Concert Band/Harmonie - Grade 4

SKU: BT.AMP-340-140

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2012. 44 pages. Anglo Music Press #AMP 340-140. Published by Anglo Music Press (BT.AMP-340-140).

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

Of Skies, Rivers, Lakes and Mountains was commissioned by the Northern California Band Directors' Association to honour their 50th Anniversary in 2012. The first performance was given by the Association’s 2012 Honor Band, conducted by Dr Royce Trevis, in the Harlen Adams Theater, California State University, Chico, California, on 4th February that year.The brief for the commission asked for a piece that celebrated the United States’ natural resources and composer Philip Sparke turned to Katharine Lee Bates’s lyrics for the song America the Beautiful, of which the first and last verses are:O beautiful for spacious skies,For amber waves of grain,For purplemountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaThe three movements each take their title from these verses:1. O Beautiful for Spacious Skies: Opening with filigree woodwind figuring, this movement aims to recreate the light and lightness of a spring sky, birds and blossoms floating on gentle breezes.2. From Sea to Shining Sea: A vivacious celebration of water bubbling in streams, rivers and lakes.3. For Purple Mountain Majesties: A slow final movement representing an awe-inspiring range of mountains

Of Skies, Rivers, Lakes and Mountains is geschreven in opdracht van de Northern California Band Directors' Association, ter gelegenheid van het vijftigjarig jubileum van deze organisatie, dat in 2012 werd gevierd. De première werd op 4 februari van dat jaar onder leiding van dirigent Royce Trevis uitgevoerd door de Association’s 2012 Honor Band, in het Harlen Adams Theater, California State University, Chico, Californië.De componist kreeg het verzoek een werk te schrijven dat een lofzang zou zijn op alles wat de natuur van Verenigde Staten te bieden heeft. Philip Sparke gebruikte de tekst van Katharine Lee Bates voor de song America the Beautiful, waarvan heteerste en laatste couplet als volgt luiden:O beautiful for spacious skies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDe titels van de drie delen van de compositie zijn ontleend aan deze coupletten:1. O Beautiful for Spacious Skies: Dit deel, dat opent met verfijnde figuren in het hout, is een poging om het licht en de lichtheid van een lentehemel te herscheppen, met vogeltjes en bloesems die wiegen in een milde bries.2. From Sea to Shining Sea: Een levendige ode aan water dat stroomt in beken, rivieren en meren3. For Purple Mountain Majesties: Een langzaam laatste deel waarin het beeld wordt opgeroepen van een indrukwekkende bergketen

Of Skies, Rivers, Lakes and Mountains wurde von der Northern California Band Director’s Association (Dirigentenverband Nord-Kaliforniens) zum 50-jährigen Jubiläum im Jahr 2012 in Auftrag gegeben. Die Uraufführung mit dem Ehrenorchester 2012 des Verbands fand am 4. Februar desselben Jahre unter der Leitung von Dr. Royce Trevis im Halen Adams Theater an der California State University, Chico Kalifornien) statt.Der Kompositionsauftrag verlangte ein Stück zu Ehren der Reichtümer der Natur Amerikas. Der Komponist Philip Sparke wählte daher die erste und letzte Strophe aus Katherine Lee Bates’ Text zum Lied America the Beautiful, die da lauten:O beautiful for spaciousskies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDie Titel der drei Sätze stammen alle aus diesen Strophen:1. O Beautiful for Spacious Skies (O wunderschön, der weite Himmel): Mit filigranen Figuren im Holz beginnend, will dieser Satz das Licht und die Leichtigkeit des Frühlingshimmels, die Vögel und von einer sanften Brise getragene Blüten zum Leben erwecken.2. From Sea to Shining Sea (Vom Meer zum strahlenden Meer): Mit lebhafter Musik wird hier in Flüssen, Bächen und Seen sprudelndes Wasser zelebriert.3. For Purple Mountain Majesties (Die Erhabenheit der purpurrot leuchtenden Berge): Der langsame Schlusssatz richtet den Blick auf ehrfurchtgebietende Gebirge.

