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.CPS226F

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!

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!

Band concert band - Grade 4.5

SKU: CF.SPS75

Composed by Brant Karrick. SWS FS. Carl Fischer Symphonic Performance Series. Set of Score and Parts. With Standard notation. 3+12+12+6+12+12+12+6+6+6+ 6+6+6+9+9+9+6+6+9+9+9+9+6 +12+6+9+3+9+9+40 pages. Duration 6 minutes, 44 seconds. Carl Fischer Music #SPS75. Published by Carl Fischer Music (CF.SPS75).

ISBN 9781491147702. UPC: 680160905201. 9 x 12 inches. Key: F major.

When Hearts Tremble is an emotion packed piece dedicated to musician friends lost all to soon. This beautiful composition by Brant Karrick reflects on the fragility of human existence, joyous memories of loved ones and their effect on everyone around them, and maintaining hope for what the future will hold when all feels lost. This tour de force piece perfectly displays Karrick's polished compositional craft with impeccable scoring, beautiful melodic writing, and exceptional orchestrational color.
While the day-to-day grind of our lives can be filled with overwhelming obligations, goals and commitments, it is sometimes very easy to forget just how precious and fragile life is . It is so easy to get caught up in our own personal feelings and worries that we sometimes don’t realize and appreciate the many blessings we have, especially friendships . On Wednesday, November 18, 2015 the Jefferson High School Band in Jefferson, Georgia lost two of its members to a fatal car accident . The victims were brothers . Music was a constant part of their lives, and the boys were talented percussionists in the marching band . To help with the grieving process the school and community commissioned this piece to celebrate the lives of William and Alex Trimble .As a father, I cannot imagine losing a child, let alone two, and beginning this piece was very difficult as I felt extreme anguish, especially for the parents . But it was decided the piece should primarily reflect the enthusiasm, youthful spirits and positive influence these two young men demonstrated as they were deeply loved by their band mates, community and family . There are four main themes, each representing the feelings and emotions that are certain to occur after a loss of loved ones . The first theme is a short, introductory fanfare, strong and bold, to stand for courage . A second dance-like melody features a liltingly mixed meter to portray a youthful and carefree innocence . This soon changes into a third more song-like, and stately theme intended to provide encouragement as we move forward through life .The middle of the piece includes a soft transition as two snare drummers give voice to the boys, allowing them to thank their friends and assuring them that it will be okay . This moves directly into a slow melody introduced by the saxophones (Alex, the younger brother was also a saxophonist) and is a time for reflection and allows for feelings of sadness at losing beloved friends . However, a second statement of the same theme, now at full volume with a strong percussion cadence, intends to lift the spirits and allows all friends to unite in joyous celebration of life . Both the enthusiastic dance theme and stately lyrical theme return, now in different keys, and work their way toward the highly energetic burst of glorious sound in the short and wild coda . When Hearts Tremble was written to celebrate the joys of youth and life, and should remind us that our friends and loved ones are precious, and we should live each day to bring more joy into the world and into the lives of others .

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Hi-hat Cymbal, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Trombone and more. - Grade 2-2.5

SKU: CF.YPS38

There's No Place Like. Composed by Robert Allen. Arranged by Larry Clark. FS-SWS. Carl Fischer Young Performance Series. Score and Set of Parts. With Standard notation. 16+8+2+4+4+2+2+5+2+2+4+4+ 4+6+3+2+3+2+1+2+2 pages. Carl Fischer Music #YPS38. Published by Carl Fischer Music (CF.YPS38).

ISBN 9780825852152. UPC: 798408052157. 9 X 12 inches. Key: Eb major. Text: Al Stillman. Al Stillman.

The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal. The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a hymn-style section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program. -LARRY CLARK New York, NY 2003.
The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal.The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a “hymn-style” section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program.-LARRY CLARKNew York, NY 2003.

