For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L).
UPC:
680160039531. 11 x 17
inches.
Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland.
Try to sit still while listening to these 18 incredible marches flawlessly perfo...(+)
Try to sit still while
listening to these 18
incredible marches
flawlessly performed by
the Washington Winds.
Outstanding marches,
outstanding band,
outstanding
recording...Can't be
beat!
Composed
by Dan Welcher. Spiral.
Large Score. With
Standard notation.
Duration 10 minutes.
Theodore Presser Company
#466-00047. Published by
Theodore Presser Company
(PR.466000470).
UPC:
680160099405. 11 x 17
inches.
This is the
second incarnation of a
work I first composed in
1994 for symphonic wind
ensemble. The earlier
version was intended to
be the summation of
three-part suite, each
part being named for a
different national park
in the Western United
States. This orchestral
version, commissioned in
1999 by the Utah Symphony
and dedicated to the
memory of Aaron Copland,
is more than a re-scoring
of the earlier piece; it
is a re-thinking of all
its elements. Zion is a
place with unrivaled
natural grandeur, being a
sort of huge box canyon
in which the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both his
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of
triumph.
A distinctive set of recordings by the always impressive Washington Winds that f...(+)
A distinctive set of
recordings by the always
impressive Washington
Winds that features an
exciting lineup of wind
band compositions and
arrangements. A must CD
for all band music
lovers!
Composed by
George Sweet. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
8+8+4+8+16+16+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+8+1+2+2+
2+2+4+8+2+28+4 pages.
Duration 4 minutes, 35
seconds. Carl Fischer
Music #CPS228. Published
by Carl Fischer Music
(CF.CPS228).
ISBN
9781491152546. UPC:
680160910045.
Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was a
large influencing factor
for George Sweet in the
composition of this
piece. Richly scored
for the modern concert
band, Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass. Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was
an influencing factor on
the composition of the
piece. Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass.This begins
with strict motor
accompaniment. Take care
to maintain equal balance
among the different
“moving
parts†so that they
blend to create a solid
whole both here and
throughout the piece. The
primary thematic material
is stated by the trumpets
and horns at m. 12. This
material is the basis for
much of the harmonic and
thematic material that
follows. A slightly
varied statement of the
main theme is presented
again at m. 26 with a
different type of motor
accompaniment. This leads
to a B-section at m. 44,
which is a bold
fanfare-like presentation
of the main material.
Another series of
variations on the main
theme begins at m. 50 and
incorporates many
different textural and
harmonic ideas in the
accompaniment. Once
again, be careful to not
let any one “moving
part†overwhelm
another and keep the
texture evenly balanced.
 A second, broader
presentation of the
B-section occurs at m. 90
and leads to a subdued
C-section at m. 100 with
new melodic material
presented in the trumpet.
A whimsical march-like
section pushes to the
return of the
introductory motor
material at m. 131. A
final heroic presentation
of the main thematic
material results in a
somewhat ambiguous coda,
which brings the piece to
a dramatic
conclusion.
Composed
by George Sweet. Concert
Band (CPS). Full score.
With Standard notation.
28 pages. Carl Fischer
Music #CPS228F. Published
by Carl Fischer Music
(CF.CPS228F).
ISBN
9781491153222. UPC:
680160910724.
Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was a
large influencing factor
for George Sweet in the
composition of this
piece. Richly scored
for the modern concert
band, Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass. Black
light is defined as
infrared or ultraviolet
light which is invisible
to the naked eye. The
idea of an entire spectra
existing out of the range
of human perception was
an influencing factor on
the composition of the
piece. Black Light is
written in a
post-minimalist style and
is also heavily
influenced by the work of
American composers Steve
Reich, John Adams, and
Philip Glass.This begins
with strict motor
accompaniment. Take care
to maintain equal balance
among the different
“moving
parts†so that they
blend to create a solid
whole both here and
throughout the piece. The
primary thematic material
is stated by the trumpets
and horns at m. 12. This
material is the basis for
much of the harmonic and
thematic material that
follows. A slightly
varied statement of the
main theme is presented
again at m. 26 with a
different type of motor
accompaniment. This leads
to a B-section at m. 44,
which is a bold
fanfare-like presentation
of the main material.
Another series of
variations on the main
theme begins at m. 50 and
incorporates many
different textural and
harmonic ideas in the
accompaniment. Once
again, be careful to not
let any one “moving
part†overwhelm
another and keep the
texture evenly balanced.
 A second, broader
presentation of the
B-section occurs at m. 90
and leads to a subdued
C-section at m. 100 with
new melodic material
presented in the trumpet.
A whimsical march-like
section pushes to the
return of the
introductory motor
material at m. 131. A
final heroic presentation
of the main thematic
material results in a
somewhat ambiguous coda,
which brings the piece to
a dramatic
conclusion.
Composed by
Alan Lee Silva. SWS. Carl
Fischer First Plus
Performance Series. Full
score. With Standard
notation. 16 pages.
