Orchestra Concert Band

SKU: PR.416413660

For Violin and Orchestra. Composed by Behzad Ranjbaran. Perfect. Contemporary. Full score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366. Published by Theodore Presser Company (PR.416413660).

ISBN 9781598063578. UPC: 680160601899. 9x12 inches.

Trained as a violinist in his native Tehran, composer Behzad Ranjbaran eagerly drew inspiration from the traditional Persian kamancheh and its delicate, lyrical sound when creating his profoundly luscious and brilliant Concerto for Violin and Orchestra. This work was completed in 1994 and premiered in England by Joshua Bell, who also gave the first American and Canadian performances. The Concerto for Violin and Orchestra is the recipient of the Rudolf Nissim Award from ASCAP, and it was supported in part by a grant from The National Endowment for the Arts. The solo part with a piano reduction as well as a large score are available on custom print. For advanced players. Duration: 31'.
From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell.

Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st Bb Trumpet, 2nd Bb Trumpet, 1st F Horn, 2nd F Hor) - grade 3

SKU: CN.S11251

Composed by Geoffrey Brand. Arranged by Geoffrey Brand. Band Music. Score only. Duration 5:25. Published by G & M Brand Music Publishers (CN.S11251).

Originally written for piano, Grieg later scored his Holberg Suite for orchestra. Geoffrey Brand has done a masterful job of setting two movements of the suite - the Sarabande and Gavotte - for wind band. Give your students the opportunity to perform first-rate classical music they wouldn't otherwise have access to.

Born in Bergen, Norway, into a family of Scottish descent, Edvard Grieg showed a talent for music early and at the age of 10 had piano lessons from his mother. In 1849 he went to study at Leipzig Conservatoire before moving to Copenhagen where he met Riokaard Nordaak, a young Norwegian composer who was immersed in Norwegian nationalism and greatly influence Grieg who felt his future was as a musician dedicated to romantic nationalism. Holberg Suite, originally for piano, was written in 1884 in response to a commission to mark the bicentenary of the birth of Ludvig Holberg, a Norwegian dramatist and satirist. A year later, Grieg arranged 5 movements for string orchestra. Sarabande and Gavotte are intended to be played segue but can, if desired, be performed separately. The music expresses Grieg and his native Norway in a manner which justifies his declaration I am not an exponent of Scandinavian music but of Norwegian..

Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarinet 2, Congas, Cowbell, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Gong, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Snare Drum and more. - Grade 1.5

SKU: CF.FPS151

Composed by Tyler Arcari. First Plus Band (FPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+5+2+2+4+4+4+6+3 +1+1+3+6+12+2 pages. Duration 1 minute, 36 seconds. Carl Fischer Music #FPS151. Published by Carl Fischer Music (CF.FPS151).

ISBN 9781491152119. UPC: 680160909612.

Every one remembers the first time that they saw a snake. Though fascinating to some and terrifying to others, few animals are as universally mesmerizing. Composer Tyler Arcari has crafted a very fun piece making use of auxiliary percussion instruments to emulate a snake's hiss or ominous rattle. With very strong and interesting melodic material, and scored to make a developing band sound great, this piece is sure to be a favorite among students.
Everyone remembers the first time that they saw a snake. The majority of people have a base fear of them, while others have a “heebie-jeebiesâ� � experience. We all know how the great explorer Dr. Indiana Jones felt about snakes, especially when he famously fell into a snake pit during Raiders of the Lost Ark. However you feel about snakes, a pit of them certainly sounds like an adventure.About the work:Snake Pit uses a lot of auxiliary percussion instruments. Some of these sounds are intended to subtly mimic the sounds that snakes make. The maraca in m. 4, of course, is a rattler’s call! The Chinese cymbal is intended to sound like the “hiss” of a not-so-friendly serpent. The eighth-note pattern at m. 9 is used throughout as a “creepy” effect using dynamic contrast so take care to emphasize this when present.I enjoy the gong as a “color” instrument in the band. I try to balance it with the low brass. Take care that at m. 42 the gong is not “front-and center” but more of a support for the nice accented chords in the low brass. Also, the trumpets can become spaced too much here. The accents are more for emphasis and less space.

Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarinet 2, Congas, Cowbell, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Gong, Horn, Mallet Percussion, Maracas, Oboe, Percussion 1, Percussion 2, Snare Drum and more. - Grade 1.5

SKU: CF.FPS151F

Composed by Tyler Arcari. First Plus Band (FPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #FPS151F. Published by Carl Fischer Music (CF.FPS151F).

ISBN 9781491152799. UPC: 680160910298.

