Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, 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 1 and more. - Grade 3

SKU: CF.CPS259

Based on the Hymn Melita. Composed by A. Eric Heukeshoven. Cps. Set of Score and Parts. 1+4+4+2+2+4+4+4+2+2+2+2+2 +2+2+2+4+4+4+2+2+2+2+3+3+ 3+1+3+2+4+1+1+1+2+1+12 pages. Duration 2:20. Carl Fischer Music #CPS259. Published by Carl Fischer Music (CF.CPS259).

ISBN 9781491161487. UPC: 680160920112.

Fanfa re for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was Saint Mary's: A Sign of Faith, Hope, & Knowledge. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text My hope is built on nothing less ... serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.
Fanfare for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was Saint Mary's: A Sign of Faith, Hope, & Knowledge. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text My hope is built on nothing less ... serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.
Fanfare for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was “Saint Mary’s: A Sign of Faith, Hope, & Knowledge”. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text “My hope is built on nothing less …” serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.

Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, 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 1 and more. - Grade 3

SKU: CF.CPS259F

Based on the Hymn Melita. Composed by A. Eric Heukeshoven. Cps. Full score. 12 pages. Duration 2:20. Carl Fischer Music #CPS259F. Published by Carl Fischer Music (CF.CPS259F).

ISBN 9781491161692. UPC: 680160920372.

Fanfa re for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was Saint Mary's: A Sign of Faith, Hope, & Knowledge. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text My hope is built on nothing less ... serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.
Fanfare for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was “Saint Mary’s: A Sign of Faith, Hope, & Knowledge”. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text “My hope is built on nothing less …” serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.

Fanfare Band - Grade 3

SKU: BT.DHP-1135394-120

Bad Orb Impressions. Composed by Jacob De Haan. Concert and Contest Collection CBHA. Concert Piece. Score Only. Composed 2013. De Haske Publications #DHP 1135394-120. Published by De Haske Publications (BT.DHP-1135394-120).

9x12 inches. English-German-French-Dut ch.

The inspiration for this three-part work goes back to the International European Youth Wind Music Festival, of which the patron has been Jacob de Haan several times. It begins in a festive march tempo, then sacred music, instrumental groups playing off_x001E_stage and a little march for brass and _x001D_flutes. The third movement is a parade in which the various sections of the ensemble head towards the stage from different directions. Even without the effective choreography of the musicians, Call of the Valley is an impressive concert band composition.

Jacob de Haan haalde zijn inspiratie voor dit driedelige werk bij het Hessische kuuroord Bad Orb en het tweejaarlijkse Blaasmuziekfestival van de Europese Jeugd, waarvan hij meerdere keren beschermheer was. In het werk verwerkte de componist verschillende e_x001D_ecten die betrekking hebben op het festival. Zo hoort men in de vallei verschillende orkesten door elkaar spelen, een indrukwekkend e_x001D_ect dat ook in de compositie werd verwerkt. Ook kan men ervoor kiezen om tijdens het werk het orkest op te splitsen en het podium te laten verlaten en marcherend weer richting podium te stappen. Een spectaculair en vernieuwend werk!

Die Inspiration für dieses dreiteilige Werk geht auf das Internationale Blasmusikfest der Jugend Europas zurück, dessen Schirmherr schon mehrfach Jacob de Haan war. Es beginnt in festlich marschierendem Tempo, gefolgt von sakraler Musik, abseits der Bühne spielenden Instrumentengruppen und einem kleinen Marsch für Blechbläser und Flöten. Der dritte Satz ist eine Parade, bei der sich das geteilte Orchester aus verschiedenen Richtungen auf die Bühne zu bewegt. Auch ohne die effektvolle Positionierung der Musiker ist Call of the Valley ein eindrucksvolles Blasorchesterwerk.

Call of the Valley s’ouvre sur un tempo festif en forme de marche. Des sonorités majestueuses dessinent un concert de musique sacrée. Puis deux groupes instrumentaux quittent la scène et exécutent leurs parties distance. Un groupe de saxophones interprète une valse, un autre groupe réunissant cuivres et _x001D_fl tes joue une marche. la fin de l’oeuvre, l’orchestre reprend les thèmes des deux groupes tandis que ceux-ci reviennent vers la scène. Une fois arrivés, ils restent face au public alors que résonne l’accord _x001C_final.

