Mvt. 1 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00101F. Published by
Theodore Presser Company
(PR.16500101F).
ISBN
9781491131725. UPC:
680160680252.
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.
Mvt. 3 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 60 pages. Theodore
Presser Company
#165-00103F. Published by
Theodore Presser Company
(PR.16500103F).
ISBN
9781491131763. UPC:
680160680290.
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.
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.
At the River Orchestre d'harmonie [Conducteur] - Débutant FJH
Concert Band Concert Band - Grade 1.5 SKU: FJ.B1334S Score Only. A...(+)
Concert Band Concert Band
- Grade 1.5
SKU:
FJ.B1334S
Score
Only. Arranged by
Timothy Loest. Concert
Band. FJH Developing
Band. Form: Chorale.
Score. Duration 2:20. The
FJH Music Company Inc
#98-B1334S. Published by
The FJH Music Company Inc
(FJ.B1334S).
English.
Based
on the gospel hymn Shall
We Gather at the River?
by American hymn writer
Robert Lowry, this
arrangement includes lush
harmonic writing with
optional drum set. A
great study in
musicianship, the work
includes many changes in
texture and dynamic
contrast, and is a
wonderful change of pace
for your next
program.
About FJH
Developing
Band
Sligh
tly more advanced than
beginning band. Clarinet
1 begins to play over the
break. Rhythms and ranges
are expanded to
accommodate the end of
first-year as well as
second-year instruction.
Grade 1.5
Composed by
Nicholas Costanza. Folio.
Sps. Set of Score and
Parts.
2+8+8+4+4+8+8+8+4+4+4+4+4
+4+4+8+8+8+4+4+4+4+6+6+6+
6+4+8+4+2+1+2+2+32 pages.
Duration 3 minutes, 52
seconds. Carl Fischer
Music #SPS89. Published
by Carl Fischer Music
(CF.SPS89).
ISBN
9781491156483. UPC:
680160915026. 9 x 12
inches.
Program
Notes This composition
for wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface. Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the water.
Performance Notes
Ideally, the Trombone 3
part should be played on
a Bass Trombone. However,
if one is not available
there are cues for notes
that are beneath a tenor
trombone's range. Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments. The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a problem.
 . Program
NotesThis composition for
wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface.Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the
water.Performance
NotesIdeally, the
Trombone 3 part should be
played on a Bass
Trombone. However, if one
is not available there
are cues for notes that
are beneath a tenor
trombone's range.Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments.The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a
problem.   Â
  .
Composed by
Nicholas Costanza. Sws.
Sps. Full score. 32
pages. Duration 3
minutes, 52 seconds. Carl
Fischer Music #SPS89F.
Published by Carl Fischer
Music (CF.SPS89F).
ISBN 9781491156490.
UPC: 680160915033. 9 x 12
inches.
Program
Notes This composition
for wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface. Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the water.
Performance Notes
Ideally, the Trombone 3
part should be played on
a Bass Trombone. However,
if one is not available
there are cues for notes
that are beneath a tenor
trombone's range. Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments. The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a problem.
 . Program
NotesThis composition for
wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface.Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the
water.Performance
NotesIdeally, the
Trombone 3 part should be
played on a Bass
Trombone. However, if one
is not available there
are cues for notes that
are beneath a tenor
trombone's range.Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments.The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a
problem.   Â
  .
Nordanvind Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .
Composed by Quincy C.
Hilliard. Set of Score
and Parts.
21+16+2+8+8+4+2+6+4+4+4+4
+4+4+6+6+4+6+6+2+1+4+3+3
pages. Duration 4
minutes, 25 seconds. Carl
Fischer Music #YPS237.
Published by Carl Fischer
Music (CF.YPS237).
ISBN 9781491159538.
UPC:
680160918126.
Rejoi
ce, Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics. Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promoting
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance. Consortium
Members: Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu Alpha
Chapter (Texas) Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi) Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota) Gamma
Chapter (Indiana) Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee) Zeta
Chapter (Georgia) Keith
and June Bearden (Alpha
Chapter) Steven Moss
(Alpha Chapter) Jay
Watkins (Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014 David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School Band
 . Rejoice,
Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics.Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promotingÂ
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance.  Conso
rtium
Members:Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu  Alpha
Chapter (Texas)Â Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi)Â Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota)Â Gamma
Chapter (Indiana)Â Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee)Â
Zeta Chapter (Georgia)
Keith and June Bearden
(Alpha Chapter)Â
Steven Moss (Alpha
Chapter) Jay Watkins
(Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014Â David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School
Band  .