Every one remembers the first time that they saw a snake. Though fascinating to some and terrifying to others, few animals are as universally mesmerizing. Composer Tyler Arcari has crafted a very fun piece making use of auxiliary percussion instruments to emulate a snake's hiss or ominous rattle. With very strong and interesting melodic material, and scored to make a developing band sound great, this piece is sure to be a favorite among students.
Everyone remembers the first time that they saw a snake. The majority of people have a base fear of them, while others have a “heebie-jeebiesâ� � experience. We all know how the great explorer Dr. Indiana Jones felt about snakes, especially when he famously fell into a snake pit during Raiders of the Lost Ark. However you feel about snakes, a pit of them certainly sounds like an adventure.About the work:Snake Pit uses a lot of auxiliary percussion instruments. Some of these sounds are intended to subtly mimic the sounds that snakes make. The maraca in m. 4, of course, is a rattler’s call! The Chinese cymbal is intended to sound like the “hiss” of a not-so-friendly serpent. The eighth-note pattern at m. 9 is used throughout as a “creepy” effect using dynamic contrast so take care to emphasize this when present.I enjoy the gong as a “color” instrument in the band. I try to balance it with the low brass. Take care that at m. 42 the gong is not “front-and center” but more of a support for the nice accented chords in the low brass. Also, the trumpets can become spaced too much here. The accents are more for emphasis and less space.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2 and more. - Grade 4

SKU: CF.SPS82F

Composed by Ed Kiefer. Symphonic Band (SPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #SPS82F. Published by Carl Fischer Music (CF.SPS82F).

ISBN 9781491153277. UPC: 680160910779.

Resig nation was composed in memory of one of Ed Kiefer's best friends. Evoking the struggle of coming to grips with the loss of a dear friend, the piece is based on the hymn, My Shepherd Will Supply My Need. It is dramatic, heartfelt, and overwhelmingly beautiful. As Hans Christian Andersen once said, When words fail, music speaks..
Dr. David S. Kirby Commission Consortium Phillip Riggs, Commission CoordinatorNorthwest District Bandmasters AssociationRodney Workman, Past-Chair Andrew Jimeson, ChairWestern North Carolina Bandmasters AssociationAllen Klaes, ChairNorth Carolina School of Science and MathPhillip Riggs, DirectorA.C. Reynolds High School BandSean Smith, DirectorSouth Caldwell High School BandJason Childers, DirectorJay M. Robinson Symphonic BandAndrew Carter, DirectorApex High School BandDaniel Jarvis, DirectorPanther Creek High School BandDavid Robinson, DirectorEastern Randolph High School BandCarolina Perez, DirectorStanley County Concert Band/Pfeiffer University Concert BandCarmella Hedrick, Tim Hedrick and Frank Poolos, DirectorsLenoir Rhyne University Wind SymphonyDr. Daniel Kiser, ConductorDr. Christopher NegrelliNumerous colleagues, fellow teachers, and former studentsProgram NotesThere is no possible way I could compose a piece of music worthy of the memory of my close friend, Dr. David Kirby, who died very suddenly at an early age. Neither could I write a piece that could come close to reflecting his kind spirit, wit, personality or talent. In fact, it was almost impossible for me to write anything at all. My own grief and the stages of my grief kept getting in the way. I ended up with a setting of the hymn-tune, Resignation. Resigned.  To the fact that he is no longer with us. I know he is in a better place, but we are not. We miss him very much. And so, My Shepherd Will Supply My Need seems to speak to those of us he left behind. I apologize if this piece does not reflect your special feelings for him or help you celebrate his moving on. Unfortunately, I could only put down what I have come to accept and hope in some way it may speak to any of you that knew him or to others of you who have also lost a close friend. My Shepherd Will Supply My Need. That is my hope and my hope for you.Although technically very easy, this composition requires a maturity of musicianship to be performed properly. The Bb contrabass clarinet part is integral to the composition, but there are cues in the tuba part if you need them.  Make sure you bring horns to the fore at m. 53 and the low brass at m. 59 so the melody can be heard without effort. Exaggerate dynamics to bring more emotion to the piece. Be careful not to diminuendo too soon near the end or it will be difficult to diminish even further at the very end, where the lone clarinetist holds over a couple of measures, fading into nothing. I hope your students will enjoy this piece and take from it a greater appreciation for the way making music can express feelings.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2 and more. - Grade 4

SKU: CF.SPS82

Composed by Ed Kiefer. Symphonic Band (SPS). Set of Score and Parts. With Standard notation. 4+4+2+4+8+8+2+1+2+2+2+2+2 +2+3+6+6+9+2+2+3+3+3+3+4+ 1+1+1+1+1+16+2 pages. Duration 2 minutes, 58 seconds. Carl Fischer Music #SPS82. Published by Carl Fischer Music (CF.SPS82).

ISBN 9781491152591. UPC: 680160910090. Key: Bb major.