(Featuring: Paint It, Black / Ruby Tuesday / (I Can't Get No) Satisfaction). By Mick Jagger and Keith Richards [The Rolling Stones]. Arranged by Patrick Roszell. Concert Band. Concert Band; Part(s); Score; SmartMusic. Pop Concert Band. Form: Medley. Pop/R

(Featuring: Paint It, Black / Ruby Tuesday / (I Can't Get No) Satisfaction). By Mick Jagger and Keith Richards [Rolling Stones]. Arranged by Patrick Roszell. Concert Band. Concert Band; Score. Pop Concert Band. Form: Medley. Pop/Rock. Grade 3. 40 pages. Published by Alfred Music Publishing

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115042-140

Composed by Rod Temperton. Arranged by Naohiro Iwai. New Sounds for Concert Band. Pop & Rock. Score Only. Composed 2011. 36 pages. De Haske Publications #DHP 1115042-140. Published by De Haske Publications (BT.DHP-1115042-140).

9x12 inches.

Over the years much has been written and broadcast about Michael Jackson. Naohiro Iwai has created a powerful medley by letting the music of the undisputed ‘King of Pop’ speak for itself. The medley contains the hits Thriller, I’ll Be There and I Want You Back. Don’t stop ’til you get enough!

Michael Jackson: alles wat over hem kan worden beweerd is al gezegd, geschreven en uitgezonden. Naohiro Iwai laat liever de muziek van deze onbetwistbare ‘King of Pop’ voor zich spreken. Zie hier een overtuigende medley voor harmonieorkestvan de nummers Thriller, I’ll be There en I Want You Back.

Über Michael Jackson wurde schon viel geschrieben, gesagt und gezeigt. Naohiro Iwai lässt die Musik des unangefochtenen King of Pop“ sprechen in seinem überzeugenden Blasorchestermedley aus den Hits Thriller, I’ll be There und I Want You Back.

Michael Jackson, le « roi de la pop », restera un pilier de l’histoire de la musique et une source d’inspiration énorme pour plusieurs générations. Disparu, il y a tout juste un an, Naohiro Iwai lui rend hommage avec ce medley de trois de ses plus grands succès : Thriller, I’ll be There et I Want You Back.

Di Michael Jackson si è parlato, scritto e mostrato tanto, forse troppo. In questo coinvolgente medley che raggruppa Thriller, I’ll Be There e I Want You Back, Naohiro Iwai lascia semplicemente parlare la musica dell’indiscusso “King of pop”.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115042-010

Composed by Rod Temperton. Arranged by Naohiro Iwai. New Sounds for Concert Band. Pop & Rock. Set (Score & Parts). Composed 2011. De Haske Publications #DHP 1115042-010. Published by De Haske Publications (BT.DHP-1115042-010).

9x12 inches.

Over the years much has been written and broadcast about Michael Jackson. Naohiro Iwai has created a powerful medley by letting the music of the undisputed ‘King of Pop’ speak for itself. The medley contains the hits Thriller, I’ll BeThere and I Want You Back. Don’t stop ’til you get enough!

Michael Jackson: alles wat over hem kan worden beweerd is al gezegd, geschreven en uitgezonden. Naohiro Iwai laat liever de muziek van deze onbetwistbare ‘King of Pop’ voor zich spreken. Zie hier een overtuigende medley voor harmonieorkestvan de nummers Thriller, I’ll be There en I Want You Back.

Über Michael Jackson wurde schon viel geschrieben, gesagt und gezeigt. Naohiro Iwai lässt die Musik des unangefochtenen King of Pop“ sprechen in seinem überzeugenden Blasorchestermedley aus den Hits Thriller, I’ll be There und I Want You Back.

Michael Jackson, le « roi de la pop », restera un pilier de l’histoire de la musique et une source d’inspiration énorme pour plusieurs générations. Disparu, il y a tout juste un an, Naohiro Iwai lui rend hommage avec ce medley de trois de ses plus grands succès : Thriller, I’ll be There et I Want You Back.

