are the most difficult
rhythms in this march.
The piece follows
standard march form
except that is does not
modulate at the trio
section. When writing
this piece, I was
thinking of my beginning
band students at Polk
County Middle School. Our
school is located at the
foothills of the
Appalachian Mountains and
is surrounded by dense
pine forests. The mascot
of our school is rather
fittingly the wolverine;
hence, our school is
located on the street
named “Wolverine
Trail.†Learning to
be a musician is not an
easy trial, as it
requires hard work,
dedication, and
endurance. However, the
trail to becoming a
musician is full of
rewarding and
breathtaking experiences.
As I wrote this piece, I
was inspired by the
rugged beauty of our
school’s location
and also how I am helping
my beginner students to
start on the trail to
becoming mature
musicians.Wolverine Trail
is a concert march for
beginning bands and is
rather helpful in
introducing beginners to
the march form and style.
This piece is based in
the key of Eb major and
uses only the first seven
notes taught in most
method books. It is also
rhythmically accessible
to beginners, as simple
eighth-note combinations
are the most difficult
rhythms in this march.
The piece follows
standard march form
except that is does not
modulate at the trio
section which begins at
m. 57. It is my hope that
this piece will help you
and your beginners start
your own musical
trailblazing.
Score Only Concert Band (Score) - Grade 3 SKU: HL.4003385 Composed by Ric...(+)
Score Only Concert Band
(Score) - Grade 3
SKU:
HL.4003385
Composed
by Richard L. Saucedo.
MusicWorks Grade 3.
Published by Hal Leonard
(HL.4003385).
UPC:
884088885083.
9.0x12.0x0.147
inches.
As implied
by the title, the meter
of 5/4 is an important
structural component of
this creative and
energetic work for band.
After the intense opening
statement, a brief lyric
and calm middle section
builds to a full ensemble
climax before returning
to the fast main theme.
Blending extended
jazz-like harmonies with
an exciting rhythmic
drive, this piece is sure
to stir the interest of
players and listeners
alike. Dur: 4:25.
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.
Composed by
Richard Summers. Primer
Band (PPS). Full score.
With Standard notation.
12 pages. Carl Fischer
Music #PPS49F. Published
by Carl Fischer Music
(CF.PPS49F).
ISBN
9781491152614. UPC:
680160910113.
Exemp
lary is
a mature musicalÂ
piece for beginning
bands. Even though
only the first six
notes of the Bb-major
scale are used
with simple rhythms,
students and teachers
will find many, fun
musical challenges
that provide
opportunities for for
growth. As the title
suggests, performances
of Exemplary should
serve as a desirable
model, be worthy of
imitation, and should
represent the absolute
best in
musicianship. Exemplar
y is a mature musical
piece for beginning
bands. Even though only
the first six notes of
the Bb-major scale are
used, and simple
rhythms are used to
compose this piece, it
has many musical
challenges that will
enhance students’
musical growth. There are
some very musical ideas
and sections in this
piece that should be
explored. Just as this
title suggests, Exemplary
should serve as a
desirable model, be
worthy of imitation, and
should represent the best
possible example of its
kind. If you describe
something as exemplary,
it should be extremely
good. With all of these
challenges, the piece
also has some nice
melodies and is fun to
play. Â Notes to the
ConductorThere are
marcato and legato
styles, many dynamic
markings (sometimes
different between
woodwinds, brass, and
percussion) major and
minor third intervals,
and challenging beginning
percussion writing (that
should not be
overplayed). Four-measure
phrasing should be
observed. When a
crescendo occurs, it
should connect to the
next note without taking
a breath. These are
teachable concepts that
will benefit the
musicianship of the
students and take them to
a higher level of
performance. Â .
Composed by
Richard Summers. Primer
Band (PPS). Set of Score
and Parts. With Standard
notation.
8+2+8+2+5+2+2+8+2+3+2+6+3
+1+1+2+1+12+2 pages.
