Variations on a Nautical Hymn Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Arranged by Mark Williams. Arr. Mark Williams. For Concert Band. Concert Band. A...(+)
Arranged by Mark
Williams. Arr. Mark
Williams. For Concert
Band. Concert Band.
Alfred Concert Band.
Hymn. Level: 4 (Medium
Difficult) (grade 4).
Conductor Score and
Parts. 3 pages. Published
by Alfred Publishing.
Campbell River Sketches Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Mark Williams. Music by Mark Williams. For Concert Band. Concert Band. Growin...(+)
By Mark Williams. Music
by Mark Williams. For
Concert Band. Concert
Band. Growing Band
Series. Level: Level 3
(grade 3). Conductor
Score & Parts. 2 pages.
Published by Alfred
Publishing.
Stawamus Chief Orchestre d'harmonie [Conducteur et Parties séparées] Alfred Publishing
Mvt. III from the Sea to Sky Suite. By Ralph Ford. For Concert Band. Concert Ban...(+)
Mvt. III from the Sea to
Sky Suite. By Ralph Ford.
For Concert Band. Concert
Band. Belwin Symphonic
Band. Level: 5
(Difficult) (grade 5).
Conductor Score and
Parts. 272 pages.
Published by Alfred
Publishing.
Moravian Folk Rhapsody Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Robert Sheldon. Music by Robert Sheldon. For Concert Band. Concert Band. Alfr...(+)
By Robert Sheldon. Music
by Robert Sheldon. For
Concert Band. Concert
Band. Alfred Concert
Band. Level: Grade 4.
Conductor Score and
Parts. 4 pages. Published
by Alfred Publishing.
Songs of Old Kentucky Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Brant Karrick. For Concert Band. Concert Band. Alfred Concert Band. Folk Song...(+)
By Brant Karrick. For
Concert Band. Concert
Band. Alfred Concert
Band. Folk Song. Level:
3.5 (Medium) (grade 3.5).
Conductor Score and
Parts. 244 pages.
Published by Alfred
Publishing.
Blue Ridge Rhapsody Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
By John Kinyon. Music by John Kinyon. For Concert Band. Concert Band. Growing Ba...(+)
By John Kinyon. Music by
John Kinyon. For Concert
Band. Concert Band.
Growing Band Series.
Level: Level 2 (grade 2).
Conductor Score & Parts.
61 pages. Published by
Alfred Publishing.
Nothin' but the Blues Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Clark Tyler. Music by Clark Tyler. For Concert Band. Concert Band. Mini Score...(+)
By Clark Tyler. Music by
Clark Tyler. For Concert
Band. Concert Band. Mini
Score Series. Level:
Level 1 (grade 1).
Conductor Score and
Parts. 1 pages. Published
by Alfred Publishing.
Grade 5 SKU: CL.LDP-7276-00 Third Movement Finale. Composed by Pet...(+)
Grade 5
SKU:
CL.LDP-7276-00
Third Movement
Finale. Composed by
Peter Ilyich Tchaikovsky.
Arranged by Daehn.
Concert Band. Score and
set of parts. Composed
2007. Duration 3 minutes,
10 seconds. Daehn
Publications
#LDP-7276-00. Published
by Daehn Publications
(CL.LDP-7276-00).
Tchaikovsky’s
beloved march comes
bounding up from the
pages of this excellent
transcription. Sweeping
woodwinds and powerful
brass and, on, those
beautiful Tchaikovsky
melodies! A real
adventure for players and
audience. Fantastic!
(A Complete Concert Including: Red River Valley / This Old Man / A Bicycle Built...(+)
(A Complete Concert
Including: Red River
Valley / This Old Man / A
Bicycle Built for Two /
William Tell Overture).
By Jack Bullock. Concert
Band. Concert Band.
Belwin Beginning Band.
Form: March. Grade 1.
Conductor Score & Parts.
264 pages
Spirals of Light Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Carl Fischer
Composed by Sean O'Loughlin. Concert Band. For Flute I, Flute II, Oboe, Clarinet...(+)
Composed by Sean
O'Loughlin. Concert Band.
