Composed by George Gershwin. Arranged by Hans-Gunther Kolz. Accordion. Set (Score & Parts). Composed 2010. 16 pages. De Haske Publications #DHP 1104776-060. Published by De Haske Publications

Parts. By Erich Wolfgang Korngold. Schott. Size 9x11.75 inches. 62 pages. Published by Schott.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 0.5

SKU: CF.PAS21

Composed by Joseph Compello. Primer String Orchestra (PAS). Set of Score and Parts. With Standard notation. 8+2+5+5+5+2+8+8 pages. Duration 1 minute, 18 seconds. Carl Fischer Music #PAS21. Published by Carl Fischer Music (CF.PAS21).

ISBN 9781491151198. UPC: 680160908691. 9 x 12 inches. Key: D major.

String teachers are always trying to encourage their students to play with more bow. Composer Joseph Compello gives very beginning students the chance to do just that in his piece,?Arco-ology. There is an opportunity for all sections of the orchestra to showcase their developing musicality in this fun and short piece.
Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement. At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody..
Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement.A At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody..
Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement.A At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody..
Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement. At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody..
Arco-o logy is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement. At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody.
Arco-ology is designed for string groups with less than one year of instruction. The music should be performed in a manner which evokes a march-like style. Bowing style is at the discretion of the director, but the bowing and articulation should convey a feel of steady, forward movement. At m. 41, the lower strings will carry the tune. The upper strings must provide a rhythmic accompaniment at this point without overpowering the melody.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Finger Cymbals, Flute, Flute 2, Horn, Mallet Percussion, Mark Tree, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal and more. - Grade 2

SKU: CF.YPS249

Three Persian Folk Songs. Composed by Michael J. Miller. Yps. Set of Score and Parts. 8+2+4+4+2+2+5+2+2+4+4+4+3 +3+2+3+2+1+2+6+24 pages. Duration 3 minutes, 29 seconds. Carl Fischer Music #YPS249. Published by Carl Fischer Music (CF.YPS249).

ISBN 9781491161326. UPC: 680160919918.

By Lantern's Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his Twelve Persian Folk Songs published by Novello and Company, London, 1904. Fairchild's goal was to capture the spirit and ambiance of Persia's music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.
By Lantern’s Light is a medley of Persian folk songs. The songs come from a collection for voice and piano by Clair Fairchild in his “Twelve Persian Folk Songs” published by Novello and Company, London, 1904. Fairchild’s goal was to capture the spirit and ambiance of Persia’s music and musicians. Fairchild took special care to preserve their authenticity by limiting western harmony. Such is also the case in this setting for concert band. Special attention should be given to replicate songlike phrasing of the melodic lines and the rhythmic integrity and style of the accompaniment. Conductors are encouraged to take liberties with dynamics and articulations to help performers play expressively. There are many inflections that exist beyond what is printed on the page. For example, the reeds might subtly shape the rhythmic accompaniment in m. 6-7, as might the trumpets with the melody in m. 18. In. m. 23, the wind musicians other than the trumpets are a part of the rhythm section with the percussion. These rhythms should fit together nicely to create a steady cadence. The melodic statements beginning at m. 35 should be carefully balanced to speak evenly throughout the various voices. If an oboist is not available, the solo in m. 57 has been cued in the alto saxophone.

Wind bands (8-27 Parts) (ANH TB1/2)

SKU: HL.49023036

Anhang. Composed by Bss. Arranged by Max Villinger. Sheet music. Edition Schott. Individual part. 2 pages. Schott Music #BSS 34207-77. Published by Schott Music (HL.49023036).

ISBN 9790001108287.

Band Agogo Bells, Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Claves, Congas, Cowbell, Euphonium, Euphonium T.C., Flute, Horn, Jingle Bells, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2, Percussion 3, Percussion 4 and more. - Grade 2

SKU: CF.YPS246

Composed by Traditional. Arranged by Ed Kiefer. Set of Score and Parts. 24+16+4+8+8+4+4+10+4+4+8+ 8+8+12+6+4+6+4+4+4+6+2 pages. Duration 2:30. Carl Fischer Music #YPS246. Published by Carl Fischer Music (CF.YPS246).

ISBN 9781491159934. UPC: 680160918522.

Based on the carol, Good King Wenceslas, Good King Salsa explores some basic Latin rhythms. This setting features your percussion section which can be expanded or limited to fit your group, but the basic Latin groove is very important. Alternating between a driving beat and one that is much more laid back, this piece involves everyone with the melody. Your students and audiences will really love this holiday selection!.
Based on the carol, Good King Wenceslas, Good King Salsa explores some basic Latin rhythms. This setting features your percussion section which can be expanded or limited to fit your group, but the basicLatin groove is very important. Alternating between a driving beat and one that is much more laid back, this piece involves everyone with the melody. Your students and audiences will really love this holidayselection!