Duration 2 minutes, 17
seconds. Carl Fischer
Music #FPS87F. Published
by Carl Fischer Music
(CF.FPS87F).
ISBN
9780825873942. UPC:
798408073947. 9x12
inches.
Sparkling
fanfare gestures and
celebratory music are the
theme of this dynamic new
piece from composer Alan
Lee Silva. Open harmonies
are used with memorable
melodies in this exciting
new work for developing
bands. You can hear
Silva's influences with
his truly American style
in this winning new
piece.
Composed by
Carl Strommen. Set of
Score and Parts.
22+2+8+8+4+8+8+8+4+4+4+4+
4+4+8+8+8+4+4+4+4+6+6+6+6
+4+8+2+1+4+3 pages.
Duration 4:43. Carl
Fischer Music #CPS249.
Published by Carl Fischer
Music (CF.CPS249).
ISBN 9781491159477.
UPC:
680160918065.
The
following notes were
prepared by Alan
Hollander, former
Edgemont High School Band
Director: The opening
fanfare leads to a lively
English Country melody
reminiscent of the
writing of the English
composer Gustav Holst.
This theme is announced
by the horns with
subsequent solos by the
oboe, trumpet and
clarinet. The mood is
light and airy; I
remember my students
humming and whistling the
theme after our
rehearsals. The short
legato bridge leads back
to the opening fanfare
and a rousing conclusion.
Edgemont Festival
Overture was performed at
a district festival with
over 300 students, grades
5 through 12. Although
the technical
requirements were in the
wheelhouse for the
average high school band,
one of the hidden assets
is the accessibility of
the inner parts, making
it possible for the
younger players to
participate. Mr.
Hollander has been an
active oboist, conductor,
and educator for over
forty years. As a
conductor, he has
directed the American
Wind Ensemble, the
Westchester, NY Pops
Band, the Larchmont
Summer Symphony and as
music director/conductor
of the Westchester Band,
one of the longest
running community bands
in New York State. He has
taught in the public
school systems of
Hempstead and Scarsdale,
New York, and at Hofstra
University. He is
currently an associate
professor at Lehman
College-CUNY, and is
preparing a book titled
How to Build a Community
Band. The following
notes were prepared by
Alan Hollander, former
Edgemont High School Band
Director:The opening
fanfare leads to a lively
“English
Country†melody
reminiscent of the
writing of the English
composer Gustav Holst.
This theme is announced
by the horns with
subsequent solos by the
oboe, trumpet and
clarinet. The mood is
light and airy; I
remember my students
humming and whistling the
theme after our
rehearsals. The short
legato bridge leads back
to the opening fanfare
and a rousing
conclusion.Edgemont
Festival Overture was
performed at a district
festival with over 300
students, grades 5
through 12. Although the
technical requirements
were in the wheelhouse
for the average high
school band, one of the
hidden assets is the
accessibility of the
inner parts, making it
possible for the younger
players to
participate.Mr. Hollander
has been an active
oboist, conductor, and
educator for over forty
years. As a conductor, he
has directed the American
Wind Ensemble, the
Westchester, NY Pops
Band, the Larchmont
Summer Symphony and as
music director/conductor
of the Westchester Band,
one of the longest
running community bands
in New York State.He has
taught in the public
school systems of
Hempstead and Scarsdale,
New York, and at Hofstra
University. He is
currently an associate
professor at Lehman
College-CUNY, and is
preparing a book titled
How to Build a Community
Band.
Composed by Carl
Strommen. Full score. 22
pages. Carl Fischer Music
#CPS249F. Published by
Carl Fischer Music
(CF.CPS249F).
ISBN
9781491159484. UPC:
680160918072.
The
following notes were
prepared by Alan
Hollander, former
Edgemont High School Band
Director: The opening
fanfare leads to a lively
English Country melody
reminiscent of the
writing of the English
composer Gustav Holst.
This theme is announced
by the horns with
subsequent solos by the
oboe, trumpet and
clarinet. The mood is
light and airy; I
remember my students
humming and whistling the
theme after our
rehearsals. The short
legato bridge leads back
to the opening fanfare
and a rousing conclusion.
Edgemont Festival
Overture was performed at
a district festival with
over 300 students, grades
5 through 12. Although
the technical
requirements were in the
wheelhouse for the
average high school band,
one of the hidden assets
is the accessibility of
the inner parts, making
it possible for the
younger players to
participate. Mr.
Hollander has been an
active oboist, conductor,
and educator for over
forty years. As a
conductor, he has
directed the American
Wind Ensemble, the
Westchester, NY Pops
Band, the Larchmont
Summer Symphony and as
music director/conductor
of the Westchester Band,
one of the longest
running community bands
in New York State. He has
taught in the public
school systems of
Hempstead and Scarsdale,
New York, and at Hofstra
University. He is
currently an associate
professor at Lehman
College-CUNY, and is
preparing a book titled
How to Build a Community
Band. The following
notes were prepared by
Alan Hollander, former
Edgemont High School Band
Director:The opening
fanfare leads to a lively
“English
Country†melody
reminiscent of the
writing of the English
composer Gustav Holst.