Duration 2 minutes. Carl
Fischer Music #PPS49.
Published by Carl Fischer
Music (CF.PPS49).
ISBN
9781491151938. UPC:
680160909438.
Exemp
lary is
a mature musicalÂ
piece for beginning
bands. Even though
only the first six
notes of the Bb-major
scale are used
with simple rhythms,
students and teachers
will find many, fun
musical challenges
that provide
opportunities for for
growth. As the title
suggests, performances
of Exemplary should
serve as a desirable
model, be worthy of
imitation, and should
represent the absolute
best in
musicianship. Exemplar
y is a mature musical
piece for beginning
bands. Even though only
the first six notes of
the Bb-major scale are
used, and simple
rhythms are used to
compose this piece, it
has many musical
challenges that will
enhance students’
musical growth. There are
some very musical ideas
and sections in this
piece that should be
explored. Just as this
title suggests, Exemplary
should serve as a
desirable model, be
worthy of imitation, and
should represent the best
possible example of its
kind. If you describe
something as exemplary,
it should be extremely
good. With all of these
challenges, the piece
also has some nice
melodies and is fun to
play. Â Notes to the
ConductorThere are
marcato and legato
styles, many dynamic
markings (sometimes
different between
woodwinds, brass, and
percussion) major and
minor third intervals,
and challenging beginning
percussion writing (that
should not be
overplayed). Four-measure
phrasing should be
observed. When a
crescendo occurs, it
should connect to the
next note without taking
a breath. These are
teachable concepts that
will benefit the
musicianship of the
students and take them to
a higher level of
performance. Â .
Composed by
Bill Calhoun. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
8+8+4+8+8+8+4+4+4+4+4+4+8
+8+8+4+4+6+6+4+6+8+2+4+2+
10+20+28 pages. Duration
3 minutes, 31 seconds.
Carl Fischer Music
#CPS213. Published by
Carl Fischer Music
(CF.CPS213).
ISBN
9781491152393. UPC:
680160909896.
Alcaz
ar is a dynamic piece
with a definite Spanish
flair. Â Using changing
meters and syncopated
rhythms in its Allegro
introduction, the piece
continues this vitality
into its main theme
alternating between 4/4
and 6/8 time
signatures.  Alcaza
r should prove to be a
favorite of your student
musicians as well as your
audiences. Â This is
the perfect vehicle for
concert and contest
performance. AlcazarÂ
is a concert band work
commissioned by the
Cortland High School
Concert Band, Richard B.
Eleck, conductor, of the
Cortland Enlarged City
School District,
Cortland, N.Y.
 Premiered on June 1,
2017, Alcazar is a
dynamic piece with a
definite Spanish flair.
 Using changing meters
and syncopated rhythms in
its Allegro introduction,
the piece continues this
vitality into its main
theme alternating between
4/4 and 6/8 time
signatures. Â This
opening theme then moves
to a secondary theme
largely in 5/4, first
presented in the
woodwinds, followed by a
tutti section finishing
with a punctuated
conclusion to this
Allegro. Â The
clarinets then take us
into a melodic Andante
middle section, using
quarter-note triplets as
its rhythmic motive. As
this builds to a climax,
we are moved into a
return to the 5/4 Allegro
heard earlier in the
piece. As it seems to
come to an end, a sudden
use of the alternating
4/4, 6/8 earlier motive
returns and takes us
through an extended
ending with a dynamic
conclusion.
Alcazar should prove
to be a favorite of your
student musicians as well
as your audiences. This
is the perfect vehicle
for concert and contest
performance.
Composed
by Bill Calhoun. Concert
Band (CPS). Full score.
With Standard notation.
28 pages. Carl Fischer
Music #CPS213F. Published
by Carl Fischer Music
(CF.CPS213F).
ISBN
9781491153079. UPC:
680160910571.