Resignation� � was composed in memory of one of Ed Kiefer's best friends. Evoking the struggle of coming to grips with the loss of a dear friend, the piece is based on the hymn, My Shepherd Will Supply My Need. It is dramatic, heartfelt, and overwhelmingly beautiful. As Hans Christian Andersen once said, When words fail, music speaks..
Dr. David S. Kirby Commission Consortium Phillip Riggs, Commission CoordinatorNorthwest District Bandmasters AssociationRodney Workman, Past-Chair Andrew Jimeson, ChairWestern North Carolina Bandmasters AssociationAllen Klaes, ChairNorth Carolina School of Science and MathPhillip Riggs, DirectorA.C. Reynolds High School BandSean Smith, DirectorSouth Caldwell High School BandJason Childers, DirectorJay M. Robinson Symphonic BandAndrew Carter, DirectorApex High School BandDaniel Jarvis, DirectorPanther Creek High School BandDavid Robinson, DirectorEastern Randolph High School BandCarolina Perez, DirectorStanley County Concert Band/Pfeiffer University Concert BandCarmella Hedrick, Tim Hedrick and Frank Poolos, DirectorsLenoir Rhyne University Wind SymphonyDr. Daniel Kiser, ConductorDr. Christopher NegrelliNumerous colleagues, fellow teachers, and former studentsProgram NotesThere is no possible way I could compose a piece of music worthy of the memory of my close friend, Dr. David Kirby, who died very suddenly at an early age. Neither could I write a piece that could come close to reflecting his kind spirit, wit, personality or talent. In fact, it was almost impossible for me to write anything at all. My own grief and the stages of my grief kept getting in the way. I ended up with a setting of the hymn-tune, Resignation. Resigned.  To the fact that he is no longer with us. I know he is in a better place, but we are not. We miss him very much. And so, My Shepherd Will Supply My Need seems to speak to those of us he left behind. I apologize if this piece does not reflect your special feelings for him or help you celebrate his moving on. Unfortunately, I could only put down what I have come to accept and hope in some way it may speak to any of you that knew him or to others of you who have also lost a close friend. My Shepherd Will Supply My Need. That is my hope and my hope for you.Although technically very easy, this composition requires a maturity of musicianship to be performed properly. The Bb contrabass clarinet part is integral to the composition, but there are cues in the tuba part if you need them.  Make sure you bring horns to the fore at m. 53 and the low brass at m. 59 so the melody can be heard without effort. Exaggerate dynamics to bring more emotion to the piece. Be careful not to diminuendo too soon near the end or it will be difficult to diminish even further at the very end, where the lone clarinetist holds over a couple of measures, fading into nothing. I hope your students will enjoy this piece and take from it a greater appreciation for the way making music can express feelings.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone and more. - Grade 2

SKU: CF.YPS208

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6 +3+2+3+1+1+2+6+12 pages. Duration 4 minutes, 31 seconds. Carl Fischer Music #YPS208. Published by Carl Fischer Music (CF.YPS208).

ISBN 9781491152287. UPC: 680160909780. Key: D minor.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo and more. - Grade 4

SKU: CF.SPS73

Composed by John Stafford Smith. Arranged by Sean O'Loughlin. SWS FS. Carl Fischer Symphonic Performance Series. Set of Score and Parts. With Standard notation. 1+4+4+2+4+4+4+2+2+2+2+2+2 +3+3+3+2+2+2+2+3+3+3+2+3+ 4+1+1+2+3+12 pages. Duration 1 minute, 48 seconds. Carl Fischer Music #SPS73. Published by Carl Fischer Music (CF.SPS73).

ISBN 9781491147689. UPC: 680160905188. 9 x 12 inches. Key: Bb major.

Composer/arr anger Sean O'Loughlin has provided a refreshing new setting of our National Anthem. It was originally written for orchestral brass and percussion and has been performed at both MLB and NBA events. The arrangement begins with a bold fanfare to set the tone, but also to provide the motive glue to hold the arrangement together and create something unique. Creative harmonic usage and colorful orchestration really make this version stand out from the rest.
There have been many great arrangements of our National Anthem throughout the years . The responsibility of creating one that truly brought something new to the mix was very daunting . I was fortunate enough to get an opportunity to write this version for the Oregon Symphony Brass Section to perform at the Portland Trail Blazers NBA games . Subsequent performances have occurred with the Baltimore Symphony at the Baltimore Orioles MLB games . At this time, it is my supreme honor to adapt this for the advanced concert band .In bringing something new, I decided to start with a bold fanfare to set the tone for this great music . Introducing some more dissonant harmonies also created a more intense feel .The first stanza includes a flowing counter line in the horns and alto saxophones . The trumpets interject some flourishes on the second pass to further the intensity . These flourishes continue “ . . . when the rockets red glare!” The final push at m . 29 is colored with pulsating 16th notes in the woodwinds that lead to some dramatic harmony at the fermata in m . 32 . The opening fanfare then returns to let everyone know that it's time to “Play ball!”.

Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani and more. - Grade 2

SKU: CF.YPS208F

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YPS208F. Published by Carl Fischer Music (CF.YPS208F).

ISBN 9781491152966. UPC: 680160910465.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

Part I, II, III and IV. Composed by Alex Poelman. The Best Original Compositions for Concert Band/Catalogue Master Works Vol. 1. Molenaar Masterpieces. Recorded on The Seven Wonders of the Ancient World (ML.311080720). Full set. Duration 20 minutes, 58 seconds. Published by Molenaar Edition (ML.012792100).

Concert Band/Harmonie - Grade 4

SKU: BT.1750-10-010-MS

Arranged by Naohiro Iwai. New Sounds for Concert Band. Pop & Rock. Set (Score & Parts). Composed 2010. Music Sales #1750-10-010 MS. Published by Music Sales (BT.1750-10-010-MS).

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

Four unforgettable disco songs come together in one stunning medley. Up fi rst is the 1979 dance floor hit I’m in the Mood for Dancing by The Nolans. Next the medley quiets down with a charming love song, Lovin’ You, a song Minnie Riperton dedicated to her daughter. You Can’t Hurry Love was a huge success for The Supremes in 1966 and Phil Collins repeated their success in 1983 making the song immortal. This exciting medley ends with Olivia Newton-John’s hit-song Xanadu, from her 1980 musical of the same name.

