Keyboard (Piano/Synthesizer/Organ - Guitar Chords included). Arranged by James C...(+)
Keyboard
(Piano/Synthesizer/Organ
- Guitar Chords
included). Arranged by
James Curnow. This
edition: CMP125208.
Curnow Concert Band Full
Set. 28 pages. Published
by Curnow Music.
Composed by George Sweet.
Concert Band. Set of
Score and Parts. With
Standard notation.
24+6+12+12+12+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+4+12+1+2
+2+6+6+32 pages. Duration
3 minutes, 31 seconds.
Carl Fischer Music
#CPS156. Published by
Carl Fischer Music
(CF.CPS156).
ISBN
9780825895876. UPC:
798408095871. 9 x 12
inches.
Panoramic
is inspired by the
picturesque woodland
landscape near the
composer's home in
Blackstock, South
Carolina. Filled with
polychords reminiscent of
standard band literature
from Schumann, Mennin and
Persichetti, this piece
is structured for
contemporary bands.
Concert Band - Grade 4.5 SKU: AP.51017S Composed by Adrian B. Sims. Conce...(+)
Concert Band - Grade 4.5
SKU: AP.51017S
Composed by Adrian B.
Sims. Concert Band;
Performance Music
Ensemble; Single Titles.
MakeMusic Symphonic Band.
Programmatic. Score.
Duration 4:40. MakeMusic
#00-51017S. Published by
MakeMusic (AP.51017S).
ISBN 9781470667092.
UPC: 038081585703.
English.
Travel to
the unknown in Lucid
Dreams, an exciting work
based on a five-note
melodic idea that can't
quite make up its
harmonic mind. Adrian B.
Sims takes the listener
through musical
hallucinations, both
haunting and
breathtaking, concluding
with chords so glorious
people may quite
literally think they are
dreaming! (4:40).
Composed by George Sweet.
Concert Band. Full score.
32 pages. Duration 3
minutes, 31 seconds. Carl
Fischer Music #CPS156F.
Published by Carl Fischer
Music (CF.CPS156F).
ISBN 9780825896491.
UPC: 798408096496. 9 x 12
inches.
Panoramic
is inspired by the
picturesque woodland
landscape near the
composer's home in
Blackstock, South
Carolina. Filled with
polychords reminiscent of
standard band literature
from Schumann, Mennin and
Persichetti, this piece
is structured for
contemporary bands.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 20 pages. Carl
Fischer Music #YPS212F.
Published by Carl Fischer
Music (CF.YPS212F).
ISBN 9781491152997.
UPC:
680160910496.
Takin
g its title from a poem
about grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Composed by Larry Clark.
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+2+2+4+10+20+4
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS212.
Published by Carl Fischer
Music (CF.YPS212).
ISBN 9781491152317.
UPC: 680160909810. Key: C
minor.
Taking its
title from a poem about
grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Credence Orchestre d'harmonie - Intermédiaire Claude T. Smith Publications
Grade 3 SKU: CL.CTS-7705-00 Composed by Claude T. Smith. Concert Band. Sc...(+)
Grade 3
SKU:
CL.CTS-7705-00
Composed by Claude T.
Smith. Concert Band.
Score and set of parts.
Composed 1973. Claude T.
Smith Publications
#CTS-7705-00. Published
by Claude T. Smith
Publications
(CL.CTS-7705-00).
An exciting and
energetic snare drum solo
begins this composition
with the woodwinds
foreshadowing material
soon to come and a brass
introduction, which is
concluded by a beautiful
bassoon cadenza. Credence
prominently features the
percussion section,
especially the snare drum
and timpani. With plenty
of time signature
changes, Credence gives
the educator an
opportunity to explain
non-functional major
chords, polychords and
chromaticism. A concert
and contest favorite.
Credence Orchestre d'harmonie - Intermédiaire Claude T. Smith Publications
Grade 3 SKU: CL.CTS-7705-01 Composed by Claude T. Smith. Concert Band. Ex...(+)
Grade 3
SKU:
CL.CTS-7705-01
Composed by Claude T.