Di Michael Jackson si è parlato, scritto e mostrato tanto, forse troppo. In questo coinvolgente medley che raggruppa Thriller, I’ll Be There e I Want You Back, Naohiro Iwai lascia semplicemente parlare la musica dell’indiscusso “King of pop”.

Selections from The King and I by Oscar Hammerstein and Richard Rodgers. Arranged by Calvin Custer. For Concert Band (Score and Parts). Score and full set of parts.. Young Concert Band. Grade 3. Published by Hal Leonard

(Full Score and Parts). By Georges Bizet (1838-1875). Arranged by Larry Clark. Concert Band. For Concert Band. Carl Fischer Young Performance Series. Grade 2-2.5. Score and Set of Parts. Standard notation. 16 pages

Songs Of The Wizz. Composed by Charlie Smalls. Arranged by Peter Kleine Schaars. Catalogue Movie and Musical. Movie and Musical. Recorded on The Magnificent Seven (ML.311058720). Full set. Duration 9 minutes, 41 seconds. Molenaar Edition #012507060. Published by Molenaar Edition (ML.012507060).

Arranged by Jack Bullock. Arr. Jack Bullock. For Concert Band. Concert Band. Belwin Symphonic Band. Level: Medium (grade IV). Conductor Score. 36 pages. Duration 5:57. Published by Alfred Publishing.

Arranged by Jack Bullock. Arr. Jack Bullock. For Concert Band. Concert Band. Symphonic Band. Level: Medium (grade IV). Conductor Score and Parts. 302 pages. Duration 5:57. Published by Alfred Publishing.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-0981116-010

Arranged by Naohiro Iwai. New Sounds for Concert Band. Pop & Rock. Set (Score & Parts). Composed 1998. De Haske Publications #DHP 0981116-010. Published by De Haske Publications (BT.DHP-0981116-010).

Cheek To Cheek, I Get A Kick Out Of You, Everybody Loves Somebody, I've Got You Under My Skin and My Way together form the Frank Sinatra Hits Medley. Frank Sinatra's songs are timeless classics and this arrangementwill undoubtedly bring great pleasure to all your audience.

Ein wunderbares Medley aus fünf der vielen Titel, die alle mit dem und durch den einzigartigen Entertainer Frank Sinatra zu Hits wurden. In Frank Sinatra Hits Medley hat Naohiro Iwai altbekannte und beliebte Klassiker wie My Way oderI've got you Under My Skin gekonnt verarbeitet ' Musik, die Musikern und Publikum unter die Haut gehen wird.

Naohiro Iwai a réalisé un superbe arrangement de quelques-uns des plus grands succès de cet artiste hors pair qu’a été Frank Sinatra. Avec Cheek to Cheek, Everybody Loves Somebody, I’ve Got You Under My Skin et My Way vous serez enparfaite harmonie avec votre public comme l’a été “The Voice” chacun de ses concerts. Une pièce unique pour célébrer une légende de la chanson.

Porta la firma del grande Naohiro Iwai questo splendido arrangiamento di alcune dei più grani successi dell’artista senza eguali che risponde al nome di Frank Sinatra. Con Cheek to Cheek, Everybody Loves Somebody, I’ve Got You Under My Skin eMy Way sarete in perfetta sintonia con il vostro pubblico, come lo è stato The Voice in ogni suo concerto. Un medley unico per ricordare questa leggenda della canzone.

By Carl Strommen. By Carl Strommen. For Concert Band. Concert Band. Belwin Beginning Band. Level: Very Easy (grade I). Conductor Score, Parts & CD. Duration 1:55. Published by Alfred Publishing.

Composed by Oscar Hammerstein and Richard Rodgers. Arranged by Stephen Bulla. Hal Leonard Concert Band Series. Published by Hal Leonard

Concert band - Grade 3

SKU: MH.1-59913-054-8

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

ISBN 9781599130545.