Alcaz
ar is a dynamic piece
with a definite Spanish
flair. Â Using changing
meters and syncopated
rhythms in its Allegro
introduction, the piece
continues this vitality
into its main theme
alternating between 4/4
and 6/8 time
signatures.  Alcaza
r should prove to be a
favorite of your student
musicians as well as your
audiences. Â This is
the perfect vehicle for
concert and contest
performance. AlcazarÂ
is a concert band work
commissioned by the
Cortland High School
Concert Band, Richard B.
Eleck, conductor, of the
Cortland Enlarged City
School District,
Cortland, N.Y.
 Premiered on June 1,
2017, Alcazar is a
dynamic piece with a
definite Spanish flair.
 Using changing meters
and syncopated rhythms in
its Allegro introduction,
the piece continues this
vitality into its main
theme alternating between
4/4 and 6/8 time
signatures. Â This
opening theme then moves
to a secondary theme
largely in 5/4, first
presented in the
woodwinds, followed by a
tutti section finishing
with a punctuated
conclusion to this
Allegro. Â The
clarinets then take us
into a melodic Andante
middle section, using
quarter-note triplets as
its rhythmic motive. As
this builds to a climax,
we are moved into a
return to the 5/4 Allegro
heard earlier in the
piece. As it seems to
come to an end, a sudden
use of the alternating
4/4, 6/8 earlier motive
returns and takes us
through an extended
ending with a dynamic
conclusion.
Alcazar should prove
to be a favorite of your
student musicians as well
as your audiences. This
is the perfect vehicle
for concert and contest
performance.
Fantasy Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1165717-010 As performed b...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1165717-010
As performed by Earth,
Wind & Fire. Arranged
by Richard Johnsen. DHP
Pop, Film and Show. Pop &
Rock. Set (Score &
Parts). Composed 2016. De
Haske Publications #DHP
1165717-010. Published by
De Haske Publications
(BT.DHP-1165717-010).
This song was
released in 1977 and is
one of the famous songs
from the legendary band
Earth, Wind and
Fire. Because of its
popularity, it was used
in movies and TV series'
and was also covered many
times throughout the
years, with the 1990
version of Black Box
being one of the most
successful covers.
Richard Johnson created
this solid arrangement
for concert band.
Dit nummer, dat
in 1977 verscheen, is een
van de bekendste songs
van de legendarische band
Earth, Wind and
Fire. Het is vaak
gebruikt voor films en
tv-series, en in de loop
der jaren is het diverse
malen door andere
artiesten opgenomen,
waarbij de versie van
Black Box uit 1990 tot de
meest succesvolle covers
behoort. Richard Johnson
creëerde dit
uitstekende arrangement
voor harmonieorkest.
Dieser Song wurde
1977 veröffentlicht
und zählt zu den
bekanntesten Liedern der
legendären Band
Earth, Wind &
Fire. Aufgrund seiner
Popularität wurde der
Song in Kinofilmen und
TV-Serien verwendet. Im
Laufe der Jahre wurden
zahlreiche Coverversionen
herausgebracht, von denen
die 1990 erschienene
Version der Band Black
Box die erfolgreichste
ist. Dieses solide
Arrangement für
Blasorchester stammt von
Richard Johnson.
Pubblicata nel
1997, Fantasy è una
delle più grandi hit
degli Earth, Wind &
Fire. Entrato
nell’immaginario
collettivo per via della
sua costante presenza in
film e serie TV, il brano
è stato riarrangiato
per orchestra di fiati da
Richard Johnson in
memoria di Maurice White,
leader recentemente
scomparso del collettivo
di Chicago.
Fantasy Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1165717-140 As performed b...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1165717-140
As performed by Earth,
Wind & Fire. Arranged
by Richard Johnsen. DHP
Pop, Film and Show. Pop &
Rock. Score Only.
Composed 2016. De Haske
Publications #DHP
1165717-140. Published by
De Haske Publications
(BT.DHP-1165717-140).
