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.

By Kayl / Hill / E. Lee. For concert band. Repertoire harmonia . Repertoire Harmonia . Conductor's score

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.

Band concert band - Grade 4.5

SKU: KJ.WB507F

Composed by Ryan Nowlin. Music book. Neil A. Kjos Music Company #WB507F. Published by Neil A. Kjos Music Company (KJ.WB507F).

UPC: 8402704981.

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.

Composed by Johnnie Vinson. Arranged by Johnnie Vinson. MusicWorks Grade 2. Concert. Softcover. Published by Hal Leonard

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).

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.

Arranged by John Higgins. Score and full set of parts. Young Band (Concert Band). Grade 3. Book only. Published by Hal Leonard.

Band concert band - Grade 4.5

SKU: KJ.WB507

Composed by Ryan Nowlin. Music book. Neil A. Kjos Music Company #WB507. Published by Neil A. Kjos Music Company (KJ.WB507).

ISBN 9788402704986. UPC: 8402704980.

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. 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 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!

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 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. 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 Spring”) 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.