Concert Band (Score) - Grade 2

SKU: HL.4006065

Concert Band Score. Composed by Franz X. Gruber. Arranged by Lorenzo Bocci. De Haske Concert Band. Christmas, Classical. Softcover. 12 pages. Duration 190 seconds. De Haske Publications #1125069140. Published by De Haske Publications (HL.4006065).

UPC: 888680956257.

When the song Silent Night was first heard, at Christmas 1818 in the village church of Oberndorf, near Salzburg in Austria, no one could have dreamt of the success this Christmas carol would enjoy the world over. The village schoolteacher and organist Franz Gruber - the 150th anniversary of whose death is marked in 2013 - composed the melody for a poem by Franz Mohr shortly before Christmas. Today, Silent Night is sung in over 300 languages worldwide.

Concert Band

SKU: YM.GTW01101612

Composed by Giacomo Puccini. Arranged by Hideaki Miura. New Sounds in Brass. Arranged Classic. Score and parts. Yamaha Music Media #GTW01101612. Published by Yamaha Music Media (YM.GTW01101612).

ISBN 9784636113037. 8.25 x 11.75 inches.

The famous aria sung in the third act of Puccini's opera Turandot has been arranged in the style of EDM (electronic dance music). Be sure to try out the trumpet solo played by Eric Miyashiro in the recording.
Instrumentation: Conductor×1; Piccolo×1; 1st & 2nd Flutes×2; *Oboe×1; *Bassoon×1; Clarinet in E♭×1; 1st Clarinet in B♭×3; 2nd Clarinet in B♭×3; 3rd Clarinet in B♭×3; *Alto Clarinet in E♭×1; Bass Clarinet in B♭×1; 1st Alto Saxophone in E♭×1; 2nd Alto Saxophone in E♭×1; Tenor Saxophone in B♭×1; Baritone Saxophone in E♭×1; 1st Trumpet in B♭×1; 2nd Trumpet in B♭×1; 3rd Trumpet in B♭×1; 1st & 2nd Horns in F×2; 3rd & 4th Horns in F×2; 1st Trombone×1; 2nd Trombone×1; Bass Trombone×1; Euphonium×2; Tuba×2; Electric Bass Guitar×1; *Electric Guitar×1; Drums×1; Timpani×1; Cymbals, Tambourine, Wood Block & Bass Drum×1; Wind Chime & Suspended Cymbal×1; Glockenspiel×1; Xylophone, Marimba & Chimes×3 The composition can also be performed without the instruments marked with *.
Performance time: Approximately 4 minutes 15 seconds
Difficulty Level: 3.

Arranged by Victor Lopez. Concert Band. Concert Band. Belwin Very Beginning Band. Christmas; Contemporary; Novelty; Secular; Winter. Grade .5. Conductor Score and Parts. 136 pages. Duration 2:27:00. Published by Alfred Music Publishing

Concert Band (optional solo piano) - intermediate

SKU: AI.AMC-WB-003SCO

Composed by Francis Johnson. Arranged by Kenneth Amis. Music of Black Composers and Artists. Conductor score. Amis Musical Circle #AMC-WB-003SCO. Published by Amis Musical Circle (AI.AMC-WB-003SCO).

11 x 17 inches.

The 1818 publication of Francis Johnson's A Collection of New Cotillions marks the first known publication of original music by a black composer in the United States. A prolific composer, instrumentalist, teacher and conductor, Johnson led a varied and successful career in an era in U.S. history that was not inviting to black professionals. His musical interests ranged from the contemporary works of Johann Strauss Jr. to traditional, popular dances.

The cotillion is a French country dance that was popular in Europe and America in the 18th century. It was originally danced by four couples in square formation and was an important influence in the development of the square dance in the United States. Francis Johnson composed two sets of six piano accompaniments for this dance. The original 1818 publication even included movement instructions for the eight dancers. The short and charming melodies that he composed are a fitting example of popular dance music of the time.

This transcription may be performed as a piano solo, with the piano as a non-solistic instrument within the ensemble or without piano at all. If it is to be a piano solo, the other instruments should not play the passages marked “opt. tacet (optional tacet). If the piano will not be treated soloistically, the conductor can have some or all of the “opt. tacet passages played at their discretion. When there is no piano involved in the performance ,all instrumentalists should ignore the “opt. tacet instruction and play everything.

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

SKU: CN.S11158

Composed by Gordon Jacob. Band Music. Score only. Duration 15:30. Published by G & M Brand Music Publishers (CN.S11158).

A powerful work. An opening fanfare leads directly to an Allegro risoluto, which exudes determination and forthrightness. The second movement follows without a break and is a continuous plaint in which the melody seems forever seeking resolution like a troubled soul searching for respite. Only in the closing bars does peace seem to take over. The final movement, marked Allegro non troppo, starts with a cheering fanfare that leads to a bright and breezy romp, with a rustic feel about it. When the fanfare reappears we are suddenly immersed in exaltations of joy that really give a feeling of optimism as we proceed to the end of the piece via a short Coda.