For Flute I, Flute II,
Oboe, Clarinet I,
Clarinet II, Clarinet
III, Bassoon, Bass
Clarinet, Alto Saxophone
I, Alto Saxophone II,
Tenor Saxophone, Baritone
Saxophone, Trumpet I,
Trumpet II, Trumpet III,
Horn I, Horn II, Tenor I,
Tenor II, Baritone (Bass
Clef),. Carl Fischer
Concert Performance
Series. Classical. Grade
3-3.5. Score and Set of
Parts. Standard notation.
36 pages. Published by
Carl Fischer
(A Complete Concert Including: Lightly Row / Cool Blues / Waltzing with the Sta...(+)
(A Complete Concert
Including: Lightly Row /
Cool Blues / Waltzing
with the Stars / Petite
March). By Jack Bullock.
For Concert Band. Concert
Band. Belwin Very
Beginning Band. .5 (Very
Easy) (grade .5).
Conductor Score and
Parts. 268 pages.
Published by Alfred Music
Publishing
Echoes of Egypt Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: The Nile / Building the Pyramids / Sandstorm / The Pharaohs). By Nic...(+)
(Featuring: The Nile /
Building the Pyramids /
Sandstorm / The
Pharaohs). By Nicholas
Baratta. Concert Band.
Concert Band. Belwin
Concert Band. Grade 3.
Conductor Score and
Parts. 264 pages
Casey at the Bat Orchestre d'harmonie [Conducteur et Parties séparées] - Avancé Alfred Publishing
By Randol Alan Bass. For Concert Band. Concert Band. Alfred Concert Band. Novelt...(+)
By Randol Alan Bass. For
Concert Band. Concert
Band. Alfred Concert
Band. Novelty. Level: 5
(Difficult) (grade 5).
Conductor Score and
Parts. 302 pages.
Published by Alfred
Publishing.
Accordion - Grade 2.5 SKU: HL.44001523 For One or More Accordions....(+)
Accordion - Grade 2.5
SKU: HL.44001523
For One or More
Accordions. Arranged
by Hotze Jelsma. De Haske
Concert Band. Educational
Tool. Book [Softcover].
Composed 1990. 20 pages.
De Haske Publications
#900158. Published by De
Haske Publications
(HL.44001523).
ISBN
9789043137812. UPC:
073999702064. 6.75x10.5
inches. International
(more than one
language).
Composed by
Larry Clark. Concert
Band. Set of Score and
Parts. With Standard
notation.
12+12+6+8+12+12+4+4+4+4+4
+4+8+8+8+4+4+6+6+6+4+8+8+
2+4+8+32 pages. Duration
3 minutes, 33 seconds.
Carl Fischer Music
#CPS148. Published by
Carl Fischer Music
(CF.CPS148).
ISBN
9780825895791. UPC:
798408095796. 9 x 12
inches.
This piece
drives from the start
with bold trumpet
flourishes and
interjections from the
rest of the band. After
the exciting first
section, a lyrical second
theme departs to
something beautiful and
lush in harmonic
structure. The
development section is
based on the opening
theme, eventually leading
the piece back, followed
by a dynamic brass
flourish in the coda. A
solid choice by a known
composer for contests and
festivals.
Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225).
ISBN
9781491152515. UPC:
680160910014.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Concert Band Bass
Clarinet, Bass Drum,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Finger Cymbals,
Flute 1, Flute 2, Horn 1,
Horn 2, Horn 3, Horn 4,
Mallet Percussion, Oboe,
Percussion 1, Percussion
2 and more. - Grade 4 and
up
SKU: CF.SPS20
Full Score and
Parts. Composed by
Sean O'Loughlin. FS-SWS.
Carl Fischer Symphonic
Performance Series. Score
and Set of Parts. With
Standard notation.
32+2+12+6+12+12+12+12+6+4
+6+6+4+4+6+6+6+4+4+4+4+6+
6+4+6+6+8+2+4+18+4 pages.
Carl Fischer Music
#SPS20. Published by Carl
Fischer Music (CF.SPS20).
ISBN 9780825851599.
UPC: 798408051594. 9 X 12
inches. Key: Eb
major.
Full of
spirit and life, this
expansive work features
marvelous dialogue among
the sections of the band.
Somewhat Coplandesque in
style, it has vigorous
percussion parts that add
lots of punch! This is an
especially effective
concert opener!
