Value Pak (34 part books). (Kit of score and part books). Easy Contemporary Marching Band. Published by Hal Leonard.

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3

SKU: CF.CPS256F

Composed by Chris Campbell. Full score. 21 pages. Carl Fischer Music #CPS256F. Published by Carl Fischer Music (CF.CPS256F).

ISBN 9781491159729. UPC: 680160918317.

As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhap s a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle, Trombone, Trumpet, Tuba and more. - Grade 3

SKU: CF.CPS256

Composed by Chris Campbell. Set of Score and Parts. 21+8+8+4+8+8+4+4+10+4+4+1 6+8+12+6+4+8+2+4+14 pages. Duration 2 minutes, 36 seconds. Carl Fischer Music #CPS256. Published by Carl Fischer Music (CF.CPS256).

ISBN 9781491159712. UPC: 680160918300.

As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making sure not to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform to any strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34 the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softer as they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow! The sparsely orchestrated passage at m. 68 is understated--perhaps a little spacey in keeping with our theme--and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march--again, making sure that the staccatos are not too clipped--is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter. An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!.
As the title suggests, there should be a tongue-in-cheek aspect to the performance of this piece with the idea that it doesn't take itself too seriously. Close attention should be paid to staccato notes, making surenot to play them too short and clipped, keeping in mind that a staccato quarter note should have the length of an eighth note and not the length of a sixteenth note. Although the piece is a march, it needn't conform toany strict interpretation of what a march should be. Some of the tongued eighth-note passages may need to be double-tongued, depending on tempo, using the Dig-A-Duck method. For instance at m. 34the repeated eighth notes might be tongued dig-a-da-duck, dig-a-duck, da dot dot. Slurred eighth-note passages should follow the curve of the line, getting slightly louder as notes ascend and slightly softeras they descend. Measure 39 through m. 51 will have a somewhat chaotic feel, so go with the flow!The sparsely orchestrated passage at m. 68 is understated—perhap s a little spacey in keeping with our theme—and not to be overplayed until the crescendo at m. 88, when we return to business as usual. Trumpets show off again (rarely a problem for trumpet players) on the D. S. back to m. 6. On the Coda, another disjointed-sounding theme, again departing from any strict interpretation of a march—again, making sure that the staccatos are not too clipped—is followed by a repeat of the main theme, this time layered. Care should be taken to balance the entrances of the layered instrument groups as they enter.An exuberant final four measures puts the cherry on top. Percussion can play out for the most part, very little subtlety required. Overall, this piece is meant to be FUN, for both the performers and the audience!

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Suspended Cymbal, Tambourine, Timpani, Tom-tom and more. - Grade 2.5

SKU: CF.YPS265

Composed by Ed Kiefer. Set of Score and Parts. Carl Fischer Music #YPS265. Published by Carl Fischer Music (CF.YPS265).

ISBN 9781491163658. UPC: 680160922444.

The Rocky Road to Dublin is a song written by Irish poet D. K. Gavan in the mid-nineteenth century for English music-hall performer Harry Clifton and tells the story of an Irish man leaving his hometown of Tuam in the county of Galway in Ireland to go to Dublin to make money. Because of the Great Potato Famine at that time, large groups of Irish folks left their hometowns looking for food and work. Thousands ended up in America, in particular, Philadelphia, where many made their way south through the Appalachian mountains, settling in southwest Virginia, western North Carolina and eastern Tennessee. As the Irish began their new lives here in America, they would often sing these songs, which would bring back fond memories of their homeland. Many old-time fiddle tunes can be traced to Irish music, including this song. However, their music changed as the songs were passed around through other cultures in the mountains, with new verses about their new lives. Often the tunes and lyrics made their way back overseas where they would change yet again, so there are many versions of these songs found in both Ireland and America. This setting is close to the original and can be found in both places. It gets to the heart of having to leave one’s home to seek a better life.This tune is a fun one and should be played with a lilt until m. 43. At this point, the original material is more legato, but returns at m. 59 in the alto saxophone. Let the percussion play on their solis, especially at the end where some of them answer the band motifs. The straight eighth notes (as at m. 29) will perhaps look difficult to younger players, but once they understand the concept, it will be a favorite part. Have fun!