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

(Featuring: Jumpin' Jack Flash / Get Off of My Cloud / Ruby Tuesday / Paint It Black / (I Can't Get No) Satisfaction). Arranged by Michael Story and Michael Story. Concert Band. Concert Band. Pop Young Band. Pop. Grade 2. Conductor Score and Parts. 254 pages. Published by Alfred Music Publishing

(Featuring: Jumpin' Jack Flash / Get Off of My Cloud / Ruby Tuesday / Paint It Black / (I Can't Get No) Satisfaction). Arranged by Michael Story. Concert Band. Concert Band. Pop Young Band. Pop. Grade 2. Conductor Score. 28 pages

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1125265-140

Composed by Michael Jackson. Arranged by Takashi Hoshide. Pop & Rock. Score Only. Composed 2012. 32 pages. De Haske Publications #DHP 1125265-140. Published by De Haske Publications (BT.DHP-1125265-140).

9x12 inches. English-German-French-Dut ch.

Jackson 5 Medley features the catchiest hits from one of the most successful family pop groups of all time, arranged for concert band by Takashi Hoshide. Includes the songs I’ll Be There, I Want You Back, ABC and Never Can Say Goodbye.

Met zijn zonen Jackie, Tito en Jermaine richtte vader Joe Jackson al in 1964 de popgroep Jacksons op. Toen ook Marlon en de bijzonder getalenteerde Michael er in 1966 bij kwamen, boekten The Jackson 5 hun grootste successen.De Japanse arrangeur Takashi Hoshide koos voor zijn Jackson 5 Medley de evergreens I’ll Be There, I Want You Back, ABC en Never Can Say Goodbye.

Die Familien-Band The Jacksons wurde bereits 1964 vom Vater Joe Jackson gegründet, doch erst als zu den Brüdern Jackie, Tito und Jermaine auch Marlon und das Ausnahmetalent Michael im Jahr 1966 dazu stießen, feierte die Gruppe unter dem Namen The Jackson 5 ihre größten Erfolge. Der japanische Arrangeur Takashi Hoshide wählte für sein Jackson 5 Medley die eingängigen Songs I’ll Be There, I Want You Back, ABC und Never Can Say Goodbye.

Fond� �© en 1964 l’initiative de leur père Joe Jackson, le groupe The Jackson Brothers ne comptait alors que 3 frères de la famille : Jackie, Tito et Jermaine. Plus tard, se rajouteront les cadets Marlon et Michael et le groupe optera pour son nom définitif The Jackson Five. L’arrangeur japonais Takashi Hoshide a choisi quatre grands succès du groupe soul : I’ll Be There, I Want You Back, ABC et Never Can Say Goodbye.

Fondata nel 1964 da Joe Jackson, il gruppo The Jackson Brothers comprendeva solo 3 fratelli: Jackie, Tito e Jermaine. Solo più tardi si sarebbero aggiunti Marlon e Michael, e con loro il nome definitivo sarebbe diventato The Jackson Five. Takashi Hoshide ha scelto di arrangiare per banda quattro grandi successi dei fratelli Jackson: I’ll Be There, I Want You Back, ABC e Never Can Say Goodbye.

By Robert W. Smith. Concert band. For concert band. Young Band. Command. Grade 3. Score and set of parts. Composed 2009. Duration 2 minutes, 38 seconds. Published by C.L. Barnhouse

Concert Band/Harmonie - Grade 3

SKU: BT.AMP-172-140

Composed by John Philip Sousa. Arranged by Philip Sparke. Ceremonial Series. March. Score Only. Composed 2006. 20 pages. Anglo Music Press #AMP 172-140. Published by Anglo Music Press (BT.AMP-172-140).

9x12 inches. English-German-French-Dut ch.

What a way to open any concert. The Black Horse Troopis one of John Philip Sousa?s best known marches and was described by the great Frederick Fennell as ?a regimental march of classic content and proportions,one which serves as a model for all that are similar to it ...? Treat your band with this fantastic march.