Composed by
Victor Herbert. Symphonic
Band (SPS). Set of Score
and Parts. With Standard
notation.
3+12+12+6+6+3+12+24+24+6+
6+8+8+6+6+9+18+18+27+8+8+
8+8+9+9+9+9+12+3+6+6+40+6
pages. Duration 7:37.
Carl Fischer Music
#SPS78. Published by Carl
Fischer Music (CF.SPS78).
ISBN 9781491152553.
UPC: 680160910052. Key:
Bb major.
Festival
March is presented in a
new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. Festival
March by Victor Herbert
was written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 .
Wind Symphony Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé EMB (Editio Musica Budapest)
Concert Band - Grade 6 SKU: BT.EMBZ14691SET Composed by Kamillo Lendvay. ...(+)
Concert Band - Grade 6
SKU:
BT.EMBZ14691SET
Composed by Kamillo
Lendvay. EMB Concert Band
Series. Concert Piece.
Set (Score & Parts).
Composed 2010. 454 pages.
Editio Musica Budapest
#EMBZ14691SET. Published
by Editio Musica Budapest
(BT.EMBZ14691SET).
9x12 inches.
The
world-famous Hungarian
composer Kamilló
Lendvay (b. 1928) has
written not only operas,
oratorios, cantatas,
symphonies, concertos,
chamber music and solo
instrumental works but
also a considerable
number of pieces for wind
ensembles. His Wind
Symphony, composed in
2007-2008, consists of
four movements: I.
Invocation of the Muse -
II. Sunrise in Copacabana
- III. The Iguazu Falls -
IV. Rio Carnival. The
work was written for
professional ensembles
and will have its
premiere in Szeged on
April 16, 2010, performed
by the Concert Wind
Ensemble of the Faculty
of Music of Szeged
University, conducted by
József
Csikota.
Der
weltweit bekannte
ungarische Komponist,
Kamilló Lendvay
(*1928), komponierte
neben Opern, Oratorien,
Kantaten, Symphonien und
Konzerten, Kammermusik
und seinen Werken für
Soloinstrumente, eine
große Anzahl an
Stücken für
Bläserensembles. Die
2007-2008 entstandene
Bläser-Symphonie ist
vier-sätzig: I.
Invokation zu den Musen -
II. Sonnenaufgang an der
Copacabana - III. Die
Iguazu-Wasserfälle -
IV. Karneval in Rio. Das
Werk wurde für
professionelle Ensembles
komponiert, seine
Uraufführung findet am
16. April 2010 in Szeged
statt. Mitwirkende:
Bläserorchester der
Musikalischen Fakultät
der Universität der
Wissenschaften Szeged,
unter der Leitung von
József
Csikota.
Conosciuto in
tutto il mondo, il
compositore ungherese
Kamillo Lendvay (1928),
ha composto, accanto ad
opere, oratori, sonate,
sinfonie, concerti,
musica da camera e pezzi
per strumenti solistici,
un importante numero di
brani per ensemble di fi
ati. La sua sinfonia per
sei fiati composta tra il
2007 e il 2008, è
costituita da quattro
movimenti.
Nordanvind Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .
Concert Band SKU: HL.49015105 An American Folk Dance. Composed by ...(+)
Concert Band
SKU:
HL.49015105
An
American Folk Dance.
Composed by Wolfgang
Fortner. Edition Schott.
Classical. Study Score.
Composed 1952. 60 pages.
Schott Music #HL50486775.
Published by Schott Music
(HL.49015105).
ISBN
9781423442103. UPC:
884088247980. 305 X 229
inches.
Latin.
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed in a variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publication brings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur:
6:00
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed ina variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publicationbrings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur:
6:00
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed in a variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publication brings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur:
6:00
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed in a variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publication brings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur:
6:00
Based on an
early American fiddle
tune, Grainger created a
setting as he describes
that aims at preserving a
pioneer blend of lonesome
wistfulness and sturdy
persistence. The
16-measure melody is
fully explored and
developed in a variety of
harmonizations and
instrumental colors, and
is particularly
noteworthy for the
extensive use of tuneful
percussion (bells,
chimes, xylophone,
marimba) as well as
important parts for piano
and harp. This
publication brings back
the classic 1967 edition
arranged for band by
Glenn Cliffe Bainum.