Vier disco-evergreens in één medley voor harmonieorkest. Het begint gelijk al goed! I’m in the Mood for Dancing van de gezusters Nolans uit 1979. In alle windstreken kregen zij met dit nummer mensen de dansvloer op. Hiernavolgt de betoverende lovesong Lovin’ You. Minnie Riperton droeg het in 1975 op aan haar toen tweejarige dochtertje. You Can’t Hurry Love was zowel voor de Supremes in 1966 als voor Phil Collins een geweldige hit. Xanaduvan Olivia Newton-John uit de gelijknamige musical van 1980 besluit deze boeiende medley van Naohiro Iwai. Dat wordt swingen!

Vier Evergreens aus der Disco-Ära in einem Blasorchester-Medley: Den Anfang macht I’m in the Mood for Dancing, mit dem die Geschwister- Combo The Nolans 1979 auf vier Kontinenten die Menschen auf die Tanzflächen jagte. Danach folgt als Ruhepunkt das bezaubernde Liebeslied Lovin’ You, das Minnie Riperton 1975 ihrer kleinen Tochter widmete. You Can’t Hurry Love war in der Originalversion von 1966 für die Supremes ein Riesenhit - Phil Collins wiederholte diesen Erfolg 1983 und machte den Song unsterblich. Den Abschluss von Naohiro Iwais mitreißendem Medley bildet Olivia Newton-Johns Hit Xanadu aus dem gleichnamigen Musical von 1980.

Ce medley tonique, signé Naohiro Iwai, réunit quatre standards des années disco. I’m in the Mood for Dancing, des sœurs Nolan (The Nolans Sisters), ouvre la série. Sortie en 1979, cette chanson a fait bouger des générations de danseurs. La musique s’apaise sur les notes délicieuses de la ballade Lovin’ You, que Minnie Ripperton dédia sa fille. Au cours de l’été 1966, The Supremes connaissent la gloire, avec la version originale du titre You Can’t Hurry Love. En 1983, Phil Collins renouvelle le succès des Supremes et rend la chanson immortelle. Pour clore son medley, Naohiro Iwai a choisi Xanadu (1980), la chanson phare de la comédiemusicale éponyme, qui prolongea le succès d'Olivia Newton-John.

Questo medley racchiude quattro standard degli anni della musica disco: I’m in the Mood for Dancing delle Nolan Sisters anticipa le deliziose note della ballata Lovin’ You di Minnie Ripperton. Nel 1966, The Supremes conoscono la gloria con la versione originale di Can’t Hurry Love. Nel 1983, Phil Collins replica il successo dei Supremes e rende la canzone immortale. Per concludere il suo medley, Naohiro Iwai ha scelto Xanadu (1980) la canzone della commedia musicale interpretata da Olivia Newton John.

Concert Band/Harmonie - Grade 4

SKU: BT.1750-10-140-MS

Arranged by Naohiro Iwai. New Sounds for Concert Band. Pop & Rock. Score Only. Composed 2010. 44 pages. Music Sales #1750-10-140 MS. Published by Music Sales (BT.1750-10-140-MS).

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

Four unforgettable disco songs come together in one stunning medley. Up fi rst is the 1979 dance floor hit I’m in the Mood for Dancing by The Nolans. Next the medley quiets down with a charming love song, Lovin’ You, a song Minnie Riperton dedicated to her daughter. You Can’t Hurry Love was a huge success for The Supremes in 1966 and Phil Collins repeated their success in 1983 making the song immortal. This exciting medley ends with Olivia Newton-John’s hit-song Xanadu, from her 1980 musical of the same name.

Vier disco-evergreens in één medley voor harmonieorkest. Het begint gelijk al goed! I’m in the Mood for Dancing van de gezusters Nolans uit 1979. In alle windstreken kregen zij met dit nummer mensen de dansvloer op. Hiernavolgt de betoverende lovesong Lovin’ You. Minnie Riperton droeg het in 1975 op aan haar toen tweejarige dochtertje. You Can’t Hurry Love was zowel voor de Supremes in 1966 als voor Phil Collins een geweldige hit. Xanaduvan Olivia Newton-John uit de gelijknamige musical van 1980 besluit deze boeiende medley van Naohiro Iwai. Dat wordt swingen!

Vier Evergreens aus der Disco-Ära in einem Blasorchester-Medley: Den Anfang macht I’m in the Mood for Dancing, mit dem die Geschwister- Combo The Nolans 1979 auf vier Kontinenten die Menschen auf die Tanzflächen jagte. Danach folgt als Ruhepunkt das bezaubernde Liebeslied Lovin’ You, das Minnie Riperton 1975 ihrer kleinen Tochter widmete. You Can’t Hurry Love war in der Originalversion von 1966 für die Supremes ein Riesenhit - Phil Collins wiederholte diesen Erfolg 1983 und machte den Song unsterblich. Den Abschluss von Naohiro Iwais mitreißendem Medley bildet Olivia Newton-Johns Hit Xanadu aus dem gleichnamigen Musical von 1980.

Ce medley tonique, signé Naohiro Iwai, réunit quatre standards des années disco. I’m in the Mood for Dancing, des sœurs Nolan (The Nolans Sisters), ouvre la série. Sortie en 1979, cette chanson a fait bouger des générations de danseurs. La musique s’apaise sur les notes délicieuses de la ballade Lovin’ You, que Minnie Ripperton dédia sa fille. Au cours de l’été 1966, The Supremes connaissent la gloire, avec la version originale du titre You Can’t Hurry Love. En 1983, Phil Collins renouvelle le succès des Supremes et rend la chanson immortelle. Pour clore son medley, Naohiro Iwai a choisi Xanadu (1980), la chanson phare de la comédiemusicale éponyme, qui prolongea le succès d'Olivia Newton-John.