John Philip Sousa schreef deze mars voor Troop A, een uitmuntende bereden eenheid van de Ohio National Guard in Cleveland. Frederick Fennell beschreef dit stuk als volgt: “Dit is een regimentsmars van een klassieke inhoud en vorm,een die kan dienen als model voor alle vergelijkbare marsen… In The Black Horse Troop is veel meer te vinden dan enkel Sousa’s talent voor het schrijven van marsen: zijn liefde voor paarden heeft hem ongetwijfeld geholpenbij het maken van een van zijn mooiste creaties.” De titel verwijst naar het exclusieve gebruik van zwarte paarden door Troop A, Ohio National Guard.

The Black Horse Troop ist einer von John Philip Sousas bekanntesten Märschen. Der berühmte Dirigent Frederick Fennel beschrieb das Stück als ein Regimentsmarsch von klassischem Inhalt und Struktur, ein Vorbild für alle ihm ähnlichen Werke... Verwöhnen Sie Ihr Blasorchester mit diesem fantastischen Marsch!

La collaborazione tra John Philip Sousa e la Troupe A, un’eccellente unit della Guardia Nazionale dell’Ohio di stanza a Cleveland, risale al 1881. Nel 1924, John Philip Sousa dedica a questa unit la marcia The Black Horse Troop(La truppa dei cavalli neri). Da The Black Horse Troop traspare molto più del semplice talento nel comporre di Sousa; il suo amore per i cavalli lo ha senza dubbio aiutato a fare di questa marcia una delle sue creazioni più riuscite. Il titolo prende spunto dal fatto che la Troupe A monta solamente cavalli neri.

Concert Band/Harmonie - Grade 3

SKU: BT.AMP-172-010

Composed by John Philip Sousa. Arranged by Philip Sparke. Ceremonial Series. March. Set (Score & Parts). Composed 2006. Anglo Music Press #AMP 172-010. Published by Anglo Music Press (BT.AMP-172-010).

9x12 inches. English-German-French-Dut ch.

What a way to open any concert. The Black Horse Troopis one of John Philip Sousa?s best known marches and was described by the great Frederick Fennell as ?a regimental march of classic content and proportions,one which serves as a model for all that are similar to it ...? Treat your band with this fantastic march.

John Philip Sousa schreef deze mars voor Troop A, een uitmuntende bereden eenheid van de Ohio National Guard in Cleveland. Frederick Fennell beschreef dit stuk als volgt: “Dit is een regimentsmars van een klassieke inhoud en vorm,een die kan dienen als model voor alle vergelijkbare marsen… In The Black Horse Troop is veel meer te vinden dan enkel Sousa’s talent voor het schrijven van marsen: zijn liefde voor paarden heeft hem ongetwijfeld geholpenbij het maken van een van zijn mooiste creaties.” De titel verwijst naar het exclusieve gebruik van zwarte paarden door Troop A, Ohio National Guard.

The Black Horse Troop ist einer von John Philip Sousas bekanntesten Märschen. Der berühmte Dirigent Frederick Fennel beschrieb das Stück als ein Regimentsmarsch von klassischem Inhalt und Struktur, ein Vorbild für alle ihm ähnlichen Werke... Verwöhnen Sie Ihr Blasorchester mit diesem fantastischen Marsch!

La collaborazione tra John Philip Sousa e la Troupe A, un’eccellente unit della Guardia Nazionale dell’Ohio di stanza a Cleveland, risale al 1881. Nel 1924, John Philip Sousa dedica a questa unit la marcia The Black Horse Troop(La truppa dei cavalli neri). Da The Black Horse Troop traspare molto più del semplice talento nel comporre di Sousa; il suo amore per i cavalli lo ha senza dubbio aiutato a fare di questa marcia una delle sue creazioni più riuscite. Il titolo prende spunto dal fatto che la Troupe A monta solamente cavalli neri.