(Grade 4) Dur: 6:00.
Composed by
Tyler Arcari. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
16+4+8+16+4+4+8+4+4+8+8+8
+4+4+4+4+6+6+2+6+8+2+3+2+
4+10+28+4 pages. Duration
4 minutes, 6 seconds.
Carl Fischer Music
#CPS219. Published by
Carl Fischer Music
(CF.CPS219).
ISBN
9781491152454. UPC:
680160909957.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
Analecta Varia Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000919-010 Composed by Harrie...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000919-010
Composed by Harrie
Janssen. Set (Score &
Parts). 44 pages. Gobelin
Music Publications #GOB
000919-010. Published by
Gobelin Music
Publications
(BT.GOB-000919-010).
Harrie Janssen
composed Analecta Varia
in memory of Henk van
Lijnschooten
(1928-2006). He has
been of great influence
on the Dutch music for
wind instruments. As
a conductor and as a
member of the jury, but
above all as a prominent
composer. Consists of
eight sound studies that
can also be performed
separately. In each part
a particular orchestral
aspect is the central
point.
The eight
parts 1.
Choral: ensemble
in monophonic
texture. 2.
Air: relatively free
line patterns combined
with a constant
pulse. 3.
Pavana: constant
rhythmicity culminating
in an orchestral
tutti. 4.
Lullaby: dissonant
harmonyabove an organ
point in a filigree
instrumentation. 5.
Chaconne: color
and virtuosity combined
with a rigid pasacaglian
theme. 6.
Interlude: antithesis
woodwind/brass and
followed by a synthesis
of the before. 7.
Fugue: ensemble in a
polyphonic texture.
8. Epilogue:
final canto in a
preponderating strong
dynamic, where a constant
euphony has to be
pursued.
Analecta
Varia bestaat uit acht
klankstudies die ook
afzonderlijk utgevoerd
kunnen worden. In iedere
deel wordt een bepaald
orkestraal facet centraal
gesteld. Harrie
Janssen componeerde
Analecta Varia ter
nagedachtenis aan Henkvan
Lijnschooten (1928-2006).
Henk van Lijnschooten
heeft zich bijzonder
verdienstelijk gemaakt
voor de Nederlandse
blaasmuziek, als
dirigent, jurylid maar
vooral als zeer
toonaangevend
componist.
1.
Chorale:
Samenspelin een homofone
textuur. 2.
Air: Relatief vrij
lijnenspel gecombineerd
met een constante
puls. 3.
Pavana: Constante
ritmiek culminerend in
een orkestraal tutti.
4. Lullaby:
Dissonate
samenklankenboven een
orgelpunt in een
filigraine
instrumentatie. 5.
Chaconne: Kleur en
virtuositeit gecombineerd
met een rigide pasacaglia
thema. 6.
Interlude:
Tegenstelling Hout/Koper
en een synthese
hiervan. 7.
Fuga: Samenspel in
een polyfone textuur.
8. Epilogue:
Slotzang in een
overwegend sterke
dynamiek, waarbij een
constante welluidendheid
nagestreefd dient te
worden.
Band concert band - Grade 4 SKU: CF.SPS63 Based on a Puerto Rican Caro...(+)
Band concert band - Grade
4
SKU: CF.SPS63
Based on a Puerto
Rican Carol. Composed
by Carol Brittin
Chambers. SWS FS. Set of
Score and Parts. With
Standard notation.
8+8+2+8+8+8+4+2+2+4+4+2+4
+6+6+6+4+4+6+6+3+4+6+8+2+
6+1+6+8+4+24 pages.
Duration 3 minutes. Carl
Fischer Music #SPS63.
Published by Carl Fischer
Music (CF.SPS63).
ISBN
9781491140444. UPC:
680160628506. 9 x 12
inches. Key: D
minor.
So Wondrous
Bright is a fresh, unique
take on a Puerto Rican
carol. Composer Carol
Brittin Chambers' setting
is full of Latin infused
rhythms and percussion,
and is sure to make a
strong statement at your
next holiday concert.