Questo medley racchiude quattro standard degli anni della musica disco: I’m in the Mood for Dancing delle Nolan Sisters anticipa le deliziose note della ballata Lovin’ You di Minnie Ripperton. Nel 1966, The Supremes conoscono la gloria con la versione originale di Can’t Hurry Love. Nel 1983, Phil Collins replica il successo dei Supremes e rende la canzone immortale. Per concludere il suo medley, Naohiro Iwai ha scelto Xanadu (1980) la canzone della commedia musicale interpretata da Olivia Newton John.

Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Trombone and more. - Grade 2

SKU: CF.YPS197F

Composed by John Pasternak. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS197F. Published by Carl Fischer Music (CF.YPS197F).

ISBN 9781491152850. UPC: 680160910359.

Chase the Horizon is a musical journey depicting a lonesome cowboy riding on his horse, chasing the horizon. Composer John Pasternak has delivered a strong and musically rewarding piece for the young band. It begins with a nice legato section before setting off on the journey with a tuneful theme. The piece develops through several contrasting sections finishing in a dramatic conclusion.
This piece is a story of new beginnings. While writing this piece I pictured a lonely cowboy riding on his horse, chasing the horizon. The beginning for this piece should have a very legato feel except for the Xylophone part, which should use a very abrupt, staccato articulation. Measure 9 should take on a staccato and light feel. The feeling should remain light except for the instruments with the melody, who should play their parts with a more legato feel. Dynamics throughout this first section are crucial. All parts at m. 22 should play with a legato style with focus on the dynamics. The trumpet interjection at m. 25 should be played very light. At m. 32 there should be contrast with all the different styles of articulation. Measure 42 should not slow down too quickly as the group should not ever get slower than the tempo marking at m. 49.The slow section at m. 49 should be played soft with a legato style growing gradually through m. 61. The articulation at m. 61 should be short and staccato, and be careful not to rush. The sections with the melody here should contrast the staccato of the ensemble with a legato style. When the ensemble arrives at m. 78 the piece should have a maestoso-style feel. The rit. at m. 88 should not become slower than the tempo at m. 92. At m. 92, let the horns and saxophones really shine through.

Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Glockenspiel, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Trombone and more. - Grade 2

SKU: CF.YPS197

Composed by John Pasternak. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8 +12+6+6+6+2+4+2+20+4 pages. Duration 3 minutes, 57 seconds. Carl Fischer Music #YPS197. Published by Carl Fischer Music (CF.YPS197).

ISBN 9781491152171. UPC: 680160909674. Key: Eb major.

Chase the Horizon is a musical journey depicting a lonesome cowboy riding on his horse, chasing the horizon. Composer John Pasternak has delivered a strong and musically rewarding piece for the young band. It begins with a nice legato section before setting off on the journey with a tuneful theme. The piece develops through several contrasting sections finishing in a dramatic conclusion.
This piece is a story of new beginnings. While writing this piece I pictured a lonely cowboy riding on his horse, chasing the horizon. The beginning for this piece should have a very legato feel except for the Xylophone part, which should use a very abrupt, staccato articulation. Measure 9 should take on a staccato and light feel. The feeling should remain light except for the instruments with the melody, who should play their parts with a more legato feel. Dynamics throughout this first section are crucial. All parts at m. 22 should play with a legato style with focus on the dynamics. The trumpet interjection at m. 25 should be played very light. At m. 32 there should be contrast with all the different styles of articulation. Measure 42 should not slow down too quickly as the group should not ever get slower than the tempo marking at m. 49.The slow section at m. 49 should be played soft with a legato style growing gradually through m. 61. The articulation at m. 61 should be short and staccato, and be careful not to rush. The sections with the melody here should contrast the staccato of the ensemble with a legato style. When the ensemble arrives at m. 78 the piece should have a maestoso-style feel. The rit. at m. 88 should not become slower than the tempo at m. 92. At m. 92, let the horns and saxophones really shine through.

Concert Band - Grade 4

SKU: HL.44010429

Grade 4 - Score and Parts. Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Set (Score & Parts). Composed 2008. Anglo Music Press #AMP236-010. Published by Anglo Music Press (HL.44010429).

UPC: 884088414603. 9.0x12.0x1.97 inches. English-German-French-Dut ch.

The piece traces key events in the life of Haakon the Good, later to become King Haakon I (ca. 921-960), who had been fostered by King Athelstan of England as part of a peace agreement made by his father (The Future King). The English king brought him up in the Christian religion and, on the news of his father's death, provided him with ships and men for an expedition against his half-brother Eirik Bloodaxe, who had been proclaimed king of Norway. On his arrival he travelled north (The Journey to Trondheim), where he began to gain the support of the landowners by promising to give up the rights of taxation his father had previously claimed. Elrik's sons allied themselves with the Danes, but were invariably defeated by Haakon, who was successful in everything he undertook except in his attempt to introduce Christianity to the country (The Missionary King), which aroused an opposition he did not feel strong enough to face. One of his most famous victories was The Battle of Rastarkalv (near Frei) in 955. By placing ten standards far apart along a low ridge (to give the impression his army was bigger than it actually was), he managed to fool Eirik's sons that they were outnumbered (the ten standards are represented by ten loud chords that begin in m. 420). The Danes fled and were slaughtered by Haakon's army.

