| Chasing Mercury - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS234
Composed by Travis
Weller. Folio. Cps. Set
of Score and Parts.
8+8+4+8+8+8+4+4+8+4+4+8+8
+8+8+6+6+6+4+8+6+2+4+4+6+
32 pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #CPS234.
Published by Carl Fischer
Music (CF.CPS234).
ISBN 9781491156346.
UPC: 680160914883. 9 x 12
inches. Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury! $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chasing Mercury - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum and more. - Grade 3
SKU: CF.CPS234F
Composed by Travis
Weller. Sws. Cps. Full
score. 32 pages. Duration
3 minutes, 10 seconds.
Carl Fischer Music
#CPS234F. Published by
Carl Fischer Music
(CF.CPS234F). ISBN
9781491156353. UPC:
680160914890. 9 x 12
inches. Mercury -
the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst's major orchestral
suite The Planets that
Mercury utilizes such
light and swift themes.
There is some duality to
the title of the work.
Part of it involves my
impression of what a
playful chase of the
winged messenger sounds
like. The other part is
the opening motif chasing
two themes of Holst
around the rest of the
work. It was only after
developing the first few
ideas that I recognized
some of the commonalities
with some of those same
themes from Holst's
orchestral work. There
are several quotations
from that famous piece by
Holst (notably as both
are stated successively
at mm. 13-20). The idea
of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work. One of
my core beliefs about
music is that it can be
imbued with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling experience.
Rehearsal Notes and
Suggestions As stated
earlier, the opening
motif (a range of a
seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury!. Mercury
– the Roman god of
financial gain, commerce,
travelers, boundaries,
luck, trickery,
merchants, and thieves. A
popular deity in Roman
culture, he was instantly
recognized by his unique
winged shoes (talaria)
and hat (petasos). With
its close proximity to
the sun and faster orbit
than all other planets,
the Romans named this
small celestial body
after the swift-winged
messenger of their
culture. It is not
surprising that in
Holst’s major
orchestral suite The
Planets that Mercury
utilizes such light and
swift themes.There is
some duality to the title
of the work. Part of it
involves my impression of
what a playful chase of
the winged messenger
sounds like. The other
part is the opening motif
chasing two themes of
Holst around the rest of
the work. It was only
after developing the
first few ideas that I
recognized some of the
commonalities with some
of those same themes from
Holst’s orchestral
work. There are several
quotations from that
famous piece by Holst
(notably as both are
stated successively at
mm. 13–20). The
idea of someone having to
chase the Winged
Messenger struck me as a
unique title around which
to craft a work.One of my
core beliefs about music
is that it can be imbued
with meaning by a
composer, and as the
sonic story unfolds an
ensemble, director, and
audience members can draw
out their own meaning
from the experience. Who
exactly is chasing
Mercury? I leave that up
to the wonderfully
creative minds of the
young ladies and
gentlemen who have the
opportunity to bring this
work to life. The
opportunity to compose
music and allow student
musicians to give this
piece new life and draw
out different meanings is
a humbling
experience.Rehearsal
Notes and SuggestionsAs
stated earlier, the
opening motif (a range of
a seventh) comes back
frequently in the work in
a variety of settings and
textures. Throughout the
work, it is important for
students to recognize the
two themes from Holst
when they are present in
the sound canvas. If the
solos (clarinet and alto
saxophone) are utilized,
the supporting parts
around and underneath
those lines must be
sensitive and play in
such a way to properly
balance those parts.
There are number of muted
sections for the trumpet
section, and I would
advocate for all trumpets
acquiring the same mute
to contribute to unity in
timbre. The bold fanfare
sections (the first
occurs at m. 37) must be
presented with a unified
articulation style. As
the texture intensifies
prior to m. 169, it is
crucial for the ensemble
to play within themselves
and exercise musical
courtesy to allow all
voices to be heard as
they arrive at m. 181. My
thanks in advance for
your support of this
music, and I wish you
well as you and your
ensemble begin Chasing
Mercury! $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Quest for the Throne Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Timpani, Tom-tom,
Trombone and more. -
Grade 1.5 SKU:
CF.FPS155F Composed
by Larry Clark. First
Plus Band (FPS). Full
score. With Standard
notation. 16 pages. Carl
Fischer Music #FPS155F.