Smith. Concert Band.
Extra full score.
Composed 1973. Claude T.
Smith Publications
#CTS-7705-01. Published
by Claude T. Smith
Publications
(CL.CTS-7705-01).
An exciting and
energetic snare drum solo
begins this composition
with the woodwinds
foreshadowing material
soon to come and a brass
introduction, which is
concluded by a beautiful
bassoon cadenza. Credence
prominently features the
percussion section,
especially the snare drum
and timpani. With plenty
of time signature
changes, Credence gives
the educator an
opportunity to explain
non-functional major
chords, polychords and
chromaticism. A concert
and contest favorite.
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, FLÂ
2017.
Concert Band Concert Band - Grade 1 SKU: FJ.B1542S Score Only. Com...(+)
Concert Band Concert Band
- Grade 1
SKU:
FJ.B1542S
Score
Only. Composed by
Mekel Rogers. Concert
Band. FJH Beginning Band.
Score. Duration 1:45. The
FJH Music Company Inc
#98-B1542S. Published by
The FJH Music Company Inc
(FJ.B1542S).
English.
A
dynamic opening with
majestic chords and a
pulsating woodwind
ostinato sets the stage
for this festival
selection or concert
opener. The air of
nobility throughout the
piece evokes the upper
house of the Medieval
English Parliament for
which the work is named.
Uplifting music that
incorporates
fanfare-style playing
with legato passages and
active percussion
writing. Certain to be a
hit!
About
FJH Beginning
Band
Appro
priate within the first
year of instruction and
beginning of the second
year. Clarinets do not go
above the break, and
there is limited use of
accidentals. Plenty of
doublings in the lower
voices. Grade 1.
Wind band SKU: HH.HH121-SSC Composed by Timothy Raymond. Wind Band. Study...(+)
Wind band
SKU:
HH.HH121-SSC
Composed
by Timothy Raymond. Wind
Band. Study score.
Duration 22 minutes.
Edition HH Music
Publishers #HH121-SSC.
Published by Edition HH
Music Publishers
(HH.HH121-SSC).
ISBN
9790708041436.
The
opening movement begins
high up with stylised
birdsong and moves down
through the registers,
through Frye’s
Motet, to the depths of a
tuba solo. The second
movement is a slow
processional which
revolves around a series
of chords and leads,
without a break, through
a tutti passage in
octaves to the third,
which opens with a
trumpet solo and moving
through several fast
sometimes, contrapuntal
episodes to a triumphal
arrival of a quotation
from a Mass by Jacob
Obrecht.
By Allen Vizzutti. Music by Allen Vizzutti. For Concert Band. Concert Band. Alfr...(+)
By Allen Vizzutti. Music
by Allen Vizzutti. For
Concert Band. Concert
Band. Alfred Concert
Band. Level: Level 4
(grade 4). Conductor
Score and Parts. 2 pages.
Published by Alfred
Publishing.
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
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, FLÂ
2017.
Band Concert Band - Grade 3 SKU: CF.CPS262 Composed by Carl Strommen. Cps...(+)
Band Concert Band - Grade
3
SKU: CF.CPS262
Composed by Carl
Strommen. Cps. Set of
Score and Parts.
1+8+8+4+8+8+8+4+4+4+4+4+4
+8+8+8+4+4+4+4+6+6+6+6+4+
8+1+1+2+2+28 pages.
Duration 5:43. Carl
Fischer Music #CPS262.
Published by Carl Fischer
Music (CF.CPS262).
ISBN 9781491161401.
UPC:
680160919994.
Carl
Strommen, an alumnus of
the Bellmore-Merrick
CHSD, composed A Walk in
the Park for Walter
Avenllaneda's John F.
Kennedy High School Band.