This song was
released in 1977 and is
one of the famous songs
from the legendary band
Earth, Wind and
Fire. Because of its
popularity, it was used
in movies and TV series'
and was also covered many
times throughout the
years, with the 1990
version of Black Box
being one of the most
successful covers.
Richard Johnson created
this solid arrangement
for concert band.
Dit nummer, dat
in 1977 verscheen, is een
van de bekendste songs
van de legendarische band
Earth, Wind and
Fire. Het is vaak
gebruikt voor films en
tv-series, en in de loop
der jaren is het diverse
malen door andere
artiesten opgenomen,
waarbij de versie van
Black Box uit 1990 tot de
meest succesvolle covers
behoort. Richard Johnson
creëerde dit
uitstekende arrangement
voor harmonieorkest.
Dieser Song wurde
1977 veröffentlicht
und zählt zu den
bekanntesten Liedern der
legendären Band
Earth, Wind &
Fire. Aufgrund seiner
Popularität wurde der
Song in Kinofilmen und
TV-Serien verwendet. Im
Laufe der Jahre wurden
zahlreiche Coverversionen
herausgebracht, von denen
die 1990 erschienene
Version der Band Black
Box die erfolgreichste
ist. Dieses solide
Arrangement für
Blasorchester stammt von
Richard Johnson.
Pubblicata nel
1997, Fantasy è una
delle più grandi hit
degli Earth, Wind &
Fire. Entrato
nell’immaginario
collettivo per via della
sua costante presenza in
film e serie TV, il brano
è stato riarrangiato
per orchestra di fiati da
Richard Johnson in
memoria di Maurice White,
leader recentemente
scomparso del collettivo
di Chicago.
Concert Band - Grade 5 SKU: ML.013780090 Composed by Valdemar Gomes. Full...(+)
Concert Band - Grade 5
SKU: ML.013780090
Composed by Valdemar
Gomes. Full set. Molenaar
Edition #013780090.
Published by Molenaar
Edition (ML.013780090).
The Spanish war
galleon with 64 cannons,
built in Cuba between
1770 and 1771 for an
English shipowner in the
service of the King of
Spain left Peru for Cadiz
in 1784 with a huge cargo
of copper, gold, silver
and other valuables on
board. There were also
more than 400 people on
board, including
passengers, crew and Inca
prisoners after a revolt.
The Atlantic crossing
went smoothly, passing
Portugal to take
advantage of favourable
winds. The shipwreck off
Peniche was the result of
human error, apparently
due to French maps with
dramatic errors in the
position of the islands
of Berlengas and
neighbouring islets. On 2
February 1786, the sea
was calm and the night
clear, but they hit the
rock formation Papoa and
the hull immediately
broke in two. The bottom
sank quickly, while the
deck remained afloat for
some time. 128 people
lost their lives,
including many Indians
who were trapped in the
basement. This shipwreck
is considered one of the
most important in
maritime
history.
What the
composer wants to convey,
and what can be felt as
one listens, is first of
all the sound of power,
of hope, of the glory of
conquest, of the
splendour of wealth. This
is followed by the
perception of the
maritime environment, the
harmony with the softness
of the ocean, the gliding
of the hull in the foam
of the sea on sunny, blue
days. But along with this
tranquillity, you soon
hear a rhythmic chain
that makes you feel a
representation of the
hustle and bustle, of the
busy crew, of the hard
work of a sailor, of the
desperation of an exotic
people imprisoned in a
dark, damp cellar. A
distinct rhythm that
reminds us of the salero
of Andalusia, with its
Arab influences and its
people, the soothing of
the resignation of others
who are forced to submit.
Then we clearly hear a
crescendo that makes us
imagine the agony of the
collision that precedes
the shipwreck. The
breaking of the hull, the
water flooding
everything, the despair,
the clash of bodies on
the rocks, the tragedy to
come. Before the grand
finale, in which the
return of musical
softness reminds us that
the story is over. The
supremacy of nature over
human greed. The waves,
though gentle, sweep the
wreckage, the lives and
the treasures of the New
World to the bottom of
the sea.