Composed
by Quincy C. Hilliard.
Full score. 21 pages.
Carl Fischer Music
#YPS237F. Published by
Carl Fischer Music
(CF.YPS237F).
ISBN
9781491159545. UPC:
680160918133.
Rejoi
ce, Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics. Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promoting
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance. Consortium
Members: Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu Alpha
Chapter (Texas) Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi) Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota) Gamma
Chapter (Indiana) Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee) Zeta
Chapter (Georgia) Keith
and June Bearden (Alpha
Chapter) Steven Moss
(Alpha Chapter) Jay
Watkins (Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014 David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School Band
 . Rejoice,
Dolce, and Dance is
written in three
different and distinct
styles. Rejoice is
fanfare-like in quality
and should be played in a
bold majestic manner;
balance is important in
this section. Care should
be taken to not let the
battery percussion
overpower the ensemble
The forzandos are very
important to the
character of the fanfare
and should be carefully
observed. Dolce is slow
and more lyrical in
manner. This section
should be played in a
legato style. The
director is encouraged to
add his own
interpretative elements
in this section. The
Dance is fast and light
in character. Keep the
tempo moving and pay
special attention to the
articulations and
dynamics.Phi Beta Mu
International Bandmasters
Fraternity is an honorary
fraternity for band
directors. There are
currently 35 active
chapters in the United
States, Canada, and
Brazil. Phi Beta Mu is a
non-political, non-profit
fraternity promotingÂ
fellowship among its
members, encouraging the
building of better bands,
developing better
musicians throughout the
world, fostering a deeper
appreciation for quality
wind literature, and
encouraging widespread
interest in band
performance.  Conso
rtium
Members:Commissioned by
the International
Bandmasters Fraternity,
Phi Beta Mu  Alpha
Chapter (Texas)Â Theta
Chapter (South Carolina)
Delta Chapter
(Mississippi)Â Omicron
Chapter (Arkansas) Alpha
Theta Chapter (Nebraska)
Alpha Gamma Chapter
(North Dakota)Â Gamma
Chapter (Indiana)Â Nu
Chapter (Pennsylvania)
Psi Chapter (Kentucky) Mu
Alpha Chapter (Alberta,
Canada) Lambda Iota
(Ontario, Canada) Iota
Chapter (Kansas) Kappa
Chapter (Colorado) Eta
Chapter (Tennessee)Â
Zeta Chapter (Georgia)
Keith and June Bearden
(Alpha Chapter)Â
Steven Moss (Alpha
Chapter) Jay Watkins
(Omega Chapter)
Anonymous, David Lambert
for his service to Phi
Beta Mu International
Anonymous, Scott Coulson,
for his service to Alpha
Chapter Jacqueline Gilley
(Beta Chapter), In
Memoriam, Francis McBeth
Dennis Beck, (Lambda Iota
Chapter) In Memoriam,
Donald McKeller Brek
Hufnus (Xi Chapter), In
Memory of David Wuersig,
Roosevelt Middle School,
River Forest, IL,
1974-2014Â David and
Sheryl Gary Lambert
(Alpha Chapter), In
Memory of James D Gary,
John Foster Dulles High
School, Sugar Land, TX
1959-1968 Phil Min (Rho
Chapter), In Honor of
William T. Robinson Julia
Reynolds (Omicron
Chapter), In Honor of
Wendell O. Evanson Julia
Reynolds (Omicron
Chapter), In Honor of Hal
D. Cooper, Senior Steve
Shoop (Alpha Chapter) In
Honor of Patsy Dickerson
Nelson David L. Wenerd
(Nu Chapter), In Honor of
the Chambersburg Area
Senior High School
Band  .
Composed by
Michael J. Miller. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+2+4+5+4+4+4+8+12+6+
6+1+1+10+16+4+4+4+2
pages. Duration 3
minutes, 9 seconds. Carl
Fischer Music #YPS205.
Published by Carl Fischer
Music (CF.YPS205).
ISBN 9781491152256.
UPC: 680160909759. Key: F
major.