This composition features
dynamic brass and
sweeping & energetic
woodwind lines. Adhere to
natural phrases for which
the music of Carl
Strommen is known,
especially in the
beginning and end of the
piece, to achieve the
full sustained chords
that are written. Make
sure to bring out the
three- note motif as it
is orchestrated
throughout the piece even
in the beginning. The
fast sections should be
vibrant, energetic and
with exaggerated dynamics
that follow the line
shapes. The Waltz in the
middle requires a
complete change of style
and adds a wonderful
contrast to the energy of
the piece. The transition
out of the Waltz into the
new tempo will take some
time but is well worth
the effort to pull it
off. The energy returns
until we get a wonderful
dramatic and bold
ending. Carl Strommen,
an alumnus of the
Bellmore-Merrick CHSD,
composed A Walk in the
Park for Walter
Avenllaneda’s John
F. Kennedy High School
Band. This
composition features
dynamic brass and
sweeping & energetic
woodwind lines. Adhere to
natural phrases for which
the music of Carl
Strommen is known,
especially in the
beginning and end of the
piece, to achieve the
full sustained chords
that are written. Make
sure to bring out the
three- note motif as it
is orchestrated
throughout the piece even
in the beginning. The
fast sections should be
vibrant, energetic and
with exaggerated dynamics
that follow the line
shapes. The Waltz in the
middle requires a
complete change of style
and adds a wonderful
contrast to the energy of
the piece. The transition
out of the Waltz into the
new tempo will take some
time but is well worth
the effort to pull it
off. The energy returns
until we get a wonderful
dramatic and bold
ending.
Band Concert Band - Grade 3 SKU: CF.CPS262F Composed by Carl Strommen. Cp...(+)
Band Concert Band - Grade
3
SKU: CF.CPS262F
Composed by Carl
Strommen. Cps. Full
score. 28 pages. Duration
5:43. Carl Fischer Music
#CPS262F. Published by
Carl Fischer Music
(CF.CPS262F).
ISBN
9781491161722. UPC:
680160920419.
Carl
Strommen, an alumnus of
the Bellmore-Merrick
CHSD, composed A Walk in
the Park for Walter
Avenllaneda's John F.
Kennedy High School Band.
This composition features
dynamic brass and
sweeping & energetic
woodwind lines. Adhere to
natural phrases for which
the music of Carl
Strommen is known,
especially in the
beginning and end of the
piece, to achieve the
full sustained chords
that are written. Make
sure to bring out the
three- note motif as it
is orchestrated
throughout the piece even
in the beginning. The
fast sections should be
vibrant, energetic and
with exaggerated dynamics
that follow the line
shapes. The Waltz in the
middle requires a
complete change of style
and adds a wonderful
contrast to the energy of
the piece. The transition
out of the Waltz into the
new tempo will take some
time but is well worth
the effort to pull it
off. The energy returns
until we get a wonderful
dramatic and bold
ending. Carl Strommen,
an alumnus of the
Bellmore-Merrick CHSD,
composed A Walk in the
Park for Walter
Avenllaneda’s John
F. Kennedy High School
Band. This
composition features
dynamic brass and
sweeping & energetic
woodwind lines. Adhere to
natural phrases for which
the music of Carl
Strommen is known,
especially in the
beginning and end of the
piece, to achieve the
full sustained chords
that are written. Make
sure to bring out the
three- note motif as it
is orchestrated
throughout the piece even
in the beginning. The
fast sections should be
vibrant, energetic and
with exaggerated dynamics
that follow the line
shapes. The Waltz in the
middle requires a
complete change of style
and adds a wonderful
contrast to the energy of
the piece. The transition
out of the Waltz into the
new tempo will take some
time but is well worth
the effort to pull it
off. The energy returns
until we get a wonderful
dramatic and bold
ending.
Concert Band Concert Band - Grade 1 SKU: FJ.B1771 Composed by Timothy Loe...(+)
Concert Band Concert Band
- Grade 1
SKU:
FJ.B1771
Composed by
Timothy Loest. Concert
Band. FJH Beginning Band.