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Suspended Cymbal, Tambourine, Timpani, Tom-tom and more.

SKU: CF.YPS265F

Composed by Ed Kiefer. Full score. 20 pages. Carl Fischer Music #YPS265F. Published by Carl Fischer Music (CF.YPS265F).

ISBN 9781491164051. UPC: 680160922840.

The Rocky Road to Dublin is a song written by Irish poet D. K. Gavan in the mid-nineteenth century for English music-hall performer Harry Clifton and tells the story of an Irish man leaving his hometown of Tuam in the county of Galway in Ireland to go to Dublin to make money. Because of the Great Potato Famine at that time, large groups of Irish folks left their hometowns looking for food and work. Thousands ended up in America, in particular, Philadelphia, where many made their way south through the Appalachian mountains, settling in southwest Virginia, western North Carolina and eastern Tennessee. As the Irish began their new lives here in America, they would often sing these songs, which would bring back fond memories of their homeland. Many old-time fiddle tunes can be traced to Irish music, including this song. However, their music changed as the songs were passed around through other cultures in the mountains, with new verses about their new lives. Often the tunes and lyrics made their way back overseas where they would change yet again, so there are many versions of these songs found in both Ireland and America. This setting is close to the original and can be found in both places. It gets to the heart of having to leave one’s home to seek a better life.This tune is a fun one and should be played with a lilt until m. 43. At this point, the original material is more legato, but returns at m. 59 in the alto saxophone. Let the percussion play on their solis, especially at the end where some of them answer the band motifs. The straight eighth notes (as at m. 29) will perhaps look difficult to younger players, but once they understand the concept, it will be a favorite part. Have fun!

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2 and more. - Grade 3

SKU: CF.CPS258

Featuring Marches by L on Jessel, Victor Herbert, Fritz Kreisler and Peter Ilyich Tchaikovsky. Arranged by Marsha Shapiro. Set of Score and Parts. 2+16+4+8+8+6+4+4+4+4+4+8+ 8+4+4+6+6+6+4+8+1+4+1+32 pages. Duration 4 minutes. Carl Fischer Music #CPS258. Published by Carl Fischer Music (CF.CPS258).

ISBN 9781491161395. UPC: 680160919987.

The winter holiday season might bring to mind the Toy Soldier Dance as performed annually by the famous Radio City Rockettes. There were in fact a number of composers who wrote march music for toy, tin or wooden soldiers. Four of those songs have been included in this medley: Parade of the Wooden (or Tin) Soldiers by Leon Jessel, March of the Toys from the operetta Babes in Toyland by Victor Herbert, Fritz Kreiser's Toy Soldier March for violin and piano, and March of the Wooden Soldiers from Peter Ilyich Tchaikovsky's Nutcracker Suite. This arrangement, Toy Soldier Marches, is designed for high school band because of the rhythmic technique required by the compositions, although the ranges remain much easier. The ambitious director might incorporate some uniformed marching band students into the performance as wooden soldiers marching down the aisles.
The winter holiday season might bring to mind the Toy Soldier Dance as performed annually by the famous Radio City Rockettes. There were in fact a number of composers who wrote march music for toy, tin or wooden soldiers. Four of those songs have been included in this medley: Parade of the Wooden (or Tin) Soldiers by Leon Jessel, March of the Toys from the operetta Babes in Toyland by Victor Herbert, Fritz Kreiser’s Toy Soldier March for violin and piano, and March of the Wooden Soldiers from Peter Ilyich Tchaikovsky’s Nutcracker Suite.This arrangement, Toy Soldier Marches, is designed for high school band because of the rhythmic technique required by the compositions, although the ranges remain much easier. The ambitious director might incorporate some uniformed marching band students into the performance as wooden soldiers marching down the aisles.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2 and more. - Grade 3

SKU: CF.CPS258F

Featuring Marches by L on Jessel, Victor Herbert, Fritz Kreisler and Peter Ilyich Tchaikovsky. Arranged by Marsha Shapiro. Full score. 32 pages. Duration 4 minutes. Carl Fischer Music #CPS258F. Published by Carl Fischer Music (CF.CPS258F).