Of Skies, Rivers, Lakes and Mountains est une commande de la Northern California Band Directors' Association pour marquer son 50e anniversaire, en 2012. Cette œuvre a été créée par le Honor Band 2012 de l’Association sous la direction du Dr Royce Trevis au thé tre Harlen Adams de l’université de Californie Chico, Californie, le 4 février de cette même année.La commande stipulait que la pièce devait célébrer les ressources naturelles des États-Unis. Le compositeur Philip Sparke s’est donc inspiré des paroles de Katharine Lee Bates pour la chanson America the Beautiful, dont voici les premier et dernier couplets :O beautiful for spacious skies,For amberwaves of grain,For purple mountain majestiesAbove the fruited plain!(Oh belle pour tes vastes cieux,Tes vagues de grains ambrés,La majesté de tes montagnes violettesDominant des plaines fruitées !)America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining sea(Amérique ! Amérique !Dieu t’a donné sa gr ceCouronnée de la fraternité des hommesDe la mer la mer étincelante)Les trois mouvements empruntent chacun leur titre ces couplets :1. O Beautiful for Spacious Skies: S’ouvrant avec des figures en filigrane jouées par les bois, ce mouvement cherche recréer la lumière et la légèreté d’un ciel printanier, d’oiseaux et de fleurs flottant au gré d’une douce brise.2. From Sea to Shining Sea: Plein de vivacité, ce mouvement évoque les frémissements de l’eau des ruisseaux, des rivières et des lacs.3. For Purple Mountain Majesties:Le dernier mouvement, lent et majestueux, dépeint une impressionnante chaîne de montagnes.

Go, Tell It on the Mountain arranged by Susan Geschke. For handbell choir (2-3 octaves). Handbell music. Christmas, Sacred. Grade 2. Handbell score. 6 pages. Published by Hope Publishing Company

Composed by Robert Starer (1924-2001). Concert band. Suitable for advanced middle school, high school, community and college bands. Grade 3. Conductor score and set of parts. Duration 3:15. Published by Manhattan Beach Music

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor score and set of parts. Duration 4:30. Published by Manhattan Beach Music.

By Frank Ticheli. Concert band. Suitable for advanced middle school, high school, community and college bands. Level: Grade 3. Conductor Full Score. Duration 4:30. Published by Manhattan Beach Music.

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

SKU: PR.16500102F

Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F).

ISBN 9781491131749. UPC: 680160680276.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Band

SKU: PR.16500104F

Three Places in the East. Composed by Dan Welcher. Full score. Theodore Presser Company #165-00104F. Published by Theodore Presser Company (PR.16500104F).

ISBN 9781491132159. UPC: 680160681082.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

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

SKU: CF.CPS278

Composed by Andrew Balent. Set of Score and Parts. Carl Fischer Music #CPS278. Published by Carl Fischer Music (CF.CPS278).

ISBN 9781491163771. UPC: 680160922567.

Mount ain Beauty was written for the Greenville, South Carolina Concert Band and portrays the mountains along the North and South Carolina border.The opening section is played in a steady allegro with attention to proper dynamics and articulations. At m. 13 the legato melody contrasts with the rhythmic accompaniment. The slower middle section lets the ensemble focus on tone quality and phrasing. The final section should build to a glorious ending.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Timpani, Triangle and more.

SKU: CF.CPS278F

Composed by Andrew Balent. Full score. 24 pages. Carl Fischer Music #CPS278F. Published by Carl Fischer Music (CF.CPS278F).

ISBN 9781491164174. UPC: 680160922963.

Mount ain Beauty was written for the Greenville, South Carolina Concert Band and portrays the mountains along the North and South Carolina border.The opening section is played in a steady allegro with attention to proper dynamics and articulations. At m. 13 the legato melody contrasts with the rhythmic accompaniment. The slower middle section lets the ensemble focus on tone quality and phrasing. The final section should build to a glorious ending.

Piano - late intermediate

SKU: KJ.WP1218

Composed by Melody Bober. Piano/Repertoire. Center Stage Solos. Score. Neil A. Kjos Music Company #WP1218. Published by Neil A. Kjos Music Company (KJ.WP1218).

UPC: 084027053836.

This grand piano solo was commissioned by the Wyoming Federation of Music Clubs. It is descriptive not only of the Rocky Mountains, but is also a tribute to majestic mountains everywhere. Opening with a peaceful introduction in 4/4 time, the sound quickly becomes expansive in its use of the a wide keyboard range and the melody played in octaves. Quickly played hand-over-hand arpeggios follow perhaps suggesting turbulent white-water streams. A contrasting Reflective middle section in 6/8 time suggests rest in the midst of the beautiful scenery. The A section returns before a flashy, alternating-hands chordal ending. A dramatic conclusion to any recital or festival.

