Band concert band - Grade 2 SKU: KJ.WB335F Composed by Elliot Del Borgo. ...(+)
Band concert band - Grade
2
SKU: KJ.WB335F
Composed by Elliot Del
Borgo. Edited by Bruce
Pearson. Closer. Standard
of Excellence in Concert.
Score. Neil A. Kjos Music
Company #WB335F.
Published by Neil A. Kjos
Music Company
(KJ.WB335F).
When one sees
the name of Elliot Del
Borgo, it is immediately
associated with concert
band music of the highest
order. Dervish Dance is
no exception. Here is an
energetic dance set in
the Dorian mode (natural
minor), which gives it
the Middle Eastern
flavor. The opening
section can be played as
fast as possible followed
by a contrasting slow
section. The closing is a
powerful depiction of the
famed Whirling Dervish.
Even though the piece is
speedy, the notes lay
well under the fingers,
and it sounds much more
difficult than it is. A
great festival opener or
closer!
About Standard
of Excellence in
Concert
Th
e Standard of Excellence
In Concert series
presents exceptional
arrangements,
transcriptions, and
original concert and
festival pieces for
beginning and
intermediate band. Each
selection is correlated
to a specific page in the
Standard of Excellence
Band Method, reinforcing
and expanding skills and
concepts introduced in
the method up to that
point. Exciting parts
with extensive
cross-cueing are
presented for every
player. Accessible
ranges, appropriate
rhythmic challenges, and
creative percussion
section writing enhance
the pedagogical value of
the series.
Sold
individually, each In
Concert selection
includes a full Conductor
Score and enough student
parts for large symphonic
bands. Each student part
also includes correlated
Warm-Up Studies. The
Conductor Score comes
complete with rehearsal
suggestions, a composer
biography, program notes,
a rehearsal piano part,
several
ready-to-duplicate
worksheets and a
duplicable written
quiz.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
The Renaissance Fair Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Bob Margolis (After Claude Gervaise). Concert band. Suitable for high school,...(+)
By Bob Margolis (After
Claude Gervaise). Concert
band. Suitable for high
school, community, and
college bands. Level:
Grade 4. Conductor score
and set of parts.
Duration 4:30. Published
by Manhattan Beach Music.
Magic City Montage Orchestre d'harmonie - Intermédiaire/avancé Alfred Publishing
Concert Band - Grade 4.5 SKU: AP.49129 Composed by Robert Sheldon. Concer...(+)
Concert Band - Grade 4.5
SKU: AP.49129
Composed by Robert
Sheldon. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble. Alfred Concert
Band. Programmatic. Score
and Part(s). 239 pages.
Duration 5:15. Alfred
Music #00-49129.
Published by Alfred Music
(AP.49129).
ISBN
9781470646448. UPC:
038081564746.
English.
This
energetic overture allows
us to enjoy the sparkling
skyline of Miami, also
known as the Magic City,
from a speedboat on
Biscayne Bay. A visit to
the gardens of Vizcaya is
represented by an elegant
Danzon. The opening tempo
returns with a nod to
Miami's vibrant nightlife
before taking us to our
boat for the short trip
home. Magic City Montage
was composed by Robert
Sheldon. (5:15).
Drive Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Mark Williams. For Concert Band. Concert Band. Challenger Band Series. Novelt...(+)
By Mark Williams. For
Concert Band. Concert
Band. Challenger Band
Series. Novelty. Level:
1.5 (Easy) (grade 1.5).
Conductor Score and
Parts. 122 pages.
Published by Alfred
Publishing.
Concert Band - Grade 1 SKU: AP.38302S Composed by Roland Barrett. Concert...(+)
Concert Band - Grade 1
SKU: AP.38302S
Composed by Roland
Barrett. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Form: Overture.
Contemporary. Score. 16
pages. Belwin Music
#00-38302S. Published by
Belwin Music (AP.38302S).
UPC: 038081430881.
English.
Scirocco
comes from the name given
to a Mediterranean wind
that originates as a dry
and dusty breeze in the
Sahara Desert,
accumulates moisture and
velocity as it crosses
the Mediterranean Sea,
and often reaches
hurricane speeds. With an
inspiration like that,
you can be sure the
energy level will be at a
peak. The work has an
elementary introduction
to contemporary aleatoric
notation that enhances
the dynamic sparkle!
(2:00) This title is
available in MakeMusic
Cloud.
Concert Band (Score) - Grade 2 SKU: HL.4005899 Arranged by Johnnie Vinson...(+)
Concert Band (Score) -
Grade 2
SKU:
HL.4005899
Arranged
by Johnnie Vinson.
MusicWorks Grade 2.
Concert. Softcover. 24
pages. Duration 269
seconds. Published by Hal
Leonard (HL.4005899).
UPC: 888680942106.
9.0x12.0x0.074
inches.
Exploring
some of the most
well-known traditional
folk tunes from Korea,
here is an appealing and
well-paced suite for
young players. Let's Sing
and Dance starts slowly
then gradually speeds up
similar to how it is
usually sung. The Gate is
a song and game played by
Korean children, and this
is followed by the
beautiful ballad
Bellflowers. Finally The
Palace completes the set
in a bold and optimistic
style. Dur: 3:55.
Pre 1 SKU: CL.023-4785-00 Composed by Galvin. Young Concert Band. Sound F...(+)
Pre 1
SKU:
CL.023-4785-00
Composed by Galvin. Young
Concert Band. Sound
Foundations Series. Score
and set of parts.
Composed 2020. Duration 1
minute, 30 seconds. C.L.
Barnhouse #023-4785-00.
Published by C.L.
Barnhouse
(CL.023-4785-00).
Your youngest
musicians can sound like
professionals on their
first concert with Six
Note Symphony! While
using only the first six
notes learned in band
instruction,
there’s excitement
and adventure in each
section of the young
band. Extensive doubling
provides security across
the ensemble, and
students will enjoy
demonstrating their
speedy progress on this
upbeat and engaging work!
Great music for beginning
band!
One-Hit Wonders Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Mark Williams. Music by Mark Williams. For Concert Band. Concert Band. Accent...(+)
By Mark Williams. Music
by Mark Williams. For
Concert Band. Concert
Band. Accent on
Achievement. Conductor
Score & Parts. Published
by Alfred Publishing.
By Mark Williams. Concert Band. For Concert Band. Concert Band. Challenger Band ...(+)
By Mark Williams. Concert
Band. For Concert Band.
Concert Band. Challenger
Band Series. Novelty. 1.5
(Easy) (grade 1.5).
Conductor's Score. 8
pages. Published by
Alfred Music Publishing
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.