Concert Band - Grade 4

SKU: HL.44010430

Grade 4 - Score Only. Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Score Only. Composed 2008. 64 pages. Anglo Music Press #AMP236-140. Published by Anglo Music Press (HL.44010430).

UPC: 884088414610. 9x12 inches. English-German-French-Dut ch.

The piece traces key events in the life of Haakon the Good, later to become King Haakon I (ca. 921-960), who had been fostered by King Athelstan of England as part of a peace agreement made by his father (“The Future King”). The English king brought him up in the Christian religion and, on the news of his father's death, provided him with ships and men for an expedition against his half-brother Eirik Bloodaxe, who had been proclaimed king of Norway. On his arrival he travelled north (“The Journey to Trondheim”), where he began to gain the support of the landowners by promising to give up the rights of taxation his father had previously claimed. Elrik's sons allied themselves with the Danes, but were invariably defeated by Haakon, who was successful in everything he undertook except in his attempt to introduce Christianity to the country (“The Missionary King”), which aroused an opposition he did not feel strong enough to face. One of his most famous victories was “The Battle of Rastarkalv” (near Frei) in 955. By placing ten standards far apart along a low ridge (to give the impression his army was bigger than it actually was), he managed to fool Eirik's sons that they were outnumbered (the ten standards are represented by ten loud chords that begin in m. 420). The Danes fled and were slaughtered by Haakon's army.

Concert band (Piccolo Flute 1 Flute 2 Oboe 1/2 Bassoon 1/2 E-flat Clarinet B-flat Clarinet 1 B-flat Clarinet 2 B-flat Clarinet 3 Alto Clarinet Bass Clarinet Alto Saxophone 1/2 Tenor Saxophone Baritone Saxophone Cornet 1 Cornet 2 Cornet 3 B-flat Trumpet 1 B-flat Trumpet) - grade 5

SKU: CN.R10311

Composed by Paul Hart. Score & parts. Duration 10:15. Published by G & M Brand Music Publishers (CN.R10311).

-Some time ago Charles Hine, a dear friend, asked me 'Isn't it about time you wrote a Czardas?' It wasn't such a silly idea. I'd studied violin as a child and having learnt numerous show pieces in that style I felt quite at home with the genre. Later in my youth I was lucky enough to work occasionally as accompanist to a lovely lady & singer Eve Boswell, who was partly Hungarian, and was generous enough to give me further insight into the nature of Czardas. Whilst the Wind Ensemble is not the instrumentation one might expect for such a piece the form is traditional, albeit rather more long-winded than some of the fiddle 'lollypops'.' - Paul Hart.

Concert band (Piccolo Flute 1 Flute 2 Oboe 1/2 Bassoon 1/2 E-flat Clarinet B-flat Clarinet 1 B-flat Clarinet 2 B-flat Clarinet 3 Alto Clarinet Bass Clarinet Alto Saxophone 1/2 Tenor Saxophone Baritone Saxophone Cornet 1 Cornet 2 Cornet 3 B-flat Trumpet 1 B-flat Trumpet) - grade 5

SKU: CN.S11311

Composed by Paul Hart. Score only. Duration 10:15. Published by G & M Brand Music Publishers (CN.S11311).

-Some time ago Charles Hine, a dear friend, asked me 'Isn't it about time you wrote a Czardas?' It wasn't such a silly idea. I'd studied violin as a child and having learnt numerous show pieces in that style I felt quite at home with the genre. Later in my youth I was lucky enough to work occasionally as accompanist to a lovely lady & singer Eve Boswell, who was partly Hungarian, and was generous enough to give me further insight into the nature of Czardas. Whilst the Wind Ensemble is not the instrumentation one might expect for such a piece the form is traditional, albeit rather more long-winded than some of the fiddle 'lollypops'.' - Paul Hart.

Concert band (Flute 1, Flute 2/Piccolo, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Trombone) - grade 3

SKU: CN.S11293

Composed by Peter Meechan. Score only. Duration 4:15. Published by G & M Brand Music Publishers (CN.S11293).

Inspired by the release of Nelson Mandela in the early 1990s, Hymn for Africa pays tribute to the sense of dignity and peace that he brought not only to South Africa, but around the entire globe. As the beautifully lush chorale unfolds, quietly undulating drums murmur in the distance and gradually build into a rousing climax.

Hymn for Africa was written as part of a project known as Brass Band Aid. When I was asked to compose a piece with relevance to Africa for the project, I began to think of all the things that I associate with Africa. I have vivid memories from my childhood of the hard-hitting news reports from the famines of the early/mid 1980's (and the concerts that followed). I also associate Africa with amazing animal life - the many species from snakes to birds to lions, with their many colours. But more than these associations, there is one memory that stands out amongst all others. The release of Nelson Mandela in the early 1990's had a profound effect not only in South Africa, but all over the continent of Africa, as well as the World as a whole. The fact that one man can achieve this with peace and great dignity will always be an inspiration, not only to me, but many, many millions of humans around the globe. Hymn for Africa is inspired by this sense of dignity and peace. A simple eight bar melody is the basis of the composition. A drone is then added, before a chorale, and finally a rousing climax when the percussion and full band enter. The piece dedicated to Bob and Briony Thompson in admiration.