Published by Carl Fischer
Music (CF.FPS155F).
ISBN 9781491152836.
UPC:
680160910335. Quest
for the Throne evokes
images of kings and
castles, knights and
horses, and dragons in
all their glory. It is
a bold and aggressive
piece throughout, but
includes a contrasting,
lush secondary theme for
variety. In his typical
style, Clark has used
forceful figures, and
strong melodic content to
give students music
they'll want to practice
and play again and
again. This piece
should depict images of
kings and castles, knight
and horses, dragons and
damsels in distress. It
should be bold and
aggressive throughout,
but never with bad
tone. This is then
contrasted by the lush
second theme that is
presented first in a
softer thin
orchestration, but later
becomes a change for the
whole ensemble to play in
a strong, but lush
presentation of this
theme.One thing that is
important to me when
writing music for younger
students is to offer
pieces that challenge all
students in the ensemble
and give every section an
important part of the
musical presentation,
which naturally should
include some melodic
material. Every member
of the ensemble wants to
feel that they are
contributing to the
collective whole.It has
been my pleasure to have
the opportunity to write
this piece. I hope you
and your students enjoy
it and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018. $9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Quest for the Throne Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Timpani, Tom-tom,
Trombone and more. -
Grade 1.5 SKU:
CF.FPS155 Composed by
Larry Clark. First Plus
Band (FPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+5+2+2+4+4+4+6+3
+2+1+2+3+16+2 pages.
Duration 2 minutes, 11
seconds. Carl Fischer
Music #FPS155. Published
by Carl Fischer Music
(CF.FPS155). ISBN
9781491152157. UPC:
680160909650. Quest
for the Throne evokes
images of kings and
castles, knights and
horses, and dragons in
all their glory. It is
a bold and aggressive
piece throughout, but
includes a contrasting,
lush secondary theme for
variety. In his typical
style, Clark has used
forceful figures, and
strong melodic content to
give students music
they'll want to practice
and play again and
again. This piece
should depict images of
kings and castles, knight
and horses, dragons and
damsels in distress. It
should be bold and
aggressive throughout,
but never with bad
tone. This is then
contrasted by the lush
second theme that is
presented first in a
softer thin
orchestration, but later
becomes a change for the
whole ensemble to play in
a strong, but lush
presentation of this
theme.One thing that is
important to me when
writing music for younger
students is to offer
pieces that challenge all
students in the ensemble
and give every section an
important part of the
musical presentation,
which naturally should
include some melodic
material. Every member
of the ensemble wants to
feel that they are
contributing to the
collective whole.It has
been my pleasure to have
the opportunity to write
this piece. I hope you
and your students enjoy
it and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018. $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Planeterne, Op. 80 Wilhelm Hansen
Full Score SKU: HL.50602314 For Voice, Flute, Percussion, Viola, and G...(+)
Full Score SKU:
HL.50602314 For
Voice, Flute, Percussion,
Viola, and Guitar Full
Score. Composed by
Poul Rovsing Olsen.
Score. Classical.
Softcover. 48 pages.
Edition Wilhelm Hansen
#WH31915. Published by
Edition Wilhelm Hansen
(HL.50602314). UPC:
840126906585. The
Planets, op. 80 for
mezzo-soprano, flute,
viola and guitar, was
composed in spring 1978
and given its first
performance on 30 July
the same year at the
Lerchenborg Music Days.