Concert band - Grade 2

SKU: CL.011-4193-01

Composed by Shaffer. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR379). Extra full score. Composed 2013. Duration 4 minutes, 50 seconds. C.L. Barnhouse #011-4193-01. Published by C.L. Barnhouse (CL.011-4193-01).

Commissioned by and dedicated to Kennesaw Mountain High School, Kennesaw Mountain, Georgia, this exciting concert overture will be a sure hit with your students. The intense opening moments immediately lead us to a brassy fanfare interlude. A secondary rhythmic dialogue between brass and woodwinds punctuates a flowing main theme. The slower middle section is a gracefully simple melody that offers a flowing contrast to the rhythmic intensity of the faster outer sections. Reminiscent of this composer’s earlier composition Fire Dance, Kennesaw Mountain Celebration is certain to be one of your student’s favorites.

About C.L. Barnhouse Command Series

The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.

Choral (ShowTrax CD)

SKU: HL.125963

Medley Discovery Level 2. Arranged by Cristi Cary Miller. Discovery Choral. Concert, Festival, Folk. CD only. Published by Hal Leonard (HL.125963).

UPC: 884088993870. 5x5 inches.

A follow up to the popular Red River Dances and Appalachian Dances, this folk setting from the Ozark Mountains is a colorful and creative showcase for young choirs! From the opening ballad, it moves into rollicking dance tunes that will challenge your singers' diction and are super fun to rehearse and perform! Includes Barbara Allen; Arkansas Traveler; Risseldy, Rosseldy. Available separately: 3-Part Mixed, 2-Part, ShowTrax CD. Duration: ca. 3:45.

Orchestra String Orchestra - Grade 3.5; Grade 4

SKU: FJ.ST6531

Composed by Modest Petrovich Mussorgsky. Arranged by Carrie Lane Gruselle. Series; String Orchestra. FJH String Orchestra. Masterwork Arrangement. Score and Part(s). The FJH Music Company Inc #98-ST6531. Published by The FJH Music Company Inc (FJ.ST6531).

UPC: 241444436608. English.

The opening eerie flutters and surges combine with the fiendish booming of the low strings in the iconic opening of this famous tone poem. Expertly arranged to sound remarkably authentic yet extremely playable, this setting offers the opportunity to explore one of the most well-known pieces in the repertoire.

About FJH String Orchestra

More emphasis on bow technique and independence of lines. For the accomplished middle, high school, college, or professional group. Grade 3 and up

Horn, Trombone & Piano

SKU: SU.32040190

For Horn, Trombone & Piano. Composed by Amy Riebs Mills. Chamber Music, Piano Trio, Brass, Brass Ensemble. Accompanied by piano. Score & Parts. Subito Music Corporation #32040190. Published by Subito Music Corporation (SU.32040190).

One More Mountain is a dynamic musical drama in one movement for Horn, Trombone and Piano. It features virtuosity of the brass players and lyricism of the pianist. The Dramatic opening theme displays strength of character and builds to a climax. Wistful, ever in motion, the piano introduces the first Waltz theme. The trombone joins in with a soulful outpouring of love, and finally the Horn joins for a beautiful trio of Waltz melodies combined. Building through Honor, the Triumphant climax blazes, then quickly fades as the Dramatic theme returns in canon. The trio of Waltz themes returns, and this time Honor leads to Finding Peace. Slowly and softly the piano emerges, grows rapidly, and is joined by the brass for a rip roarin’ Heroic Ride to the end. Difficulty Level: Horn/Trombone – 5, Piano - 4 Horn, Trombone & Piano Duration: 7'30 Composed: 2022 Published by: Amy Mills Music, LLC.

Jazz ensemble - Grade 2

SKU: CL.032-4362-01

Composed by P. Clark. Jazz Ensemble. Audio recording available separately (item CL.991-2015-01). Extra full score. Composed 2015. Duration 3 minutes, 7 seconds. C.L. Barnhouse #032-4362-01. Published by C.L. Barnhouse (CL.032-4362-01).

A creative combination of Go Tell It On The Mountain and Beethoven's Ode To Joy that's guaranteed to impress your listeners, Opening with a beautiful chorale, it switches to driving rock and steamrolls through the keys of Bb, Eb & F to a big finish. No improv, but lots of solis and solid ensemble sections. It won't take a lot of rehearsal time to work up this truly awesome addition to your holiday concerts.

Jazz ensemble - Grade 2

SKU: CL.032-4362-00

Composed by P. Clark. Jazz Ensemble. Audio recording available separately (item CL.991-2015-01). Score and set of parts. Composed 2015. Duration 3 minutes, 7 seconds. C.L. Barnhouse #032-4362-00. Published by C.L. Barnhouse (CL.032-4362-00).