Band Concert Band - Grade 2

SKU: CF.YPS200

Composed by Matthew R. Putnam. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+2+2+5+2+2+4+4+6+3+3 +2+1+3+16+4+4+2+2 pages. Duration 2:15. Carl Fischer Music #YPS200. Published by Carl Fischer Music (CF.YPS200).

ISBN 9781491152201. UPC: 680160909704. Key: D minor.

Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.” This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march.
Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.” This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.” It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange!

Band Concert Band - Grade 2

SKU: CF.YPS200F

Composed by Matthew R. Putnam. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS200F. Published by Carl Fischer Music (CF.YPS200F).

ISBN 9781491152881. UPC: 680160910380.

Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.” This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march.
Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.” This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.” It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange!

Concert band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Soprano Clarinet 1-3, Eb Alto Clarinet, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Cornet (in Bb) 1-3, Trumpet (in Bb) 1/2, French Horn 1-4 , Trombone 1-3, Euphonium, Tuba, Stri) - grade 4

SKU: CN.S11242

Composed by Adam Gorb. Arranged by Michael Brand. Band Music. Score only. Duration 4:20. Published by G & M Brand Music Publishers (CN.S11242).

Scenes from an English Landscape is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end of the work, both versions of the theme are stated together to bring the piece to a triumphant climax.

This is a brief nostalgic tone poem taking its inspiration from visions of rural England as depicted in the paintings of John Constable, the novels of Thomas Hard, and the music of Gustav Holst and Ralph Vaughan Williams. I imagined a community of villagers coming out of church and filling a village square with their vibrant presence. A chorale-like theme is stated in the brass and then taken up at three times the tempo in the woodwinds. At the end o the work, both versions of the theme are stated together to bring the piece to a triumphant climax. Adam Gorb was born in Cardiff and started composing at the age of ten. His first work broadcast on national radio was written when he was fifteen. He studied at Cambridge University (1977-1980) and the Royal Academy of Music (1991-1993) where he graduated with the highest honours including the Principal's Prize. He has been on the staff at the London College of Music and Media, the junior Academy of the Royal Academy of Music and, since 2000 he has been the Head of School of Composition at the Royal Northern College of Music in Manchester . International recognition came in 1994 with the US Walter Beeler Prize for his work Metropolis . With it began what has developed into probably the most important wind ensemble catalogue by a contemporary composer, ranging from extremely challenging to the most accessible, at all technical levels, seized on by players internationally, widely recorded and now absolutely central to the world's wind repertoire. Equally important though are his works for dance, and concert pieces like the chamber orchestral Weimar , the Violin Sonata , a Clarinet Concerto for the Royal Liverpool Philharmonic Orchestra and Diaspora for strings (for the Goldberg Ensemble). Deceptively mainstream at first glance, they display the same inventive brilliance, pulsating sound world, striking use of rhythm and an undogmatic absence of stylistic hang-ups to embrace jazz and serialism in works where power, poetry, irony and pathos, often underlaid by a theatrical and deeply subversive element, coalesce in an integrated, highly individual musical voice. Gorb is also not afraid to draw on the vivid musical heritage of his Jewish roots, sometimes directly, often in a more subsumed or radically creative way. The crucial and consistent feature of Gorb's work though is that it communicates strongly without patronizing players or audiences. He firmly believes that if contemporary music - any music - does not impact on listeners then its message is irrelevant; it is lost.

Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2

SKU: CF.YPS204

Long Live the King. Composed by Tyler Arcari. Young Band (YPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6 +3+3+1+1+4+16+2+4 pages. Duration 2 minutes, 24 seconds. Carl Fischer Music #YPS204. Published by Carl Fischer Music (CF.YPS204).

ISBN 9781491152249. UPC: 680160909742. Key: D minor.

Avalon� ��Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship.
Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King!

Concert Band/Harmonie - Grade 2.5

SKU: BT.DHP-1104866-010

Arranged by Jacob De Haan. Musica Sacra. Transcription. Set (Score and Parts). Composed 2010. De Haske Publications #DHP 1104866-010. Published by De Haske Publications (BT.DHP-1104866-010).

9x12 inches.

En 1524, Martin Luther publiait son premier recueil de cantiques, dont est extrait son magnifi que choral Aus tiefer Not schrei ich zu dir (Du fond de lâ??abîme, je tâ??invoque, o Ã?ternel)? dâ??après le Psaume 130 (De profundis). En 1724, Jean-Sébastien Bach composait une cantate, fondée sur le choral du même nom de Martin Luther. Pour réaliser cet arrangement pour Orchestre dâ??Harmonie, Jacob de Haan sâ??est particulièrement inspiré de lâ??oeuvre de Bach. Aus tiefer Not est une précieuse contribution au répertoire sacré.

Het fraaie koraalthema Aus tiefer Not schrei ich zu dir is terug te voeren op Martin Luther en is gebaseerd op de tekst van psalm 130. Bekend werd het koraal pas vooral door de gelijknamige koraalcantate. Johann Sebastian Bachschreef deze precies tweehonderd jaar later, in het jaar 1724. Bij dit arrangement was het voornamelijk Bach die Jacob de Haan inspireerde. Hij maakte hiermee een uitmuntende aanvulling op het repertoire voor geestelijke muzik.

