Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3 and more.

SKU: PR.16500092L

For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L).

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

Concert band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon*, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*) - grade 5

SKU: CN.R10004

Composed by John Ireland. Band Music. Score and parts. Duration 10:30. Published by G & M Brand Music Publishers (CN.R10004).

A slow introduction gives way to the chirpy theme which is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. Restlessness leads to a tranquillo presented by the flute and clarinet, weaving a flowing counterpoint around the melody until the original slow introduction returns. A triumphant recapitulation of the main theme brings this wonderful piece to an end.

Originally composed for Brass Band in 1934 Comedy Overture is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's Fingal's Cave - in other words, a miniature Tone Poem). The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work These Things Shall Be (1936-1937). We are fortunate therefore to have both Comedy Overture and A Downland Suite (1932) written for band medium at this time. As with Maritime Overture (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of Comedy, sometimes appearing in inverted form, and sometimes in major forms as well. The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a perfect resolution in the fourth or the fifth. The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major. Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of Piccadilly. (Much of the material in Comedy was re-conceived by Ireland for orchestra and published two years later under the title A London Overture.) The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section. Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third. Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure. This leads to virtually a full recapitulation of the chirpy brilliante, with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.

Concert band - Grade 4

SKU: MH.1-59913-072-6

Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:00. Published by Manhattan Beach Music (MH.1-59913-072-6).

ISBN 9781599130729.

Prog ram Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.

Concert band - Grade 3

SKU: CL.026-4133-01

Arranged by Stanton. Concert Band. Build-A-Band. Extra full score. Composed 2012. Duration 3 minutes, 22 seconds. C.L. Barnhouse #026-4133-01. Published by C.L. Barnhouse (CL.026-4133-01).

An outstanding new addition to the Build-A-Band Series that includes the Song Without Words and Song of the Blacksmith movements from this famous suite. Can be combined with Scott's earlier arrangement of the March movement the same suite to make a wonderful program for concert and contest performances. Now even the smallest bands can successfully perform this great work which is such a staple of the concert band repertoire.

About Build-A-Band Series

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

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Grade 3. Conductor Full Score. Duration 3:30

(1. Country Song; 2. Country March). By Gustav Holst (1874-1934). Arranged by Frank Erickson. Concert Band. Concert Band; Masterworks. Frank Erickson Publications. 20th Century; Masterwork Arrangement; Romantic. Grade 4. Conductor Score and Parts. 272 pages. Published by Alfred Music Publishing

(1. Country Song; 2. Country March). By Gustav Holst (1874-1934). Arranged by Frank Erickson. Concert Band. Concert Band; Masterworks. Frank Erickson Publications. 20th Century; Masterwork Arrangement; Romantic. Grade 4. Conductor Score. 52 pages. Published by Alfred Music Publishing

Concert Band Grade 4 Score and Parts. Composed by Otto M. Schwarz. Symphonic Dimensions. Concert Band. Softcover. Duration 580 seconds. Hal Leonard #SDP1452202. Published by Hal Leonard

Concert Band - Grade 2.5

SKU: FJ.B1882

Composed by Brian Balmages. Concert Band. FJH Young Band. Score and Part(s). The FJH Music Company Inc #98-B1882. Published by The FJH Music Company Inc (FJ.B1882).

English.

Who will be better because of what I do today? These words inspire the opening chorale and the joyous celebration that follows. A powerful reminder of how each of us can affect positive change in the people and world around us, the music eventually erupts in a euphoria of sound, almost akin to a pop music concert. As quickly as this comes, the chorale returns once more, leaving everyone with a sense of peace.

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

Concert Band - Grade 2.5

SKU: FJ.B1882S

Composed by Brian Balmages. Concert Band. FJH Young Band. Score. The FJH Music Company Inc #98-B1882S. Published by The FJH Music Company Inc (FJ.B1882S).

English.