Het
Spaans oorlogsgaljoen met
64 kanonnen, gebouwd in
Cuba tussen 1770 en 1771
voor een Engelse reder in
dienst van de koning van
Spanje vertrok in 1784
vanuit Peru naar Cádiz
met een enorme lading
koper, goud, zilver en
andere kostbaarheden aan
boord. Er waren ook meer
dan 400 mensen aan boord,
waaronder passagiers,
bemanning en Inca
gevangenen na een
opstand. De oversteek van
de Atlantische Oceaan
verliep vlot, waarbij
Portugal werd gepasseerd
om te profiteren van
gunstige winden. De
schipbreuk bij Peniche
was het resultaat van een
menselijke fout,
blijkbaar te wijten aan
Franse kaarten met
dramatische fouten in de
positie van de eilanden
Berlengas en naburige
eilandjes. Op 2 februari
1786 was de zee kalm en
de nacht helder, maar ze
raakten de rotsformatie
Papoa en de romp brak
onmiddellijk in tweeën.
De bodem zonk snel,
terwijl het dek nog enige
tijd bleef drijven. 128
mensen verloren het
leven, waaronder veel
indianen die vastzaten in
de kelder. Dit
scheepswrak wordt
beschouwd als een van de
belangrijkste in de
maritieme
geschiedenis.
Wat
de componist wil
overbrengen, en wat men
kan voelen als men
luistert, is allereerst
het geluid van macht, van
hoop, van de glorie van
verovering, van de pracht
van rijkdom. Dit wordt
gevolgd door de perceptie
van de maritieme
omgeving, de harmonie met
de zachtheid van de
oceaan, het glijden van
de romp in het schuim van
de zee op zonnige, blauwe
dagen. Maar samen met
deze rust hoor je al snel
een ritmische ketting die
je een voorstelling geeft
van de drukte, van de
drukke bemanning, van het
harde werk van een
zeeman, van de wanhoop
van een exotisch volk dat
gevangen zit in een
donkere, vochtige kelder.
Een duidelijk ritme dat
ons doet denken aan de
salero van Andalusië,
met zijn Arabische
invloeden en zijn mensen,
het sussen van de
berusting van anderen die
gedwongen worden zich te
onderwerpen. Dan horen we
duidelijk een crescendo
dat ons de lijdensweg
doet voorstellen van de
aanvaring die voorafgaat
aan de schipbreuk. Het
breken van de romp, het
water dat alles
overspoelt, de wanhoop,
het botsen van lichamen
op de rotsen, de tragedie
die komen gaat. Vóór de
grote finale, waarin de
terugkeer van de muzikale
zachtheid ons eraan
herinnert dat het verhaal
voorbij is. De overmacht
van de natuur over de
hebzucht van de mens. De
golven, hoewel zacht,
vegen het wrak, de levens
en de schatten van de
Nieuwe Wereld naar de
bodem van de
zee.
Le galion de
guerre espagnol de 64
canons, construit à Cuba
entre 1770 et 1771 pour
un armateur anglais au
service du roi d'Espagne,
a quitté le Pérou pour
Cadix en 1784 avec à son
bord une énorme
cargaison de cuivre,
d'or, d'argent et
d'autres objets de
valeur. Il y avait
également plus de 400
personnes à bord, dont
des passagers, des
membres d'équipage et
des prisonniers incas à
la suite d'une révolte.
La traversée de
l'Atlantique s'est
déroulée sans encombre,
en passant par le
Portugal pour profiter
des vents favorables. Le
naufrage au large de
Peniche est le résultat
d'une erreur humaine,
apparemment due à des
cartes françaises
comportant des erreurs
dramatiques dans la
position des îles de
Berlengas et des îlots
voisins. Le 2 février
1786, alors que la mer
est calme et la nuit
claire, le navire heurte
la formation rocheuse de
Papoa et la coque se
brise immédiatement en
deux. Le fond coule
rapidement, tandis que le
pont reste à flot
pendant un certain temps.