Setting Sail Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 5 SKU: CF.SPS54 Freedon of the Spirit. C...(+)
Band concert band - Grade
5
SKU: CF.SPS54
Freedon of the
Spirit. Composed by
Carl Strommen. Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
2+8+8+4+8+8+8+4+4+6+6+4+4
+6+6+6+4+4+4+4+6+6+6+4+6+
8+2+5+1+3+8+32 pages.
Duration 7:37. Carl
Fischer Music #SPS54.
Published by Carl Fischer
Music (CF.SPS54).
ISBN
9780825892981. UPC:
798408092986. 9 x 12
inches. Key: G
minor.
With its
title is taken from the
text of Walt Whitman's
poem Leaves of Grass,
Setting Sail is an epic
new piece that is
expansive and
sophisticated. Its
luxuriant, reticent
opening moves into
beautiful lyrical lines
and all-encompassing
harmonies before leading
into the journey at sea,
punctuated with a cool
6/8 groove. To finish, we
have a climactic return
of the original lyrical
material. This is a
large-scale work of
dramatic proportions.
Band concert band - Grade 4.5 SKU: CF.SPS75 Composed by Brant Karrick. SW...(+)
Band concert band - Grade
4.5
SKU: CF.SPS75
Composed by Brant
Karrick. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
3+12+12+6+12+12+12+6+6+6+
6+6+6+9+9+9+6+6+9+9+9+9+6
+12+6+9+3+9+9+40 pages.
Duration 6 minutes, 44
seconds. Carl Fischer
Music #SPS75. Published
by Carl Fischer Music
(CF.SPS75).
ISBN
9781491147702. UPC:
680160905201. 9 x 12
inches. Key: F
major.
When Hearts
Tremble is an emotion
packed piece dedicated to
musician friends lost all
to soon. This beautiful
composition by Brant
Karrick reflects on the
fragility of human
existence, joyous
memories of loved ones
and their effect on
everyone around them, and
maintaining hope for what
the future will hold when
all feels lost. This tour
de force piece perfectly
displays Karrick's
polished compositional
craft with impeccable
scoring, beautiful
melodic writing, and
exceptional
orchestrational
color. While the
day-to-day grind of our
lives can be filled with
overwhelming obligations,
goals and commitments, it
is sometimes very easy to
forget just how precious
and fragile life is . It
is so easy to get caught
up in our own personal
feelings and worries that
we sometimes don’t
realize and appreciate
the many blessings we
have, especially
friendships . On
Wednesday, November 18,
2015 the Jefferson High
School Band in Jefferson,
Georgia lost two of its
members to a fatal car
accident . The victims
were brothers . Music was
a constant part of their
lives, and the boys were
talented percussionists
in the marching band . To
help with the grieving
process the school and
community commissioned
this piece to celebrate
the lives of William and
Alex Trimble .As a
father, I cannot imagine
losing a child, let alone
two, and beginning this
piece was very difficult
as I felt extreme
anguish, especially for
the parents . But it was
decided the piece should
primarily reflect the
enthusiasm, youthful
spirits and positive
influence these two young
men demonstrated as they
were deeply loved by
their band mates,
community and family .
There are four main
themes, each representing
the feelings and emotions
that are certain to occur
after a loss of loved
ones . The first theme is
a short, introductory
fanfare, strong and bold,
to stand for courage . A
second dance-like melody
features a liltingly
mixed meter to portray a
youthful and carefree
innocence . This soon
changes into a third more
song-like, and stately
theme intended to provide
encouragement as we move
forward through life .The
middle of the piece
includes a soft
transition as two snare
drummers give voice to
the boys, allowing them
to thank their friends
and assuring them that it
will be okay . This moves
directly into a slow
melody introduced by the
saxophones (Alex, the
younger brother was also
a saxophonist) and is a
time for reflection and
allows for feelings of
sadness at losing beloved
friends . However, a
second statement of the
same theme, now at full
volume with a strong
percussion cadence,
intends to lift the
spirits and allows all
friends to unite in
joyous celebration of
life . Both the
enthusiastic dance theme
and stately lyrical theme
return, now in different
keys, and work their way
toward the highly
energetic burst of
glorious sound in the
short and wild coda .
When Hearts Tremble was
written to celebrate the
joys of youth and life,
and should remind us that
our friends and loved
ones are precious, and we
should live each day to
bring more joy into the
world and into the lives
of others .