Who will be better because of what I do today? These words inspire the opening chorale and the joyous celebration that follows. A powerful reminder of how each of us can affect positive change in the people and world around us, the music eventually erupts in a euphoria of sound, almost akin to a pop music concert. As quickly as this comes, the chorale returns once more, leaving everyone with a sense of peace.

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5

By Franco Cesarini. (Score and Parts). De Haske Concert Band Full Set. Published by Mitropa Music.

Concert Band (Score) - Level 1.5

SKU: HL.4007676

Composed by Michael Oare. MusicWorks Grade 1. Concert. Softcover. Duration 110 seconds. Published by Hal Leonard (HL.4007676).

UPC: 196288080275. 9.0x12.0x0.03 inches.

The title Heavy Mettle is naturally a play on words and affectionately refers to the low brass section. Filled with enthusiasm and a resilient spirit, these students are often the foundation and heart of any band. Although not specifically a low brass feature, Heavy Mettle is a driving and energetic work that pays tribute to these indispensable players! Dur: 1:50.

Score and Parts Concert Band (SCORE+PARTS) - Level 1.5

SKU: HL.4007675

Composed by Michael Oare. MusicWorks Grade 1. Concert. Softcover. Duration 110 seconds. Published by Hal Leonard (HL.4007675).

UPC: 196288080268. 9.0x12.0x0.36 inches.

The title Heavy Mettle is naturally a play on words and affectionately refers to the low brass section. Filled with enthusiasm and a resilient spirit, these students are often the foundation and heart of any band. Although not specifically a low brass feature, Heavy Mettle is a driving and energetic work that pays tribute to these indispensable players! Dur: 1:50.

Arranged by James Swearingen. Concert band. Symphony Band Series. Audio recording available separately (item CL.WFR372). Grade 3.5. Score and set of parts. Composed 2011. Duration 4 minutes, 20 seconds. Published by C.L. Barnhouse

Grade 3

SKU: CL.012-4055-01

A Chorale Prelude. Concert Band. Symphony Band Series. Audio recording available separately (item CL.WFR372). Extra full score. Composed 2011. Duration 4 minutes, 20 seconds. Opus III Wind Orchestra Publications #012-4055-01. Published by Opus III Wind Orchestra Publications (CL.012-4055-01).

This beautiful setting of one of the most popular hymns ever written, Christ The Lord is Risen Today, was respectfully commissioned by the Ohio chapter of Phi Beta Mu in memory of James Morgan. Its musical impact is undeniably both breathtaking and stunning beyond all descriptive words. The emotional conclusion of this work allows for the audience to sing the hymn while an antiphonal brass section soars high above with emotional reverence. Both of these creative ideas are purely optional, but they should be definitely thought of as highly effective when applied. Inspiring!

By Bernard Rogers. Edited by George Megaw. Arranged by Timothy Topolewsky. Concert band. 474 pages. Published by Alfred Publishing.

Concert band - Grade 2

SKU: CL.011-4606-01

Composed by Conaway. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR393). Extra full score. Composed 2017. Duration 3 minutes, 25 seconds. C.L. Barnhouse #011-4606-01. Published by C.L. Barnhouse (CL.011-4606-01).

Ready for some musical shock and awe? Play on words aside, this is an excellent way to feature your entire woodwind section in a way that doesn’t ignore the rest of the band. A brief, ominous march soon gives way to a raucous display of fast trills and flourishes that show off what these instruments can do (even the bass woodwinds). Highly effective for all serious and light concert environments!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Concert band - Grade 2

SKU: CL.011-4606-00

Composed by Conaway. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR393). Score and set of parts. Composed 2017. Duration 3 minutes, 25 seconds. C.L. Barnhouse #011-4606-00. Published by C.L. Barnhouse (CL.011-4606-00).

Ready for some musical shock and awe? Play on words aside, this is an excellent way to feature your entire woodwind section in a way that doesn’t ignore the rest of the band. A brief, ominous march soon gives way to a raucous display of fast trills and flourishes that show off what these instruments can do (even the bass woodwinds). Highly effective for all serious and light concert environments!

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.