128 personnes ont perdu
la vie, dont de nombreux
Indiens qui étaient
coincés dans les
sous-sols. Ce naufrage
est considéré comme
l'un des plus importants
de l'histoire
maritime.
Ce que
le compositeur veut
transmettre, et ce que
l'on ressent à
l'écoute, c'est d'abord
le son de la puissance,
de l'espoir, de la gloire
de la conquête, de la
splendeur de la richesse.
C'est ensuite la
perception de
l'environnement maritime,
l'harmonie avec la
douceur de l'océan, le
glissement de la coque
dans l'écume de la mer
par des journées bleues
et ensoleillées. Mais à
côté de cette
tranquillité, on entend
bientôt une chaîne
rythmique qui nous fait
ressentir une
représentation de
l'agitation, de
l'équipage affairé, du
dur labeur d'un marin, du
désespoir d'un peuple
exotique emprisonné dans
une cave sombre et
humide. Un rythme
distinct qui nous
rappelle le salero
d'Andalousie, avec ses
influences arabes et son
peuple, l'apaisement de
la résignation des
autres qui sont obligés
de se soumettre. Puis on
entend clairement un
crescendo qui nous fait
imaginer l'agonie de la
collision qui précède
le naufrage. La rupture
de la coque, l'eau qui
envahit tout, le
désespoir, le choc des
corps sur les rochers, la
tragédie à venir. Avant
le grand final, où le
retour de la douceur
musicale nous rappelle
que l'histoire est
terminée. La suprématie
de la nature sur la
cupidité humaine. Les
vagues, bien que douces,
emportent les épaves,
les vies et les trésors
du Nouveau Monde au fond
de la mer.
Die
spanische Kriegsgaleone
mit 64 Kanonen, die
zwischen 1770 und 1771
auf Kuba für einen
englischen Reeder im
Dienste des spanischen
Königs gebaut wurde,
verließ Peru 1784 in
Richtung Cádiz mit einer
riesigen Ladung Kupfer,
Gold, Silber und anderen
Wertgegenständen an
Bord. An Bord befanden
sich auch mehr als 400
Menschen, darunter
Passagiere,
Besatzungsmitglieder und
Inka-Gefangene nach einem
Aufstand. Die
Atlantiküberquerung
verlief reibungslos,
wobei Portugal passiert
wurde, um die günstigen
Winde zu nutzen. Der
Schiffbruch vor Peniche
war das Ergebnis
menschlichen Versagens,
das offenbar auf
französische Karten
zurückzuführen war, die
in Bezug auf die Position
der Inseln Berlengas und
der benachbarten Eilande
dramatische Fehler
enthielten. Am 2. Februar
1786 stießen sie bei
ruhiger See und klarer
Nacht auf die
Felsformation Papoa und
der Rumpf brach sofort
entzwei. Der Boden sank
schnell, während das
Deck noch einige Zeit
über Wasser blieb. 128
Menschen kamen ums Leben,
darunter viele Indianer,
die im Keller
eingeschlossen waren.