Light Concert; Novelty.
Score and Part(s).
Duration 2:30. The FJH
Music Company Inc
#98-B1771. Published by
The FJH Music Company Inc
(FJ.B1771).
UPC:
241444400418.
English.
Orphaned
toys come to life in this
eerie tour of an
abandoned toy store. The
work opens and closes
with Victor Herbert's
dreamlike Toyland as a
Jack-in-the-box plays Pop
Goes the Weasel. A wealth
of toy sounds make their
appearance among
diminished chords,
tri-tones, and the Dies
Irae, which surrounds an
aleatoric section
featuring a whole host of
noisy toys. Highly
accessible, extremely
creative, and definitely
memorable!
About FJH
Beginning
Band
Appro
priate within the first
year of instruction and
beginning of the second
year. Clarinets do not go
above the break, and
there is limited use of
accidentals. Plenty of
doublings in the lower
voices. Grade 1.
Concert Band Concert Band - Grade 1 SKU: FJ.B1771S Score Only. Com...(+)
Concert Band Concert Band
- Grade 1
SKU:
FJ.B1771S
Score
Only. Composed by
Timothy Loest. Concert
Band. FJH Beginning Band.
Light Concert; Novelty.
Score. Duration 2:30. The
FJH Music Company Inc
#98-B1771S. Published by
The FJH Music Company Inc
(FJ.B1771S).
English.
Orphane
d toys come to life in
this eerie tour of an
abandoned toy store. The
work opens and closes
with Victor Herbert's
dreamlike Toyland as a
Jack-in-the-box plays Pop
Goes the Weasel. A wealth
of toy sounds make their
appearance among
diminished chords,
tri-tones, and the Dies
Irae, which surrounds an
aleatoric section
featuring a whole host of
noisy toys. Highly
accessible, extremely
creative, and definitely
memorable!
About FJH
Beginning
Band
Appro
priate within the first
year of instruction and
beginning of the second
year. Clarinets do not go
above the break, and
there is limited use of
accidentals. Plenty of
doublings in the lower
voices. Grade 1.
Atlantis Orchestre d'harmonie - Débutant Hal Leonard
Score Only Concert Band (SCORE ONLY) - Level 1.5 SKU: HL.4280401 Composed...(+)
Score Only Concert Band
(SCORE ONLY) - Level 1.5
SKU: HL.4280401
Composed by Anne McGinty.
MusicWorks Grade 1.
Concert, Overture. 8
pages. Published by Hal
Leonard (HL.4280401).
UPC: 884088073558.
9.0x12.0x0.019
inches.
Already a
classic in the grade 1
repertoire, Anne
McGinty's composition
sounds sophisticated
without being hard. It
features effective use of
polychords, modal
harmonies and a driving
percussion part. Written
with just a single tempo,
this is sure to make your
beginners sound great!
Dur: 2:05.
Concert Band Symphonic Band - Grade 4 SKU: FJ.B1479S Score Only. C...(+)
Concert Band Symphonic
Band - Grade 4
SKU:
FJ.B1479S
Score
Only. Composed by
Brian Balmages. Concert
Band. FJH Symphonic Band.
Score. Duration 5:45. The
FJH Music Company Inc
#98-B1479S. Published by
The FJH Music Company Inc
(FJ.B1479S).
English.
This
dynamic and intense work
describes a phenomenon in
which clouds follow the
same pattern as waves in
the ocean. After an
introspective opening,
the music grows in
intensity with long
sustained chords pushing
through intense rhythmic
movement. Eventually,
woodwinds become the
focus of the work in a
subdued section before
undulating percussion
begin the final powerful
drive. Woodwinds join in
a flurry of activity
while brass players
sustain epic chords once
more, until a whirlwind
of notes converge into
one chaotic statement,
punctuated by dissonant
chords in the brass. The
final sequence will leave
the audience gasping.