This theme is announced
by the horns with
subsequent solos by the
oboe, trumpet and
clarinet. The mood is
light and airy; I
remember my students
humming and whistling the
theme after our
rehearsals. The short
legato bridge leads back
to the opening fanfare
and a rousing
conclusion.Edgemont
Festival Overture was
performed at a district
festival with over 300
students, grades 5
through 12. Although the
technical requirements
were in the wheelhouse
for the average high
school band, one of the
hidden assets is the
accessibility of the
inner parts, making it
possible for the younger
players to
participate.Mr. Hollander
has been an active
oboist, conductor, and
educator for over forty
years. As a conductor, he
has directed the American
Wind Ensemble, the
Westchester, NY Pops
Band, the Larchmont
Summer Symphony and as
music director/conductor
of the Westchester Band,
one of the longest
running community bands
in New York State.He has
taught in the public
school systems of
Hempstead and Scarsdale,
New York, and at Hofstra
University. He is
currently an associate
professor at Lehman
College-CUNY, and is
preparing a book titled
How to Build a Community
Band.
Composed by
Bill Calhoun. SWS FS. Set
of Score and Parts. With
Standard notation.
8+8+4+8+8+8+4+4+4+4+4+4+4
+4+4+4+4+6+6+4+6+8+2+2+1+
4+16+28 pages. Duration 4
minutes, 16 seconds. Carl
Fischer Music #CPS167.
Published by Carl Fischer
Music (CF.CPS167).
ISBN 9781491140161.
UPC: 680160628223. 9 x 12
inches.
This new
piece from composer Bill
Calhoun is a distinctly
American work for concert
band that has potential
as a concert or contest
piece or as patriotic
tribute to our great
land. Starting with an
open sounding fanfare,
the piece leads to a
truly American style
melodic figure before
developing variations on
Yankee Doodle in ways
reminiscent of other
great American composers.
This is followed by a
heartfelt middle section,
leading to a stunning
climax with the opening
material returning for an
upbeat conclusion. This
will make you band sound
wonderful for concert or
contest.
Composed
by Bill Calhoun. SWS.
Full score. 28 pages.
Duration 4 minutes, 16
seconds. Carl Fischer
Music #CPS167F. Published
by Carl Fischer Music
(CF.CPS167F).
ISBN
9781491140819. UPC:
680160628872. 9 x 12
inches.
This new
piece from composer Bill
Calhoun is a distinctly
American work for concert
band that has potential
as a concert or contest
piece or as patriotic
tribute to our great
land. Starting with an
open sounding fanfare,
the piece leads to a
truly American style
melodic figure before
developing variations on
Yankee Doodle in ways
reminiscent of other
great American composers.
This is followed by a
heartfelt middle section,
leading to a stunning
climax with the opening
material returning for an
upbeat conclusion. This
will make you band sound
wonderful for concert or
contest.
Full Score.
Composed by Sean
O'Loughlin. SWS. Carl
Fischer Concert
Performance Series. Full
score. With Standard
notation. Carl Fischer
Music #CPS55F. Published
by Carl Fischer Music
(CF.CPS55F).
ISBN
9780825861529. UPC:
798408061524. 9 X 12
inches. Key: Eb
major.
Spectral
Landscapes is a work for
concert band that
captures the grandeur,
beauty, and energy of the
American northwest with
its mountains, rivers,
and coast. The piece
unfolds in two large
sections, first slow,
then fast. A bold fanfare
gesture leads to a
stunning lyrical theme
before giving way to an
aggressive uptempo
section. This piece
climaxes with a return of
the slow theme in the
faster tempo. Well done
Sean!
Composed by Richard
Summers. Young Band. Full
score. With Standard
notation. 20 pages.
Duration 2 minutes, 24
seconds. Carl Fischer
Music #YPS140F. Published
by Carl Fischer Music
(CF.YPS140F).
ISBN
9780825896323. UPC:
798408096328. 9 x 12
inches.
Based on
Streets of Laredo, the
popular cowboy ballad
from the American West,
composer Richard Summers
has crafted a delightful
set of variations. After
a bold fanfare
introduction, the theme
is stated in a lush
chorale setting. The
piece then goes through
several variations that
utilize the theme in
unique rhythmic and
harmonic ways.
Fanfare and
Fantasy. Composed by
Tyler Arcari. Full score.
With Standard notation.
32 pages. Duration 4
minutes, 6 seconds. Carl
Fischer Music #CPS185F.
Published by Carl Fischer
Music (CF.CPS185F).
ISBN 9781491142837.
UPC:
680160900336.
As
the title suggests,
Tumbleweed evokes the
sounds of the American
southwest, of the glory
days of the American
Cowboy and all of the
trials and tribulations
of living in this
unforgiving new frontier.
Composer Tyler Arcari
painted a sophisticated
musical picture that
utilizes the total modern
concert band.