ISBN 9781491161685. UPC: 680160920365.

The winter holiday season might bring to mind the Toy Soldier Dance as performed annually by the famous Radio City Rockettes. There were in fact a number of composers who wrote march music for toy, tin or wooden soldiers. Four of those songs have been included in this medley: Parade of the Wooden (or Tin) Soldiers by Leon Jessel, March of the Toys from the operetta Babes in Toyland by Victor Herbert, Fritz Kreiser's Toy Soldier March for violin and piano, and March of the Wooden Soldiers from Peter Ilyich Tchaikovsky's Nutcracker Suite. This arrangement, Toy Soldier Marches, is designed for high school band because of the rhythmic technique required by the compositions, although the ranges remain much easier. The ambitious director might incorporate some uniformed marching band students into the performance as wooden soldiers marching down the aisles.
The winter holiday season might bring to mind the Toy Soldier Dance as performed annually by the famous Radio City Rockettes. There were in fact a number of composers who wrote march music for toy, tin or wooden soldiers. Four of those songs have been included in this medley: Parade of the Wooden (or Tin) Soldiers by Leon Jessel, March of the Toys from the operetta Babes in Toyland by Victor Herbert, Fritz Kreiser’s Toy Soldier March for violin and piano, and March of the Wooden Soldiers from Peter Ilyich Tchaikovsky’s Nutcracker Suite.This arrangement, Toy Soldier Marches, is designed for high school band because of the rhythmic technique required by the compositions, although the ranges remain much easier. The ambitious director might incorporate some uniformed marching band students into the performance as wooden soldiers marching down the aisles.

Composed by Tyler Arcari. Score and part(s). 12 122 pages. Duration 1 minute, 51 seconds. Carl Fischer #FPS0131. Published by Carl Fischer (CF.FPS131).

By Foo Fighters. By Christopher Shiflett, Dave Grohl, Nate Mendel, Pat Smear, and Taylor Hawkins. Arranged by Michael Brown and Will Rapp. For Marching Band (Score and Parts). Contemporary Marching Band. Grade 3-4. Published by Hal Leonard

Band Bass Clarinet, Bass Drum, Bassoon, 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, Percussion 1, Percussion 2, Piccolo and more. - Grade 4

SKU: CF.SPS73

Composed by John Stafford Smith. Arranged by Sean O'Loughlin. SWS FS. Carl Fischer Symphonic Performance Series. Set of Score and Parts. With Standard notation. 1+4+4+2+4+4+4+2+2+2+2+2+2 +3+3+3+2+2+2+2+3+3+3+2+3+ 4+1+1+2+3+12 pages. Duration 1 minute, 48 seconds. Carl Fischer Music #SPS73. Published by Carl Fischer Music (CF.SPS73).

ISBN 9781491147689. UPC: 680160905188. 9 x 12 inches. Key: Bb major.

Composer/arr anger Sean O'Loughlin has provided a refreshing new setting of our National Anthem. It was originally written for orchestral brass and percussion and has been performed at both MLB and NBA events. The arrangement begins with a bold fanfare to set the tone, but also to provide the motive glue to hold the arrangement together and create something unique. Creative harmonic usage and colorful orchestration really make this version stand out from the rest.
There have been many great arrangements of our National Anthem throughout the years . The responsibility of creating one that truly brought something new to the mix was very daunting . I was fortunate enough to get an opportunity to write this version for the Oregon Symphony Brass Section to perform at the Portland Trail Blazers NBA games . Subsequent performances have occurred with the Baltimore Symphony at the Baltimore Orioles MLB games . At this time, it is my supreme honor to adapt this for the advanced concert band .In bringing something new, I decided to start with a bold fanfare to set the tone for this great music . Introducing some more dissonant harmonies also created a more intense feel .The first stanza includes a flowing counter line in the horns and alto saxophones . The trumpets interject some flourishes on the second pass to further the intensity . These flourishes continue “ . . . when the rockets red glare!” The final push at m . 29 is colored with pulsating 16th notes in the woodwinds that lead to some dramatic harmony at the fermata in m . 32 . The opening fanfare then returns to let everyone know that it's time to “Play ball!”.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, 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, Triangle and more. - Grade 2