The occasion which led to
the composition of the
work was the 50th
anniversary of the
finding of a block book
from the second half of
the 15th century with
texts on the planets. The
inspiration came from
Louise
Lerche-Lerchenborg, who
organised the Lerchenborg
Music Days, and the work
is dedicated to her. In
connection with the
concert at Lerchenborg,
Poul Rovsing Olsen wrote
the following about his
opus: The Planets derives
from the block book found
in Lerchenborg's library
in 1928. Seven fine,
coloured drawings tell of
the seven celestial
bodies which in many
European languages have
given the weekdays their
names. Each drawing is
accompanied by a Latin
text, under which there
is a two-line dictum that
briefly - though very
concisely - gives an
account of the
characteristics of the
children who belong to
that particular celestial
body. And these
concentrated portrayals
form the basis for the
music. In the music I
have attempted to give
indications of my own
experience of the
particular power and
nature characterizing
each one of the heavenly
bodies, just as I have
allowed this cycle of
planet songs to pass like
a journey through the
ethereal realms with
motifs that appear, are
repeated, are varied and
disappear (but only so as
to be replaced by new
ones), until we finally
return to the point of
departure. The
introduction - Aether -
is purely instrumental.
Two of the planets -
Venus and Luna - are
female; in the music
written for them small
(Indian) cymbals are used
that are also present in
Aether.. $46.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Planeterne Op.80 Wilhelm Hansen
Voice, Flute, Percussion, Viola and Guitar SKU: BT.WH31915 Composed by Po...(+)
Voice, Flute, Percussion,
Viola and Guitar SKU:
BT.WH31915 Composed
by Poul Rovsing Olsen.
Contemporary Music. Score
Only. Composed 2019. 48
pages. Edition Wilhelm
Hansen #WH31915.
Published by Edition
Wilhelm Hansen
(BT.WH31915). ISBN
9788759829004. The
Planets, op. 80 for
mezzo-soprano, flute,
viola and guitar, was
composed in spring 1978
and given its first
performance on 30 July
the same year at the
Lerchenborg Music Days.
The occasion which led to
the composition of the
work was the 50th
anniversary of the
finding of a block book
from the second half of
the 15th century with
texts on the planets. The
inspiration came from
Louise
Lerche-Lerchenborg, who
organised the Lerchenborg
Music Days, and the work
is dedicated to her. In
connection with the
concert at Lerchenborg,
Poul Rovsing Olsen wrote
the following about his
opus: “The Planets
derives from the block
book found in
Lerchenborg’s
library in 1928. Seven
fine,coloured drawings
tell of the seven
celestial bodies which in
many European languages
have given the weekdays
their names. Each drawing
is accompanied by a Latin
text, under which there
is a two-line dictum that
briefly though very
concisely gives an
account of the
characteristics of the
children who belong to
that particular celestial
body. And these
concentrated portrayals
form the basis for the
music. In the music I
have attempted to give
indications of my own
experience of the
particular power and
nature characterizing
each one of the heavenly
bodies, just as I have
allowed this cycle of
planet songs to pass like
a journey through the
ethereal realms with
motifs that appear, are
repeated, are varied and
disappear (but only so as
to be replaced by new
ones), until we finally
return to the point of
departure. The
introduction Aether is
purely instrumental. Two
of the planets Venus and
Luna are female; in the
music written for them
small (Indian) cymbals
are used that are also
present in
Aether.â€. $60.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sleep, My Child Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bell Tree,
Bells, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam, Timpani
and more. - Grade 2
SKU: CF.YPS208F
Shlof, Mayn Kind.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #YPS208F.
Published by Carl Fischer
Music (CF.YPS208F).
ISBN 9781491152966.
UPC:
680160910465. A
stunning and
heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Elegy for a Firefighter - Intermédiaire/avancé Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet 1, Clarinet...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Glockenspiel,
Horn 1, Horn 2, Horn 3,
Horn 4, Mallet
Percussion, Oboe 1, Oboe
2, Percussion and more. -
Grade 4 SKU:
CF.SPS87F Composed by
Jeremy Martin. Sws. Sps.
Full score. 24 pages.
Duration 6 minutes, 28
seconds. Carl Fischer
Music #SPS87F. Published
by Carl Fischer Music
(CF.SPS87F). ISBN
9781491156452. UPC:
680160914999. 9 x 12
inches. About the
Work In the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty. Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite stirring.