Un festival di musica per _x001E_ati per banda giovanile che si tiene a Hesse in Germania, e al quale Jacob de Haan ha più volte partecipato in veste di giurato, è servito da ispirazione per comporre questo brano. L’inizio vede un tempo festivo che simboleggia l’arrivo delle bande. Sonorit maestose disegnano un concerto di musica sacra, seguite da suoni che evocano le interpretazioni di varie orchestre. Un gruppo di sax interpreta un piccolo valzer, un altro gruppo che unisce ottoni, _x001D_auti e ottavino suona una piccola marcia. Nel _x001E_finale dell’opera, l’orchestra riprende i temi dei due gruppi.

Fanfare Band - Grade 3

SKU: BT.DHP-1135394-020

Bad Orb Impressions. Composed by Jacob De Haan. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2013. De Haske Publications #DHP 1135394-020. Published by De Haske Publications (BT.DHP-1135394-020).

9x12 inches. English-German-French-Dut ch.

The inspiration for this three-part work goes back to the International European Youth Wind Music Festival, of which the patron has been Jacob de Haan several times. It begins in a festive march tempo, then sacred music, instrumental groups playing off_x001E_stage and a little march for brass and _x001D_flutes. The third movement is a parade in which the various sections of the ensemble head towards the stage from different directions. Even without the effective choreography of the musicians, Call of the Valley is an impressive concert band composition.

Jacob de Haan haalde zijn inspiratie voor dit driedelige werk bij het Hessische kuuroord Bad Orb en het tweejaarlijkse Blaasmuziekfestival van de Europese Jeugd, waarvan hij meerdere keren beschermheer was. In het werk verwerkte de componist verschillende e_x001D_ecten die betrekking hebben op het festival. Zo hoort men in de vallei verschillende orkesten door elkaar spelen, een indrukwekkend e_x001D_ect dat ook in de compositie werd verwerkt. Ook kan men ervoor kiezen om tijdens het werk het orkest op te splitsen en het podium te laten verlaten en marcherend weer richting podium te stappen. Een spectaculair en vernieuwend werk!

Die Inspiration für dieses dreiteilige Werk geht auf das Internationale Blasmusikfest der Jugend Europas zurück, dessen Schirmherr schon mehrfach Jacob de Haan war. Es beginnt in festlich marschierendem Tempo, gefolgt von sakraler Musik, abseits der Bühne spielenden Instrumentengruppen und einem kleinen Marsch für Blechbläser und Flöten. Der dritte Satz ist eine Parade, bei der sich das geteilte Orchester aus verschiedenen Richtungen auf die Bühne zu bewegt. Auch ohne die effektvolle Positionierung der Musiker ist Call of the Valley ein eindrucksvolles Blasorchesterwerk.

Call of the Valley s’ouvre sur un tempo festif en forme de marche. Des sonorités majestueuses dessinent un concert de musique sacrée. Puis deux groupes instrumentaux quittent la scène et exécutent leurs parties distance. Un groupe de saxophones interprète une valse, un autre groupe réunissant cuivres et _x001D_fl tes joue une marche. la fin de l’oeuvre, l’orchestre reprend les thèmes des deux groupes tandis que ceux-ci reviennent vers la scène. Une fois arrivés, ils restent face au public alors que résonne l’accord _x001C_final.

Un festival di musica per _x001E_ati per banda giovanile che si tiene a Hesse in Germania, e al quale Jacob de Haan ha più volte partecipato in veste di giurato, è servito da ispirazione per comporre questo brano. L’inizio vede un tempo festivo che simboleggia l’arrivo delle bande. Sonorit maestose disegnano un concerto di musica sacra, seguite da suoni che evocano le interpretazioni di varie orchestre. Un gruppo di sax interpreta un piccolo valzer, un altro gruppo che unisce ottoni, _x001D_auti e ottavino suona una piccola marcia. Nel _x001E_finale dell’opera, l’orchestra riprende i temi dei due gruppi.

Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3 and more.

SKU: PR.16500092L

For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L).

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

Composed by David Gillingham. Arranged by Dennis Wright. Score only. Duration 9:30. Published by C. Alan Publications (CN.06191).