Dieses Schiffswrack gilt
als eines der
bedeutendsten
Was
der Komponist vermitteln
will und was man beim
Zuhören spürt, ist
zunächst der Klang der
Macht, der Hoffnung, des
Ruhms der Eroberung, des
Glanzes des Reichtums. Es
folgt die Wahrnehmung der
maritimen Umgebung, die
Harmonie mit der
Sanftheit des Meeres, das
Gleiten des
Schiffsrumpfes im Schaum
des Meeres an sonnigen,
blauen Tagen. Doch neben
dieser Ruhe hört man
bald eine rhythmische
Kette, die die Hektik,
die geschäftige
Mannschaft, die harte
Arbeit eines Seemanns,
die Verzweiflung eines
exotischen Volkes, das in
einem dunklen, feuchten
Keller gefangen ist,
wiedergibt. Ein
ausgeprägter Rhythmus,
der an den Salero
Andalusiens erinnert, mit
seinen arabischen
Einflüssen und seinen
Menschen, der die
Resignation der anderen
besänftigt, die
gezwungen sind, sich zu
fügen. Dann hören wir
deutlich ein Crescendo,
das uns die Qualen des
Zusammenstoßes, der dem
Schiffbruch vorausgeht,
erahnen lässt. Das
Zerbrechen des Rumpfes,
das Wasser, das alles
überflutet, die
Verzweiflung, das
Aufeinanderprallen der
Körper auf den Felsen,
die bevorstehende
Tragödie. Vor dem
großen Finale, in dem
die Rückkehr der
musikalischen Sanftheit
uns daran erinnert, dass
die Geschichte zu Ende
ist. Die Vorherrschaft
der Natur über die
menschliche Gier. Die
Wellen, so sanft sie auch
sein mögen, spülen die
Trümmer, das Leben und
die Schätze der Neuen
Welt auf den Grund des
Meeres.
Epoch Fantasy Orchestre d'harmonie - Débutant Carl Fischer
Band Concert band - Grade 1.5 SKU: CF.FPS112 Composed by Richard Summers....(+)
Band Concert band - Grade
1.5
SKU: CF.FPS112
Composed by Richard
Summers. First Plus
Performance Band. Set of
Score and Parts. With
Standard notation.
8+2+4+4+2+5+2+2+4+4+4+6+2
+3+1+1+4+2+16 pages.
Duration 2 minutes. Carl
Fischer Music #FPS112.
Published by Carl Fischer
Music (CF.FPS112).
ISBN 9780825895562.
UPC: 798408095567. 9 x 12
inches.
New to Carl
Fischer Music, composer
Richard Summers gives us
a stunning concert
overture based on
Renaissance and early
music styles. Students
will find that Epoch
Fantasy is pleasantly
reminiscent of music from
current video games. The
modal first theme is
contrasted nicely with a
sweet lyrical middle
section that will
highlight the budding
musicianship of your
developing band.
Epoch Fantasy Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band Concert band - Grade 1.5 SKU: CF.FPS112F Composed by Richard Summers...(+)
Band Concert band - Grade
1.5
SKU:
CF.FPS112F
Composed
by Richard Summers. First
Plus Performance Band.
Full score. With Standard
notation. 16 pages.
Duration 2 minutes. Carl
Fischer Music #FPS112F.
Published by Carl Fischer
Music (CF.FPS112F).
ISBN 9780825896187.
UPC: 798408096182. 9 x 12
inches.
New to Carl
Fischer Music, composer
Richard Summers gives us
a stunning concert
overture based on
Renaissance and early
music styles. Students
will find that Epoch
Fantasy is pleasantly
reminiscent of music from
current video games. The
modal first theme is
contrasted nicely with a
sweet lyrical middle
section that will
highlight the budding
musicianship of your
developing band.
Band concert band - Grade 0.5 SKU: CF.PPS28F Composed by Richard Summers....(+)
Band concert band - Grade
0.5
SKU: CF.PPS28F
Composed by Richard
Summers. SWS. Full score.
12 pages. Duration 2
minutes, 2 seconds. Carl
Fischer Music #PPS28F.
Published by Carl Fischer
Music (CF.PPS28F).
ISBN 9781491141021.
UPC: 680160629084. 9 x 12
inches.
This
delightful new piece for
the youngest of students
is written in the style
of Medieval/Renaissance
music. This beginning
band piece uses only the
first 6 notes of the Bb
scale, and the hardest
rhythm in the winds is
quarter notes. There are
many opportunities for
very beginning students
to stretch their newfound
music muscles with this
full sounding piece from
composer Richard Summers.