Performance Notes The
sustained slower tempo
may prove a challenge for
some groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
organ-like); be careful
to stagger breathe. The
tempo change at m. 55
should not be much of a
challenge, but many
groups may tend to slow
back down to the original
tempo by m. 59; the
timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes. About
the WorkIn the spring of
2008 a large number of
wildfires plagued the
west coast, including the
area where my wife and I
lived in northern
California. Firefighters
all along the West Coast
worked overtime in what
seemed like an endless
battle to protect
residents and their
homes. After hearing of a
number of firefighters
who had lost their lives
in the struggle, I
composed this work as a
dedication to them, in
honor of their sacrifice.
It is not dedicated to
any one person or group,
or even just to the
west-coast firefighters
who battled those
horrible wildfires;
instead, to all
firefighters who have
given their lives in the
line of duty.Although
designed as a standalone
work, I highly recommend
following this
composition with one of
the many fine band
settings of Amazing
Grace, as it is commonly
performed at firefighter
memorials. The one by
Frank Ticheli is superb,
and if you have access to
a good piper there is an
excellent version by Jay
Dawson which features a
solo verse for bagpipe;
both are quite
stirring.Performance
Notes The sustained
slower tempo may prove a
challenge for some
groups; as always,
emphasize subdivision.
Cues should be used only
if necessary due to
limited instrumentation.
The clarinet and
cup-muted trumpets at m.
39 should be very
sostenuto (almost
“organ-likeâ€)
; be careful to stagger
breathe. The tempo change
at m. 55 should not be
much of a challenge, but
many groups may tend to
slow back down to the
original tempo by m. 59;
the timpani player can
greatly assist in
avoiding this problem.
The coda at m. 82 may be
taken more slowly than
the indicated tempo if
your solo flutist can
manage the lengthy
sustained notes. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137F Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare and Jubilation - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bass Trombone,
Bassoon, Bells, Clarinet
1, Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Timpani,
Trombone, Trumpet 1 and
more. - Grade 1 SKU:
CF.BPS137 Composed by
Michael Boo. Folio. Bps.
Set of Score and Parts.
4+4+2+4+4+2+2+3+2+2+2+4+4
+3+2+2+2+3+1+1+2+1+16
pages. Duration 2:20.
Carl Fischer Music
#BPS137. Published by
Carl Fischer Music
(CF.BPS137). ISBN
9781491158487. UPC:
680160917082. 9 x 12
inches. Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. $53.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Compound Autonomy Ensemble de Percussions [Partition + CD-ROM] Tapspace Publications
By Jim Casella. Percussion Ensemble. For Glockenspiel, xylophone, crotales, chim...(+)
By Jim Casella.
Percussion Ensemble. For
Glockenspiel, xylophone,
crotales, chimes, 2
vibraphones, 2 marimbas
(low F), 2 marimbas (low
A), 4 timpani, piano,
electric bass guitar,
5-piece drumset, guiro,
cricket, sizzle cymbal, 2
suspended cymbals, 2
china cymbals, splash
cymbal, mark tree, 2 low
(15-17 players).
Percussion Ensembles.
Advanced. Score and
CD-ROM (containing
printable parts). 36
pages. Duration 5'50 (or
4'30 abridged).
Published by Tapspace
Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 2 Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.
$95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Double Play Violon Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contraba...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more. SKU:
PR.416411770 For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770). UPC:
680160091508. I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting. $26.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Festival March Orchestre d'harmonie - Avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Triangle,
Trombone 1 and more. -
Grade 5 SKU:
CF.SPS78F Composed by
Victor Herbert. Symphonic
Band (SPS). Full score.
With Standard notation.
40 pages. Carl Fischer
Music #SPS78F. Published
by Carl Fischer Music
(CF.SPS78F). ISBN
9781491153239. UPC:
680160910731. Festi
val 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. About the
CompositionFestival 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.