Das prachtvolle Choralthema Aus tiefer Not schrei ich zu dir geht auf Martin Luther zuru?ck und basiert auf dem Text von Psalm 130. Bekannt wurde der Choral jedoch vor allem durch die gleichnamige Choralkantate, die Johann Sebastian Bach genau zwei Jahrhunderte später, im Jahre 1724, schrieb. Fu?r sein Arrangement lie� sich Jacob de Haan vorwiegend von Bach inspirieren und schuf damit eine wundervolle Ergänzung fu?r das Repertoire an geistlicher Musik.

Le magnifique thème du choral Aus tiefer Not schrei ich zu dir (Du fond de lâ??abîme, je tâ??invoque, o Ã?ternel) est attribué Martin Luther. Il sâ??agit dâ??une mise en musique du Psaume 130 (De profundis) dans sa version allemande. Cette hymne fait partie du corpus du premier des recueils de cantiques luthériens, le Geistliches Gesangbüchlein, publié Wittenberg, en 1524, par Johann Walter. Deux cents ans plus tard, Jean-Sébastien Bach composait une cantate, fondée sur le choral du même nom de Martin Luther. Pour réaliser cet arrangement pour Orchestre dâ??Harmonie, Jacob de Haan sâ??est particulièrement inspiré de lâ???uvre de Bach. Aus tiefer Not est uneprécieuse contribution au répertoire sacré.

Nel 1524, Martin Lutero pubblicò il primo raccolto di cantici, tra i quali il magnifi co corale Aus tiefer Not schrei ich zu dir, dal Salmo 130 (De profundis). Nel 1724, Johann Sebastian Bach compose una cantata, ispirandosi al corale di Lutero. Nella realizzazione di questo arrangiamento per banda, Jacob de Haan si è affidato allâ??opera di Bach. Aus tiefer Not è un importante contributo al repertorio sacro.

Concert Band/Harmonie - Grade 2.5

SKU: BT.DHP-1104866-140

Arranged by Jacob De Haan. Musica Sacra. Transcription. Score Only. Composed 2010. 12 pages. De Haske Publications #DHP 1104866-140. Published by De Haske Publications (BT.DHP-1104866-140).

9x12 inches.

En 1524, Martin Luther publiait son premier recueil de cantiques, dont est extrait son magnifi que choral Aus tiefer Not schrei ich zu dir (Du fond de l’abîme, je t’invoque, o Éternel)‚ d’après le Psaume 130 (De profundis). En 1724, Jean-Sébastien Bach composait une cantate, fondée sur le choral du même nom de Martin Luther. Pour réaliser cet arrangement pour Orchestre d’Harmonie, Jacob de Haan s’est particulièrement inspiré de l’oeuvre de Bach. Aus tiefer Not est une précieuse contribution au répertoire sacré.

Het fraaie koraalthema Aus tiefer Not schrei ich zu dir is terug te voeren op Martin Luther en is gebaseerd op de tekst van psalm 130. Bekend werd het koraal pas vooral door de gelijknamige koraalcantate. Johann Sebastian Bachschreef deze precies tweehonderd jaar later, in het jaar 1724. Bij dit arrangement was het voornamelijk Bach die Jacob de Haan inspireerde. Hij maakte hiermee een uitmuntende aanvulling op het repertoire voor geestelijke muzik.

Das prachtvolle Choralthema Aus tiefer Not schrei ich zu dir geht auf Martin Luther zurück und basiert auf dem Text von Psalm 130. Bekannt wurde der Choral jedoch vor allem durch die gleichnamige Choralkantate, die Johann Sebastian Bach genau zwei Jahrhunderte später, im Jahre 1724, schrieb. Für sein Arrangement ließ sich Jacob de Haan vorwiegend von Bach inspirieren und schuf damit eine wundervolle Ergänzung für das Repertoire an geistlicher Musik.

Le magnifique thème du choral Aus tiefer Not schrei ich zu dir (Du fond de l’abîme, je t’invoque, o Éternel) est attribué Martin Luther. Il s’agit d’une mise en musique du Psaume 130 (De profundis) dans sa version allemande. Cette hymne fait partie du corpus du premier des recueils de cantiques luthériens, le Geistliches Gesangbüchlein, publié Wittenberg, en 1524, par Johann Walter. Deux cents ans plus tard, Jean-Sébastien Bach composait une cantate, fondée sur le choral du même nom de Martin Luther. Pour réaliser cet arrangement pour Orchestre d’Harmonie, Jacob de Haan s’est particulièrement inspiré de l’œuvre de Bach. Aus tiefer Not est uneprécieuse contribution au répertoire sacré.

Nel 1524, Martin Lutero pubblicò il primo raccolto di cantici, tra i quali il magnifi co corale Aus tiefer Not schrei ich zu dir, dal Salmo 130 (De profundis). Nel 1724, Johann Sebastian Bach compose una cantata, ispirandosi al corale di Lutero. Nella realizzazione di questo arrangiamento per banda, Jacob de Haan si è affidato all’opera di Bach. Aus tiefer Not è un importante contributo al repertorio sacro.

Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2

SKU: CF.YPS204F

Long Live the King. Composed by Tyler Arcari. Young Band (YPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #YPS204F. Published by Carl Fischer Music (CF.YPS204F).

ISBN 9781491152928. UPC: 680160910427.

Avalo n–Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship.
Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King!