Richard uses his many
years of experience as a
band director to write
music that students will
love to play.
Composed by
John Pasternak. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
8+8+4+8+16+16+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+8+4+2+4+
4+24+4 pages. Duration 4
minutes, 4 seconds. Carl
Fischer Music #CPS214.
Published by Carl Fischer
Music (CF.CPS214).
ISBN 9781491152409.
UPC:
680160909902.
Adven
ture Express is about
a train heading out to
the old west, seeking new
adventures and new
opportunities. The piece
focuses on the beautiful
country sides,
breathtaking vistas and
the hard work of building
a new land. It is a
contest style piece by
budding composer John
Pasternak. It is tuneful
and well-scored. Perfect
for your next
contest/festival
performance. Adventure
Express is about a train
heading out to the old
west, seeking new
adventures and new
opportunities. The piece
focuses on the beautiful
countrysides,
breathtaking vistas and
the hard work of building
a new land.The beginning
of the piece should have
a very marcato feel.
Measure 18 should have a
lighter feel than the
beginning, with the snare
drum playing the part of
the rail cars going over
the tracks. Be sure to
pay attention to the
accents in the trumpet,
xylophone and snare drum
lining up with the
accents played by the
rest of the
ensemble. At m. 55,
the xylophone should ring
out and should be played
with intention. At m. 71,
the piece returns to a
marcato style, and
remains until the end of
the piece. There are a
few sudden dynamic
changes that are crucial
for effect, so pay close
attention to those
changes.
Composed
by John Pasternak.
Concert Band (CPS). Full
score. With Standard
notation. 24 pages. Carl
Fischer Music #CPS214F.
Published by Carl Fischer
Music (CF.CPS214F).
ISBN 9781491153086.
UPC:
680160910588.
Adven
ture Express is about
a train heading out to
the old west, seeking new
adventures and new
opportunities. The piece
focuses on the beautiful
country sides,
breathtaking vistas and
the hard work of building
a new land. It is a
contest style piece by
budding composer John
Pasternak. It is tuneful
and well-scored. Perfect
for your next
contest/festival
performance. Adventure
Express is about a train
heading out to the old
west, seeking new
adventures and new
opportunities. The piece
focuses on the beautiful
countrysides,
breathtaking vistas and
the hard work of building
a new land.The beginning
of the piece should have
a very marcato feel.
Measure 18 should have a
lighter feel than the
beginning, with the snare
drum playing the part of
the rail cars going over
the tracks. Be sure to
pay attention to the
accents in the trumpet,
xylophone and snare drum
lining up with the
accents played by the
rest of the
ensemble. At m. 55,
the xylophone should ring
out and should be played
with intention. At m. 71,
the piece returns to a
marcato style, and
remains until the end of
the piece. There are a
few sudden dynamic
changes that are crucial
for effect, so pay close
attention to those
changes.
Composed by
Victor Herbert. Symphonic
Band (SPS). Set of Score
and Parts. With Standard
notation.
3+12+12+6+6+3+12+24+24+6+
6+8+8+6+6+9+18+18+27+8+8+
8+8+9+9+9+9+12+3+6+6+40+6
pages. Duration 7:37.
Carl Fischer Music
#SPS78. Published by Carl
Fischer Music (CF.SPS78).
ISBN 9781491152553.
UPC: 680160910052. Key:
Bb major.
Festival
March is presented in a
new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. Festival
March by Victor Herbert
was written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 .
Composed by
Victor Herbert. Symphonic
Band (SPS). Full score.
With Standard notation.
40 pages. Carl Fischer
Music #SPS78F. Published
by Carl Fischer Music
(CF.SPS78F).
ISBN
9781491153239. UPC:
680160910731.
Festi
val March is presented in
a new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. About the
CompositionFestival March
by Victor Herbert was
written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 .