Intense!
About FJH
Symphonic
Band
Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 - 5
Das
sinfonische Gedicht El
Golpe Fatal zeichnet in
musikalisch
ausdrucksstarken Bildern
einen
lateinamerikanischen
Stierkampf, eine corrida
de torros nach. Von der
feierlichen Eröffnung
der corrida, über den
verhängnisvollen
Schlag bis hin zur
Ehrenrunde des
siegreichen Matadors kann
der Zuhörer den
Verlauf dieses spannenden
Zweikampfes verfolgen.El
Gople Fatal, eine
höchst anspruchsvolle
Komposition, ist für
jedes Orchester eine
echte
Herausforderung.
Danceries by Kenneth Hesketh. Concert Band. For Wind Band. Part(s); Score; Wind ...(+)
Danceries by Kenneth
Hesketh. Concert Band.
For Wind Band. Part(s);
Score; Wind Band. Faber
Edition: Faber Wind Band
Series. 20th Century;
Masterwork. Published by
Faber Music
Band Concert Band - Grade 2 SKU: CF.YPS215F Composed by Sean O'Loughlin. ...(+)
Band Concert Band - Grade
2
SKU: CF.YPS215F
Composed by Sean
O'Loughlin. Young Band
(YPS). Full score. With
Standard notation. 20
pages. Carl Fischer Music
#YPS215F. Published by
Carl Fischer Music
(CF.YPS215F).
ISBN
9781491153024. UPC:
680160910526.
Beyon
d the Crest is an
exciting piece that
captures the essence of
Sean O'Loughlin's popular
style. The piece opens
with a slow, soaring
melody that develops
throughout the
composition. Pulsating
eighth notes build the
tension and intense
harmonies drive the piece
to a satisfying and
dynamic ending. Beyond
the Crest was
commissioned by the
Lakeshore Bands of
Stevensville, Michigan,
and dedicated to Philip
and Cindy Huff, Directors
of Bands, in honor of
their retirement. The
piece captures the
excitement and
achievement that defined
Philip and Cindy Huff's
illustrious careers. The
piece opens with a slow,
soaring melody that will
become the basis of the
entire composition. It
builds to an intense
chord at m. 13 that sets
off into the fast section
at m. 14. This section
begins with some
eighth-note pulses. The
woodwinds have more
eighth notes than the
rest of the ensemble to
create an echo effect.
Bring out the dynamics to
highlight this. The main
melody comes in at m. 33,
which is a faster version
of the opening melody. It
is complimented by some
eighth-note punches and
lush chords. The
woodwinds take over at m.
43 with a much broader
accompaniment in the
lower voices. The lower
voices get their chance
at the melody at m. 54.
The echo effect returns
at m. 68 to start the
cycle over again but this
time with some new
wrinkles. Measure 77
transports to a new tonal
center and then brings it
back to a broad
presentation at m. 85.
The eighth notes
return to bring the piece
to an exciting end.
Orchestre d'harmonie [Conducteur] Faber Music Limited
Composed by Kenneth Hesketh. 5 or More; Performance Music Ensemble; Solo Small E...(+)
Composed by Kenneth
Hesketh. 5 or More;
Performance Music
Ensemble; Solo Small
Ensembles; Wind Band.
Faber Edition: Faber Wind
Band Series. Form: Dance.
20th Century; Masterwork.
Score. Faber Music
#12-0571564704. Published
by Faber Music
Band Concert Band - Grade 2 SKU: CF.YPS215 Composed by Sean O'Loughlin. Y...(+)
Band Concert Band - Grade
2
SKU: CF.YPS215
Composed by Sean
O'Loughlin. 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+2+2+4+12+20+4
pages. Duration 3:15.
Carl Fischer Music
#YPS215. Published by
Carl Fischer Music
(CF.YPS215).
ISBN
9781491152348. UPC:
680160909841. Key: Bb
major.