 . $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Festival March Orchestre d'harmonie - Avancé Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Triangle,
Trombone 1 and more. -
Grade 5 SKU:
CF.SPS78 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.
 . $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Classic Rock Hits Cymbals (For Marching/Pep Band) Partie séparée Hal Leonard
| | |
| Avalon Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2 SKU: CF.YPS204F
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#YPS204F. Published by
Carl Fischer Music
(CF.YPS204F). ISBN
9781491152928. UPC:
680160910427. Avalo
n–Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King! $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Avalon Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2 SKU: CF.YPS204
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+3+1+1+4+16+2+4 pages.
Duration 2 minutes, 24
seconds. Carl Fischer
Music #YPS204. Published
by Carl Fischer Music
(CF.YPS204). ISBN
9781491152249. UPC:
680160909742. Key: D
minor. Avalonâ€
Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King! $70.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Star-Spangled Banner Carl Fischer
Chamber Music Bass Drum, Crash Cymbals, Horn 1, Horn 2, Horn 3, Horn 4, Percussi...(+)
Chamber Music Bass Drum,
Crash Cymbals, Horn 1,
Horn 2, Horn 3, Horn 4,
Percussion 1, Percussion
2, Snare Drum, Trombone
1, Trombone 2, Trombone
3, Trumpet 1, Trumpet 2,
Trumpet 3, Trumpet 4,
Tuba SKU: CF.W2695
Composed by John Stafford
Smith. Arranged by Sean
O'Loughlin. Set of Score
and Parts.
12+1+1+1+1+1+1+1+1+1+1+1+
1+2+1 pages. Carl Fischer
Music #W2695. Published
by Carl Fischer Music
(CF.W2695). ISBN
9781491159958. UPC:
680160918546. This
celebratory and dramatic
rendition of The
Star-Spangled Banner
arranged for brass and
percussion by Sean
O'Loughlin has become a
favorite of both the
Oregon Symphony and
Baltimore Symphony brass
players, being played at
sporting events including
Portland Trailblazers NBA
basketball games,
Baltimore Orioles
baseball games, and
Baltimore Ravens football
games.With fanfare
flourishes and colorful
touches, this grand
arrangement gives each
section an opportunity to
play the melody, making
for a truly dynamic
experience. In the
winter of 2009 my good
friend David Bamonte, who
is the assistant
principal trumpet in the
Oregon Symphony, asked if
I had written an
arrangement of The
Star-Spangled Banner for
brass. The result is this
version of The
Star-Spangled Banner that
was premiered at a
Portland Trailblazers NBA
basketball game at the
Rose Garden in Portland,
Oregon. It has enjoyed
several performances at
those games over the
years, and the team has
been led to victory after
each performance.
Coincidence? Over the
past decade, this same
arrangement has gone on
to performances by the
Baltimore Symphony brass
and percussion at the
Baltimore Orioles
baseball games and the
Baltimore Ravens football
games.The arrangement
itself was written to
showcase the
extraordinary talent and
sound of the Oregon
Symphony Brass players.
Percussion parts were
added later for an
expanded performance. A
brief opening and closing
fanfare was added to set
the stage for the tone
and grandeur of the
music. Throughout the
arrangement, each section
gets the opportunity to
play the melody while
adding some interesting
colors to support the
iconic anthem. It is
instantly majestic and
celebratory in nature and
a fitting tribute to our
great nation. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Festival of the New Sun Ensemble de Percussions [Partition + CD-ROM] - Facile Tapspace Publications
(for percussion ensemble). By Alan Keown. For percussion ensemble (6 players: sn...(+)
(for percussion
ensemble). By Alan Keown.
For percussion ensemble
(6 players: snare drum, 2
high toms, 2 low toms,
piccolo snare drum, 4
timpani, finger cymbals,
2 cowbells, tambourine,
temple blocks, suspended
cymbal). Medium-easy.