With this Symphony, Gordon Jacob proclaims his absolute mastery of idiom and instrumentation with a triumphant rejoicing. Written in 1978 as a commission from Arthur Doyle (hence the AD in the title, a typical piece of Jacob wit), it lay virtually unplayed save for the efforts of his Estate, Troy Peterson and Geoffrey Brand and CBDNA (College Band Directors Association, USA), who between them ensured that it was professionally recorded in 1994 and published in 1995. There is little point in indulging in semantics as to whether the piece is a Symphony. It is Jacob's approach to his tuneful, folk-based material which is symphonic: weighty in exposition and development, sonorous and expressive in the slow movement, with a scherzo-like last movement and a giocoso coda. After a brilliant opening fanfare, the quick triple-meter first theme (Allegro Risoluto) is introduced on clarinets, punctuated with brass. It is soon followed by a contrasting melody for saxophone. In all this material the interval of a 4th is prominent, and throughout the work the 4th and 7th are important. Perhaps it is the frequent use of the 7th which gives a feeling of restlessness without resolution which pervades this movement as the themes are dissected and developed. The second movement follows directly after a horn bridge. Still the melody outlines the 7th and the ear is not satisfied until the full band (with organ), comes to rest in Bb major. This point of repose and the magic pianissimo which follows shortly after when the slow theme is re-stated, are the apex of the Symphony's construction. Soon, however, we are transported, via a fanfare, into a helter-skelter 9/8 romp: rustic, English, and almost vulgar, this theme is thrown around the group before exploding into a boisterous 2/4 coda.

By Philip Sparke. (Score and Parts). ANGLO MUSIC PRESS. Published by Anglo Music.

(Grade 1.5 - Score Only). By James Curnow. Curnow Music Concert Band. Grade 1.5. 19 pages. Curnow Music #088605. Published by Curnow Music

Concert band - Grade 3

SKU: MH.1-59913-054-8

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

ISBN 9781599130545.

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

Orchestra Orchestra

SKU: AP.6-80531X

Composed by Franz Joseph Haydn. Full Orchestra (Full Score). Dover Edition. Classical; Masterwork. Score; Book. 300 pages. Dover Publications #06-80531X. Published by Dover Publications (AP.6-80531X).

ISBN 9780486805306. UPC: 800759805310. English.

Commission ed in 1786 by the Paris-based orchestra Le Concert de la Loge Olympique, these six symphonies were created for an extraordinarily large ensemble of both professional and amateur players, including reinforced woodwind parts and a large string section. The symphonies are:
Symphony No. 82 in C major, L'Ours (The Bear), 1786
Symphony No. 83 in G minor, La Poule (The Hen), 1785
Symphony No. 84 in E flat major, In Nomine Domini, 1786
Symphony No. 85 in B flat major, La Reine (The Queen), 1785
Symphony No. 86 in D major, 1786
Symphony No. 87 in A major, 1785
Composer Giuseppe Maria Cambini, a member of the orchestra, noted that the enthusiastically received premieres featured some of the city's finest musicians. A contemporary critic remarked that Each hearing increases our appreciation and admiration of the works of the great genius, who, in all his pieces, understands so well how to draw the richest and most varied developments from every theme. Reproduced from the authoritative Breitkopf & Härtel editions, this volume offers musicians and music lovers an inexpensive and authoritative compilation of Haydn's ever-popular works.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Cabasa, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Clarinet 4, Contrabass, Contrabassoon, Cowbell, Crash Cymbals, Euphonium, Flute 1, Flute 2, Flute 3, Flute 4, Glockenspiel, Güiro and more.

SKU: PR.11540205F

For Wind Symphony and Piano. Composed by Carter Pann. Sws. Wind Band Select. Contemporary. Full score. With Standard notation. Composed 2009. 42 pages. Duration 10 minutes. Theodore Presser Company #115-40205F. Published by Theodore Presser Company (PR.11540205F).

ISBN 9781598062977. UPC: 680160594276. 9x12 inches. Key: Bb mixolydian.

Carter Pann’s Richard and Renée was written as a gift for two musician friends of his, Renée Kershaw and Dick Floyd. The first movement, “Renée’s Reply,” is a musical portrait of the time the composer spent with his friend in Italy. According to Pann, “the music strives for a poignancy inspired by this new event in their relationship accompanied by a backdrop so beautiful it defies words. A writer/composer (anyone, for that matter) cannot live on the Amalfi Coast and remain unchanged, unmarked.” The second movement, “Floyd’s Fantastic Five-Alarm Foxy Frolic,” is in a playful ragtime style, with an ending that the composer describes as “over the top.” Duration: 13’.

Composed by John Philip Sousa (1854-1932). Arranged by Robert E. Foster. March. Full score. Published by Wingert-Jones Publications (WJ.3016752).