SKU: CF.YPS139F

Composed by Laurie Lafferty. Young Band. Full score. 20 pages. Duration 2:40. Carl Fischer Music #YPS139F. Published by Carl Fischer Music (CF.YPS139F).

ISBN 9780825896316. UPC: 798408096311. 9 x 12 inches.

This whimsical concert overture on original themes contains a folk song quality and colorful orchestration. Every part of the band gets a chance to shine in this delightful piece. A perfect contrasting selection for contests and festivals.

Teach Yourself Drums composed by Seth Goldberg. For drums. This edition: Paperback. Instructional. Method. Book. Text Language: English. 112 pages. Published by Santorella Publications

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet, Euphonium, Euphonium T.C., Finger Cymbals, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Sleigh Bells, Snare Drum, Tambourine, Timpani, Tom-tom, Triangle, Trombone and more. - Grade 1

SKU: CF.BPS21

Composed by Joseph Compello. FS-SWS. Patriotic. Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+3+6+2+3+1 +1+2+3+16 pages. Carl Fischer Music #BPS21. Published by Carl Fischer Music (CF.BPS21).

ISBN 9780825847462. UPC: 798408047467. 9 X 12 inches. Key: Bb major.

Joe Compello has taken the old adage “give the drummers plenty to do” to heart in this likeable and lively rock-based piece. The rhythms are infectious, the ranges comfortable for young players and the music has plenty of bluesy pizzazz. Duration: 2’ Key: Bb Ranges: Trumpet – C; Horn – Bb; Trombone – F.

Anthem of Hope. Composed by Larry Clark. Score and part(s). 28 290 pages. Duration 5 minutes, 38 seconds. Carl Fischer #CPS0189. Published by Carl Fischer (CF.CPS189).

By Terry Bozio. Instructional video: DVD for drum set. Series: Alfreds Artist Series. Published by Alfred Publishing.

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

SKU: CF.CPS189F

Anthem of Hope. Composed by Larry Clark. Full score. With Standard notation. 28 pages. Duration 5 minutes, 38 seconds. Carl Fischer Music #CPS189F. Published by Carl Fischer Music (CF.CPS189F).

ISBN 9781491142912. UPC: 680160900411.

Forev er Climbing was written as tribute to the loss of a high school band student that was tragically killed in a rock climbing accident. It is not intended as a sad piece, but as a celebration of the life of this exceptional young man. At times the piece is contemplative, but also contains a joy that is to depict the way he lived. As the piece builds to its conclusion, the listener will have a sense of fulfillment in a life well lived, even though it was cut short. A moving new addition to the band repertoire.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Brake Drum, Clarinet 1, Clarinet 2, Cowbell, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2, Percussion 3, Slap Stick and more. - Grade 2

SKU: CF.YPS193F

Composed by Robert Thurston. SWS. Carl Fischer Young Performance Series. Full score. With Standard notation. 16 pages. Duration 2 minutes, 27 seconds. Carl Fischer Music #YPS193F. Published by Carl Fischer Music (CF.YPS193F).

ISBN 9781491148150. UPC: 680160905652. 9 x 12 inches.

Break through the midday doldrums (or mid-rehearsal doldrums) by having your students rock out in a bluesy, rock style piece for young bands. With plenty of percussion and even a head banging breakout section, this tune will energize your band and is a perfect tool for teaching the concept of how Blues influenced Rock 'n' Roll.