Folio and parts on CD-
$36.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tartan Tapestries Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2,...(+)
Band Bagpipes, Bass
Clarinet, Bass Drum,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals, Double
Bass, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS225 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. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tartan Tapestries Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bagpipes, Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2,...(+)
Band Bagpipes, Bass
Clarinet, Bass Drum,
Bassoon, Bells, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals, Double
Bass, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1,
Percussion 2 and more. -
Grade 3.5 SKU:
CF.CPS225F Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F). ISBN
9781491153192. UPC:
680160910694. 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. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare: Generation Next - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS233 Composed by
Zachary Cairns. Folio.
Cps. Set of Score and
Parts.
8+8+4+8+8+8+2+2+4+4+2+2+8
+8+8+4+4+3+3+3+2+4+4+4+2+
1+6+3+20 pages. Duration
2 minutes, 36 seconds.
Carl Fischer Music
#CPS233. Published by
Carl Fischer Music
(CF.CPS233). ISBN
9781491156322. UPC:
680160914869. 9 x 12
inches. Fanfare:
Generation Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as Dean's
marching band
arranger/composer for
eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues. The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name Dean. D, E, and
A are all musical notes,
but N is not. I have
chosen to use a neighbor
tone (a note a half-step
above or below a given
note) to finish off the
name. (MUSIC EXAMPLE)
This melodic idea occurs
throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord; etc.
(MUSIC EXAMPLE) The
second idea is a rhythmic
motive, established in
the opening brass
fanfare. (MUSIC EXAMPLE)
This rhythm is later
transformed to the accent
pattern shown below,
which is used as an
ostinato throughout much
of the allegro section of
the piece.
 . Fanfare:
Generation
Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as
Dean’s marching
band arranger/composer
for eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues.The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name
“Dean.†D, E,
and A are all musical
notes, but N is not. I
have chosen to use a
“neighbor
tone†(a note a
half-step above or below
a given note) to finish
off the name.(MUSIC
EXAMPLE)This melodic idea
occurs throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord;
etc.(MUSIC EXAMPLE)The
second idea is a rhythmic
motive, established in
the opening brass
fanfare.(MUSIC
EXAMPLE)This rhythm is
later transformed to the
accent pattern shown
below, which is used as
an ostinato throughout
much of the allegro
section of the
piece.   . $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fanfare: Generation Next - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3 SKU:
CF.CPS233F Composed
by Zachary Cairns. Sws.
Cps. Full score. 20
pages. Duration 2
minutes, 36 seconds. Carl
Fischer Music #CPS233F.
Published by Carl Fischer
Music (CF.CPS233F).
ISBN 9781491156339.
UPC: 680160914876. 9 x 12
inches. Fanfare:
Generation Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as Dean's
marching band
arranger/composer for
eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues. The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name Dean. D, E, and
A are all musical notes,
but N is not. I have
chosen to use a neighbor
tone (a note a half-step
above or below a given
note) to finish off the
name. (MUSIC EXAMPLE)
This melodic idea occurs
throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord; etc.
(MUSIC EXAMPLE) The
second idea is a rhythmic
motive, established in
the opening brass
fanfare. (MUSIC EXAMPLE)
This rhythm is later
transformed to the accent
pattern shown below,
which is used as an
ostinato throughout much
of the allegro section of
the piece.
 . Fanfare:
Generation
Next Fanfare:
Generation Next is a
piece I wrote in honor of
Mr. Dean Zirkle,
long-time director of
bands at Camp Hill Senior
High School (near
Harrisburg, PA). I had
been working as
Dean’s marching
band arranger/composer
for eleven years when he
announced his upcoming
retirement, and I felt
compelled to write a
piece to pay tribute to
his remarkable
contributions to music
education and to the
lives of his students and
colleagues.The piece is
built on two primary
ideas. The first idea is
a musical rendering of
the name
“Dean.†D, E,
and A are all musical
notes, but N is not. I
have chosen to use a
“neighbor
tone†(a note a
half-step above or below
a given note) to finish
off the name.(MUSIC
EXAMPLE)This melodic idea
occurs throughout the
composition in a variety
of transformations.