String quartet

SKU: VD.ED13871

Composed by Giuseppe Verdi. Edited by Wolfgang Birtel. Arranged by Emanuele Muzio. Classical. Set of parts. 107 S. pages. Verlag Dohr #ED13871. Published by Verlag Dohr (VD.ED13871).

ISBN 9790202028711. 12 x 9 inches.

String Quartet and Pre-recorded Sound. Composed by Michael Daugherty (1954-). Boosey and Hawkes Chamber Music. Classical. Softcover with CD, Score and Parts. 52 pages. Boosey and Hawkes #M051105922. Published by Boosey and Hawkes

(Kantate zum 3. Pfingsttag). By Johann Sebastian Bach (1685-1750). Edited by Reinhold Kubik. Arranged by Paul Horn. For Soli SAT, SATB Choir, 2 Flutes, Strings, Organ. BWV 184. Full score available separately - see item CA.3118400. Cantatas; Stuttgart Urtext editions; Use during church year: Pentecost. Level 3. Set of instrumental parts (except strings). Language: German/English. Composed 1724. 8 pages. Duration 25 min

Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Brake Drum, Chimes, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum and more. - Grade 2.5

SKU: CF.YPS217

Composed by Zachary Cairns. Folio. Yps. Set of Score and Parts. 8+8+4+8+8+4+2+6+4+4+4+8+8 +8+8+6+6+6+4+6+4+2+2+4+6+ 10+24 pages. Duration 4 minutes, 48 seconds. Carl Fischer Music #YPS217. Published by Carl Fischer Music (CF.YPS217).

ISBN 9781491156544. UPC: 680160915088. 9 x 12 inches.

Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn't exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora. As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn't attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus's brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, jar seems to be a more accurate translation for what we commonly call Pandora's box) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope. The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn't it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place? I'm not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I've tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed. Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope's beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin's work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key. Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece's slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn't resist.).
Hope Remains Within was commissioned by and composed for the Mount Nittany Middle School 7th and 8th Grade Concert Bands. Having heard the students of Mount Nittany perform another work of mine, I was very excited when their director, Johanna Steinbacher, approached me about writing a piece specifically for them. I knew right away that I wanted to write something that would tie in with their non-music curriculum in some way, but I wasn’t exactly sure how, or what. Johanna talked to some of her students and learned that, in 7th grade, the students spend a good deal of time studying mythology in their English class. In particular, two clarinet students mentioned how much they enjoyed the story of Pandora.As such, I decided to use that story as the basis of this composition. Hope Remains Within doesn’t attempt to re-tell the story, event by event, in musical terms. Instead, my goal was to address what seems to be one of the central issues of the Pandora myth. Though there are some variations, we probably all know the basics as told by the ancient Greek poet Hesiod. Zeus decides to punish Prometheus for stealing fire from heaven and giving it to humans. He and the other gods create Pandora, a beautiful and deceitful woman, and they give her to Prometheus’s brother Epimetheus as a bride. Pandora is herself given a jar (according to many sources, “jar” seems to be a more accurate translation for what we commonly call “Pandora’s box”) which contained numerous evils, diseases, and other pains. Out of curiosity, Pandora opens the jar and releases all of these evils into the world. But one thing remains in the jar: hope.The issue of hope seems to be one of the big interpretive questions of the Pandora myth. Why does hope remain within the jar? Why doesn’t it come out of the jar to help humanity? Is hope being held on a pedestal of some sort? Is hope deliberately withheld from humanity? Why was hope in the jar with all those evils in the first place?I’m not enough of a mythological scholar to claim to have definitive answers to those questions, but these are the questions that I’ve tried to engage from a musical perspective in Hope Remains Within. I encourage the students and listeners to consider their own ideas of what hope is, and where you can find your own hope when needed.Musically, Hope Remains Within draws one of its main themes from the Prometheus Symphony by Alexander Skryabin (Scriabin). The note sequence F-D-Gb -F, heard near Hope’s beginning played by alto saxophones and chimes, comes from the opening measures of Skyrabin’s work. Given the important role that Prometheus plays in the Pandora myth, this seemed like an appropriate musical gesture to quote. This Prometheus motive is varied throughout the course of the piece, and even provides closure at the end, recast in a major key.Additionally, I have tried to involve a manageable amount of chromaticism in this piece. I have worked from the key of Bb major, no doubt familiar to every student who has ever played an instrument in a band. But I have added three extra notes: Db, Gb, and Ab, which are drawn from the key of Bb minor. During the piece’s slow opening, I have allowed these minor key pitches to mingle freely within the Bb major tonality, adding extra color and (I hope!) beauty. As the piece progresses, though, the tempo increases, and we lose sense of the Bb major key entirely, and these extra notes play a more important role. But finally, Bb major returns triumphantly and all the extra notes are gone, except for a brief memory near the very end. (Ok, there are a couple of E-naturals that sneak in there along the way. I couldn’t resist.).