Flute, violin or harpsichord

SKU: HH.HH598-FSP

Composed by Benjamin Skinner. Edited by Michael Talbot. Full score and parts. Edition HH Music Publishers #HH598-FSP. Published by Edition HH Music Publishers (HH.HH598-FSP).

ISBN 9790708213130.

Eigh teenth-century England was full of amateur musicians making music without fanfare at home. Some of them were also gifted composers, and among the best was Benjamin Skinner (1728–1757) from what was then the village of Bromley near Bow, today part of London’s East End. Skinner’s main publication was a set of six sonatas for flute, violin or solo harpsichord, which came out in 1752. These unpretentious pieces, then as now well suited to performance by amateurs or by musicians in training, are full of delights, mixing stylistic features inspired by Purcell or Handel with evocations of English popular vocal music and also the newer galant style introduced from Italy.  Perhaps these sonatas work best with flute and basso continuo, but the other two performance options are good alternatives.

Flute, violin or harpsichord

SKU: HH.HH599-FSP

Composed by Benjamin Skinner. Edited by Michael Talbot. Full score and parts. Edition HH Music Publishers #HH599-FSP. Published by Edition HH Music Publishers (HH.HH599-FSP).

ISBN 9790708213147.

Eigh teenth-century England was full of amateur musicians making music without fanfare at home. Some of them were also gifted composers, and among the best was Benjamin Skinner (1728–1757) from what was then the village of Bromley near Bow, today part of London’s East End. Skinner’s main publication was a set of six sonatas for flute, violin or solo harpsichord, which came out in 1752. These unpretentious pieces, then as now well suited to performance by amateurs or by musicians in training, are full of delights, mixing stylistic features inspired by Purcell or Handel with evocations of English popular vocal music and also the newer galant style introduced from Italy.  Perhaps these sonatas work best with flute and basso continuo, but the other two performance options are good alternatives.

By Robert W. Smith. Concert Band. Belwin Symphonic Band. Level: Grade 4. Conductor Score and Parts. Duration 8:45:00. Published by Alfred Publishing.

By Robert W. Smith. Concert Band. Concert Band. Belwin Symphonic Band. Contemporary. Grade 4.5. Conductor Score and Parts. 374 pages. Duration 9:17:00. Published by Belwin Publishing

Concert Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Finger Cymbals, Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Shaker, Snare Drum and more. - Grade 3-3.5

SKU: CF.CPS41

Composed by Alan Lee Silva. FS-SWS. Carl Fischer Concert Performance Series. Classical. Score and Set of Parts. With Standard notation. 8+8+4+8+8+8+2+4+4+4+4+4+4 +8+8+8+4+4+6+6+4+2+8+4+2+ 2+12+32 pages. Carl Fischer Music #CPS41. Published by Carl Fischer Music (CF.CPS41).

ISBN 9780825855733. UPC: 798408055738. 9 X 12 inches.

Your band will feel like champions when they play this outstanding new work from Alan Lee Silva. With a constant drive and strong melodic integrity, this piece offers several fast fanfare inspired sections, which are nicely contrasted by a beautiful middle section that includes a featured soloist performed at a slower pace. This is a perfect addition to your contest/festival repertoire.

Choir Sacred (SATB choir)

SKU: AP.50131

Composed by Andy Beck. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 16 pages. Alfred Music #00-50131. Published by Alfred Music (AP.50131).

UPC: 038081573014. English.

Celebrate the joy of making music all life long with this powerful ode to our art. With lyrics about the many ways that music makes a difference in our lives, singers will embrace the message and be inspired to share it. Bookended by a resonant choral fanfare and including an optional flute obbligato, it's a dynamic opener or closer for all who love music!

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.

Choir Sacred (2-Part choir)

SKU: AP.50132

Composed by Andy Beck. Performance Music Ensemble; Single Titles. Alfred Choral Designs. Secular. Choral Octavo. 16 pages. Alfred Music #00-50132. Published by Alfred Music (AP.50132).

UPC: 038081573021. English.

Celebrate the joy of making music all life long with this powerful ode to our art. With lyrics about the many ways that music makes a difference in our lives, singers will embrace the message and be inspired to share it. Bookended by a resonant choral fanfare and including an optional flute obbligato, it's a dynamic opener or closer for all who love music!

About Alfred Choral Designs

Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.