Cornish
Coastal Walk is a
beautiful new composition
depicting the majestic
cliffs and coastline of
the Cornwall region in
England. Composer Michael
Miller provides young
bands with an opportunity
to stretch their musical
muscles with this lush
and tuneful piece in 3/4
time. Directors will find
in this piece a strong
vehicle to teach
phrasing, beauty of tone,
and musicianship to young
bands. In the far
southwest of England
reaching out towards the
Celtic Sea is the county
Cornwall. A peninsula,
Cornwall is surrounded by
some of the
world’s most
picturesque scenery
including beaches,
cliffs, and rolling
hills. Separated from the
rest of England by the
river Tamar, the Cornish
take great pride in their
culture including the
pasty (a stuffed pastry
and preferred lunch of
miners), Cornish cream
tea (not to be confused
with rival Devon cream
tea where the cream goes
under the jam), and well
known national heritage
sights such as Rough Tor
(Cornwall’s
highest point), and
Tintagel Castle (rumored
birth place of King
Arthur).In the spring and
summer of 2017, I had the
pleasure to visit
Cornwall, while my wife
was a visiting scholar at
the University of Exeter
in the neighboring county
of Devon. One July
afternoon, while she was
making field observations
(she’s a Cultural
Anthropologist), I
decided to take a stroll
along the cliffs as was
recommended by a friend.
I set out from Boscastle,
a small inlet village
where one can enjoy the
most delicious black
currant ice cream, and I
trekked up and down the
cliffs for three or four
miles before finally
arriving in Tintagel. I
had planned to continue
on to Trebarwith Strand,
home of the fantastic
Port William tavern, but
greatly underestimated
the difficulty of the
terrain.Along my walk I
witnessed some of the
most breathtaking views I
have ever seen. The coast
of this particular region
of Cornwall is both
majestic and peaceful. It
is frighteningly
powerful, but also loving
and kind. It is the type
of place where people
have for years looked out
over the sea longing for
their loved ones to
return. I hope this music
brings you the same inner
peace I found on my hike
that day.This piece is
dedicated to Neil and his
sidekick Derek, without
whom I might have been
just another tourist.
Composed
by Michael J. Miller.
Young Band (YPS). Full
score. With Standard
notation. 16 pages. Carl
Fischer Music #YPS205F.
Published by Carl Fischer
Music (CF.YPS205F).
ISBN 9781491152935.
UPC:
680160910434.
Corni
sh Coastal Walk is a
beautiful new composition
depicting the majestic
cliffs and coastline of
the Cornwall region in
England. Composer Michael
Miller provides young
bands with an opportunity
to stretch their musical
muscles with this lush
and tuneful piece in 3/4
time. Directors will find
in this piece a strong
vehicle to teach
phrasing, beauty of tone,
and musicianship to young
bands. In the far
southwest of England
reaching out towards the
Celtic Sea is the county
Cornwall. A peninsula,
Cornwall is surrounded by
some of the
world’s most
picturesque scenery
including beaches,
cliffs, and rolling
hills. Separated from the
rest of England by the
river Tamar, the Cornish
take great pride in their
culture including the
pasty (a stuffed pastry
and preferred lunch of
miners), Cornish cream
tea (not to be confused
with rival Devon cream
tea where the cream goes
under the jam), and well
known national heritage
sights such as Rough Tor
(Cornwall’s
highest point), and
Tintagel Castle (rumored
birth place of King
Arthur).In the spring and
summer of 2017, I had the
pleasure to visit
Cornwall, while my wife
was a visiting scholar at
the University of Exeter
in the neighboring county
of Devon. One July
afternoon, while she was
making field observations
(she’s a Cultural
Anthropologist), I
decided to take a stroll
along the cliffs as was
recommended by a friend.
I set out from Boscastle,
a small inlet village
where one can enjoy the
most delicious black
currant ice cream, and I
trekked up and down the
cliffs for three or four
miles before finally
arriving in Tintagel. I
had planned to continue
on to Trebarwith Strand,
home of the fantastic
Port William tavern, but
greatly underestimated
the difficulty of the
terrain.Along my walk I
witnessed some of the
most breathtaking views I
have ever seen. The coast
of this particular region
of Cornwall is both
majestic and peaceful. It
is frighteningly
powerful, but also loving
and kind. It is the type
of place where people
have for years looked out
over the sea longing for
their loved ones to
return. I hope this music
brings you the same inner
peace I found on my hike
that day.This piece is
dedicated to Neil and his
sidekick Derek, without
whom I might have been
just another tourist.
A distinctive set of recordings by the always impressive Washington Winds that f...(+)
A distinctive set of
recordings by the always
impressive Washington
Winds that features an
exciting lineup of wind
band compositions and
arrangements. A must CD
for all band music
lovers!