Beyond the
Crest is an exciting
piece that captures the
essence of Sean
O'Loughlin's popular
style. The piece opens
with a slow, soaring
melody that develops
throughout the
composition. Pulsating
eighth notes build the
tension and intense
harmonies drive the piece
to a satisfying and
dynamic ending. Beyond
the Crest was
commissioned by the
Lakeshore Bands of
Stevensville, Michigan,
and dedicated to Philip
and Cindy Huff, Directors
of Bands, in honor of
their retirement. The
piece captures the
excitement and
achievement that defined
Philip and Cindy Huff's
illustrious careers. The
piece opens with a slow,
soaring melody that will
become the basis of the
entire composition. It
builds to an intense
chord at m. 13 that sets
off into the fast section
at m. 14. This section
begins with some
eighth-note pulses. The
woodwinds have more
eighth notes than the
rest of the ensemble to
create an echo effect.
Bring out the dynamics to
highlight this. The main
melody comes in at m. 33,
which is a faster version
of the opening melody. It
is complimented by some
eighth-note punches and
lush chords. The
woodwinds take over at m.
43 with a much broader
accompaniment in the
lower voices. The lower
voices get their chance
at the melody at m. 54.
The echo effect returns
at m. 68 to start the
cycle over again but this
time with some new
wrinkles. Measure 77
transports to a new tonal
center and then brings it
back to a broad
presentation at m. 85.
The eighth notes
return to bring the piece
to an exciting end.
Diptych. Composed
by Jan Van der Roost.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2011. 36 pages.
De Haske Publications
#DHP 1115075-140.
Published by De Haske
Publications
(BT.DHP-1115075-140).
9x12 inches.
English-German-French-Dut
ch.
Diptyque
is the French word for
“diptych,â€
meaning a hinged two-part
image. The first section
of this two-part musical
painting has an Oriental
feel, with characteristic
pentatonic melody lines
and chords. The second
section is a cheerful
Saltarello dance that
brings out the subtleties
of the woodwind section.
A juxtaposition of
Eastern and Western
music, Diptyque
reminds listeners of the
power of music in
transcending all
cultural, religious and
political
boundaries.
Dip
tyque is het Franse
woord voor
‘diptychon’,
een ander woord voor
tweeluik. Het eerste deel
van dit muzikale beeld
heeft oriëntaalse
flair. Karakteristieke
pentatonische
melodielijnen en
akkoorden voeren de
boventoon. Hettweede deel
vormt qua stijl en
karakter een groot
contrast, het is een
levendige saltarello
waarin de kwaliteiten van
de houtblazers goed naar
voren komen. En de
muzikale boodschap? Deze
prachtige combinatie van
oosterse en
westersemuziek neemt alle
culturele, religieuze en
politieke grenzen
weg!
Diptyque
I> ist das
französische Wort
für
Diptychon“, ein
zweiteiliges Bild. Der
erste Teil dieses
zweiteiligen
musikalischen Bildes hat
ein orientalisches Flair
mit charakteristischen
pentatonischen
Melodielinien und
Akkorden. Im Kontrast
dazu ist der zweite Teil
ein heiterer
Saltarello-Tanz, der die
Finessen der
Holzbläser hervorhebt.
Die Botschaft dieser
Nebeneinanderstellung
östlicher und
westlicher Musik ist,
dass die Musik alle
kulturellen,
religiösen oder
politischen Grenzen
aufzuheben
vermag!
Diptyque è un
titolo perfetto per
questa composizione in
due parti. La prima, dal
carattere maestoso,
s’ispira ad
un’antica canzone
per bambini chiamata
Akkatobai, originaria
della citt giapponese di
Nagasaki. Il secondo
affresco offre un vivace
contrasto in termini di
stile e tempi. Gaio e
luminoso, esso riflette
l’isola di Kyushu
nel sud del Giappone. La
giustapposizione delle
due parti di questo
dittico vuole
rappresentare
l’intesa tra
oriente e occidente,
evocando al contempo
l’universalit
della musica.