Sometimes it is presented
with the exact notes
shown above; sometimes
the interval structure is
maintained, but the pitch
series is transposed
(G-A-D-C#, for example);
sometimes the four notes
are played in order,
sometimes out of order;
sometimes the first three
notes (D-E-A) sound
together as a chord;
etc.(MUSIC EXAMPLE)The
second idea is a rhythmic
motive, established in
the opening brass
fanfare.(MUSIC
EXAMPLE)This rhythm is
later transformed to the
accent pattern shown
below, which is used as
an ostinato throughout
much of the allegro
section of the
piece.   . $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Boundless Hope - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Triangle,
Trombone 1, Trombone 2
and more. - Grade 2
SKU: CF.YPS245
Composed by Mark Lortz.
Set of Score and Parts.
16+8+2+4+4+2+2+5+2+2+4+4+
4+3+3+3+2+3+1+1+1+4+2
pages. Duration 3
minutes, 10 seconds. Carl
Fischer Music #YPS245.
Published by Carl Fischer
Music (CF.YPS245).
ISBN 9781491159910.
UPC:
680160918508. In
December of 2020, after
almost a year of living
socially distanced,
isolated, and not knowing
when we would return to
life as we knew it, I
began to think about what
life used to look like. I
realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2 of
the mallet percussion and
then at m. 15 in the main
melody. The Lydian mode
naturally gives a sense
of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors. This piece
is very personal to me,
and I appreciate you
playing the
composition. In
December of 2020, after
almost a year of living
socially distanced,
isolated, and not knowing
when we would return to
life as we knew it, I
began to think about what
life used to look like. I
realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2
of the mallet percussion
and then at m. 15 in the
main melody. The Lydian
mode naturally gives a
sense of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors.This piece is
very personal to me, and
I appreciate you playing
the composition. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Boundless Hope - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Clarinet 1, Clarinet 2,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn, Mallet Percussion,
Oboe, Percussion 1,
Percussion 2, Snare Drum,
Suspended Cymbal,
Timpani, Triangle,
Trombone 1, Trombone 2
and more. - Grade 2
SKU: CF.YPS245F
Composed by Mark Lortz.
Full score. 11 pages.
Carl Fischer Music
#YPS245F. Published by
Carl Fischer Music
(CF.YPS245F). ISBN
9781491159927. UPC:
680160918515. In
December of 2020, after
almost a year of living
socially distanced,
isolated, and not knowing
when we would return to
life as we knew it, I
began to think about what
life used to look like. I
realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2 of
the mallet percussion and
then at m. 15 in the main
melody. The Lydian mode
naturally gives a sense
of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors. This piece
is very personal to me,
and I appreciate you
playing the
composition. In
December of 2020, after
almost a year of living
socially distanced,
isolated, and not knowing
when we would return to
life as we knew it, I
began to think about what
life used to look like. I
realized that I sometimes
might have taken all the
beautiful things in my
life for granted.
Personally, the year 2020
was a time of loss where
someone close to me left,
and at the same time, I
was also able to have
other successes. This
dichotomy inspired me to
realize that there is
hope in all that we do;
it is how we perceive
life. Boundless Hope
represents my thoughts,
feelings, and emotions
during this time. The
piece is roughly based on
the Lydian mode,
introducing the raised
fourth degree in m. 2
of the mallet percussion
and then at m. 15 in the
main melody. The Lydian
mode naturally gives a
sense of positivity,
hopefulness, inspiration,
and heavenly colors. That
was my exact intention
with this piece: using
the mode to define the
mood showing gratitude
for all that we have, and
yearning to return to
normalcy with a new and
fresh perspective.
Measure 30 should be
slightly faster, followed
by a rit. into the
grandiose recapitulation
of the theme in m. 38. At
m. 45, the wind chimes
should start before the
clarinet entrance, with
the subsequent measures
representing dark and
warm colors.This piece is
very personal to me, and
I appreciate you playing
the composition. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Embolden Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet, Crash Cymbals, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Clarinet, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam,
Tambourine, Timpani,
Triangle and more. -
Grade 1 SKU:
CF.BPS123F Composed
by Sean O'Loughlin.