A creative combination of Go Tell It On The Mountain and Beethoven's Ode To Joy that's guaranteed to impress your listeners, Opening with a beautiful chorale, it switches to driving rock and steamrolls through the keys of Bb, Eb & F to a big finish. No improv, but lots of solis and solid ensemble sections. It won't take a lot of rehearsal time to work up this truly awesome addition to your holiday concerts.

By Rob Grice. Concert band. Concert Band Series. Audio recording available separately (item CL.WFR367). Grade 3. Score and parts. Composed 2010. Duration 3 minutes, 21 seconds. Published by C.L. Barnhouse

Choral (SAB Choir)

SKU: HL.124871

(A Christmas Celebration). Arranged by Mark A. Brymer. Sacred Christmas Choral. Christmas, Holiday, Medley, Sacred, Show Choir. Octavo. 16 pages. Published by Hal Leonard (HL.124871).

UPC: 884088985288. 6.75x10.5 inches.

Opening with the tender strains of “Infant Holy, Infant Lowly,” this contemporary setting then moves into the joyful strains of “Go Tell It on the Mountain,” over an exciting percussion groove. Weaving in snippets of other familiar carols, this work will energize your Christmas programming and bring a freshness to the season your listeners will enjoy.

Band Bass Clarinet, Bass Drum, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle and more. - Grade 2.5

SKU: CF.YPS244

Composed by R. Alan Carter. Set of Score and Parts. 19+16+4+8+8+4+10+4+4+8+8+ 8+12+6+4+6+1+2+1+4+6 pages. Duration 3 minutes, 58 seconds. Carl Fischer Music #YPS244. Published by Carl Fischer Music (CF.YPS244).

ISBN 9781491159859. UPC: 680160918447.

Brass town Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft.  It is located in the northeastern part of the state and is part of the southern Appalachians.  The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.

Band Bass Clarinet, Bass Drum, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle and more. - Grade 2.5

SKU: CF.YPS244F

Composed by R. Alan Carter. Full score. 19 pages. Carl Fischer Music #YPS244F. Published by Carl Fischer Music (CF.YPS244F).

ISBN 9781491159866. UPC: 680160918454.

Brass town Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft.  It is located in the northeastern part of the state and is part of the southern Appalachians.  The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.

(For Alto Flute (Doubling Flute), Viola, Cello, and Piano - Full Score (Piano)). By Lee Hyla. Chamber ensemble. For Flute, Alto Flute, Viola, Cello, Piano. Full score (large). Standard notation. 21 pages. Published by Carl Fischer

Concert band - Grade 3

SKU: MH.1-59913-053-X

Composed by Robert Starer. Suitable for advanced middle school, high school, community and college bands. Conductor Full Score. Duration 3:15. Published by Manhattan Beach Music (MH.1-59913-053-X).

ISBN 9781599130538.

The term Rolling Earth comes from a poem by Walt Whitman and the music is a celebration of the planet we live on. It has three thematic elements: the sequence of chords of the opening, a brief staccato passage passed around different instruments in the fashion of a canon, and an expressive melody first played by the woodwinds and later repeated by the trumpet, saxophone and euphonium. A gentler section comes to a point of contemplation, when a strong rhythmic motive brings it back to the celebratory mood of the opening. Ensemble instrumentation: 2 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe 1-2, 2 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 3 Bb Bass Clarinet, 3 Bassoon 1-2, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 3 Horn in F 1-2, 3 Horn in F 3-4, 3 Trombone 1, 3 Trombone 2, 3 Trombone 3, 3 Euphonium B.C., 2 Euphonium T.C., 6 Tuba, 2 Timpani, 2 Mallet Percussion: Xylophone. Glockenspiel, 6 Percussion Score: Snare Drum. Tenor Drum, Bass Drum, Gong. Suspended Cymbals, Bongo Drum.

Arranged by Philip Kern. Choir Secular. SATB choir. Choral Octavo. Choral Designs. Christmas; Gospel; Spiritual; Winter. Choral Octavo. 16 pages. Published by Alfred Music Choral Octavo Christmas; Gospel; Spiritual; Winter

Arranged by Joel Raney. Christmas, Sacred. Synthesizer and percussion part. Published by Hope Publishing Company (HP.2731P).

By Mark Patterson. Unison/2-part, piano. Sacred. Octavo. Published by Chorister's Guild.