Diptych. Composed
by Jan Van der Roost.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2011. De
Haske Publications #DHP
1115075-010. Published by
De Haske Publications
(BT.DHP-1115075-010).
9x12 inches.
English-German-French-Dut
ch.
Diptyque
is the French word for
“diptych,â€
meaning a hinged two-part
image. The first section
of this two-part musical
painting has an Oriental
feel, with characteristic
pentatonic melody lines
and chords. The second
section is a cheerful
Saltarello dance that
brings out the subtleties
of the woodwind section.
A juxtaposition of
Eastern and Western
music, Diptyque
reminds listeners of the
power of music in
transcending all
cultural, religious and
political
boundaries.
Dip
tyque is het Franse
woord voor
‘diptychon’,
een ander woord voor
tweeluik. Het eerste deel
van dit muzikale beeld
heeft oriëntaalse
flair. Karakteristieke
pentatonische
melodielijnen en
akkoorden voeren de
boventoon. Hettweede deel
vormt qua stijl en
karakter een groot
contrast, het is een
levendige saltarello
waarin de kwaliteiten van
de houtblazers goed naar
voren komen. En de
muzikale boodschap? Deze
prachtige combinatie van
oosterse en
westersemuziek neemt alle
culturele, religieuze en
politieke grenzen
weg!
Diptique
I> ist das
französische Wort
für
Diptychon“, ein
zweiteiliges Bild. Der
erste Teil dieses
zweiteiligen
musikalischen Bildes hat
ein orientalisches Flair
mit charakteristischen
pentatonischen
Melodielinien und
Akkorden. Im Kontrast
dazu ist der zweite Teil
ein heiterer
Saltarello-Tanz, der die
Finessen der
Holzbläser hervorhebt.
Die Botschaft dieser
Nebeneinanderstellung
östlicher und
westlicher Musik ist,
dass die Musik alle
kulturellen,
religiösen oder
politischen Grenzen
aufzuheben
vermag!
Diptyque è un
titolo perfetto per
questa composizione in
due parti. La prima, dal
carattere maestoso,
s’ispira ad
un’antica canzone
per bambini chiamata
Akkatobai, originaria
della citt giapponese di
Nagasaki. Il secondo
affresco offre un vivace
contrasto in termini di
stile e tempi. Gaio e
luminoso, esso riflette
l’isola di Kyushu
nel sud del Giappone. La
giustapposizione delle
due parti di questo
dittico vuole
rappresentare
l’intesa tra
oriente e occidente,
evocando al contempo
l’universalit
della musica.
Grade 3 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band. Score
Only. Composed 2011. 22
pages. Anglo Music Press
#AMP317140. Published by
Anglo Music Press
(HL.44011005).
White
Light was
commissioned by Fumiko
Teramoto, oboist with the
Musashino Grand Concert
Band in Tokyo, Japan. The
request was for a
moderately slow piece of
intermediate difficulty
that included the work
“white” (Ms.
Teramoto's lucky color)
in the title. The
composer used this
suggestion to write a
piece that was both
bright and light in terms
of harmony, color and
orchestration, with much
use of simple major and
minor chords and an
emphasis on the pure,
transparent timbres of
the upper woodwinds of
the band; he was also
keen to capture the
essence and history of
the oboe as a solo
instrument. The piece is
pastoral in character and
often almost baroque in
style. It opens with a
chorale-like passage on
flutes and clarinets; the
soloist enters with a
recitative over trilling
clarinets. The main theme
is then introduced,
accompanied by the
woodwinds. After a short
bridge passage, a change
of key heralds a second
theme by the soloist,
with gentle brass
punctuations. This builds
to a climax, ending on a
high trill from the
soloist. After short
passage over a timpani
roll, the band recalls
the main theme, taken up
once again by the
soloist. This leads to a
short cadenza before the
closing bars bring the
work peacefully to a
close.