Beginning Band (BPS).
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #BPS123F.
Published by Carl Fischer
Music (CF.BPS123F).
ISBN 9781491152775.
UPC:
680160910274. Embol
den?is a dramatic work
for the developing
ensemble that embodies
the definition of the
word: to give someone
courage or confidence.
The piece begins with a
melody of long, broad
strokes. As the melody
develops, lots of
imitation encourages each
section to play
independent lines. The
piece is a strong choice
for the developing band's
concert or festival
performance. Embol
den is a dramatic
work for the developing
ensemble that embodies
the definition of the
word: to give someone
courage or confidence.
The piece starts with a
melody with long, broad
strokes. There is plenty
of imitation as well to
encourage independence of
lines. After some
development, the piece
moves to a contrasting
softer section at m. 32.
Bring a more legato
approach to this section.
The broad melody returns
at m. 54 in the lower
voices with some rhythmic
accompaniment by the
upper voices. A powerful
presentation at m. 61
provides the momentum for
a decisive
ending. Embolden is a
dramatic work for the
developing ensemble that
embodies the definition
of the word: to give
someone courage or
confidence. The piece
starts with a melody with
long, broad strokes.
There is plenty of
imitation as well to
encourage independence of
lines. After some
development, the piece
moves to a contrasting
softer section at m. 32.
Bring a more legato
approach to this section.
The broad melody returns
at m. 54 in the lower
voices with some rhythmic
accompaniment by the
upper voices. A powerful
presentation at m. 61
provides the momentum for
a decisive ending. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Embolden Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet, Crash Cymbals, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Clarinet, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tam-tam,
Tambourine, Timpani,
Triangle and more. -
Grade 1 SKU:
CF.BPS123 Composed by
Sean O'Loughlin.
Beginning Band (BPS). Set
of Score and Parts. With
Standard notation.
8+2+8+2+5+2+2+8+3+6+3+1+1
+2+6+16+2 pages. Duration
2 minutes, 18 seconds.
Carl Fischer Music
#BPS123. Published by
Carl Fischer Music
(CF.BPS123). ISBN
9781491152096. UPC:
680160909599. Embol
den?is a dramatic work
for the developing
ensemble that embodies
the definition of the
word: to give someone
courage or confidence.
The piece begins with a
melody of long, broad
strokes. As the melody
develops, lots of
imitation encourages each
section to play
independent lines. The
piece is a strong choice
for the developing band's
concert or festival
performance. Embol
den is a dramatic
work for the developing
ensemble that embodies
the definition of the
word: to give someone
courage or confidence.
The piece starts with a
melody with long, broad
strokes. There is plenty
of imitation as well to
encourage independence of
lines. After some
development, the piece
moves to a contrasting
softer section at m. 32.
Bring a more legato
approach to this section.
The broad melody returns
at m. 54 in the lower
voices with some rhythmic
accompaniment by the
upper voices. A powerful
presentation at m. 61
provides the momentum for
a decisive
ending. Embolden is a
dramatic work for the
developing ensemble that
embodies the definition
of the word: to give
someone courage or
confidence. The piece
starts with a melody with
long, broad strokes.
There is plenty of
imitation as well to
encourage independence of
lines. After some
development, the piece
moves to a contrasting
softer section at m. 32.
Bring a more legato
approach to this section.
The broad melody returns
at m. 54 in the lower
voices with some rhythmic
accompaniment by the
upper voices. A powerful
presentation at m. 61
provides the momentum for
a decisive ending. $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Conga Book Conga [Partition + CD] - Intermédiaire Mel Bay
Composed by Herwig Stieger. Music Styles and Regions, Latin American, Percussion...(+)
Composed by Herwig
Stieger. Music Styles and
Regions, Latin American,
Percussion: Hand
Percussion and Bodhran,
Method. Book/CD Set. 143
pages. Published by Mel
Bay Publications, Inc
(MB.610477).
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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