Voice and String Quartet

SKU: M7.DOHR-24191

Composed by Peter Cornelius. Arranged by Wolfgang Birtel. Sheet music. Score and parts, double bass part included. Op. 8. 54 pages. MDS (Music Distribution Services) #DOHR 24191. Published by MDS (Music Distribution Services) (M7.DOHR-24191).

ISBN 9790202011911. German.

Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3.5

SKU: CF.CAS132

Composed by Nicolás Humberto Repetto. Folio. Cas. Set of Score and Parts. 8+8+8+5+5+5 pages. Duration 3 minutes, 7 seconds. Carl Fischer Music #CAS132. Published by Carl Fischer Music (CF.CAS132).

ISBN 9781491157688. UPC: 680160916269. 9 x 12 inches.

Chicharra was born out of a love for syncopated music that makes one move and dance. A rhythmic motive initiated by the viola and cello sections starts the diabolical journey of dance and lyricism. The syncopated, driving rhythms initiated by the low strings are contrasted by lyrical lines played in the violin and viola sections. A contrasting, lyrical B section, in 6/8, almost waltz-like, shows a softer side of this dance journey. Various tango elements are also found in this piece such as special effects like the glissandi in the cello section, and the chicharra played by the violins. The chicharra should be played behind the bridge on the D string with extra finger weight, very close to the tailpiece - this sound imitates the chicharra or cricket!.
Chicharra was born out of a love for syncopated music that makes one move and dance. A rhythmic motive initiated by the viola and cello sections starts the diabolical journey of dance and lyricism. The syncopated, driving rhythms initiated by the low strings are contrasted by lyrical lines played in the violin and viola sections. A contrasting, lyrical B section, in 6/8, almost waltz-like, shows a softer side of this dance journey.Various tango elements are also found in this piece such as special effects like the glissandi in the cello section, and the chicharra played by the violins. The chicharra should be played behind the bridge on the D string with extra finger weight, very close to the tailpiece - this sound imitates the chicharra or cricket!

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SATB vocal soli, SATB choir, 2 oboe d'amore, taille (english horn), 2 horns, 2 violins, viola, basso continuo - Level 3

SKU: CA.3108809

Cantata for the 5th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Reinhold Kubik. Arranged by Paul Horn. 1x 31.088/21 oboe d'amore 1, 1x 31.088/22 oboe d'amore 2, 1x 31.088/23 oboe da caccia, 1x 31.088/31 horn 1, 1x 31.088/32 horn 2. German title: Siehe, ich will viel Fischer 5. Sacred vocal music, Cantatas. Set of Orchestra Parts. Composed 1726. BWV 88. 28 pages. Duration 22 minutes. Carus Verlag #CV 31.088/09. Published by Carus Verlag (CA.3108809).

ISBN 9790007046118. Key: D major / b minor. Language: German/English.

Sco re available separately - see item CA.3108800.

Chamber Music Horn, Piano

SKU: CF.W1359

Composed by Robert Schumann. Arranged by L. Klemcke. Fold. Set of Score and Parts. With Standard notation. 4+1 pages. Carl Fischer Music #W1359. Published by Carl Fischer Music (CF.W1359).

ISBN 9781491149713. UPC: 680160907212. 9 x 12 inches. Key: Bb major.

6 Brass Instruments (Parts)

SKU: HL.49013418

In five Movements. Composed by Bertold Hummel. Sheet music. Blaserkreis. Classical. Individual part. Composed 1976. 8 pages. Duration 9'. Schott Music #BLK 315-03. Published by Schott Music (HL.49013418).

ISBN 9790001141925.

String Quartet (and Double Bass)

SKU: M7.DOHR-24121

Composed by Zdenek Fibich. Arranged by Wolfgang Birtel. Sheet music. Score and parts. 10 pages. MDS (Music Distribution Services) #DOHR 24121. Published by MDS (Music Distribution Services) (M7.DOHR-24121).

ISBN 9790202011218.

String quartet (ST)

SKU: HL.49030621

No. 2 Bb major. Composed by Wolfgang Amadeus Mozart. Edited by Heinrich Wollheim. Arranged by Heinrich Wollheim. This edition: Saddle stitching. Sheet music. Edition Schott. Set of Parts. 16 pages. Schott Music #ED 1612. Published by Schott Music (HL.49030621).

ISBN 9790001140652.

Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 1.5

SKU: CF.FAS124

Composed by Doug Spata. Carl Fischer First Plus String Orchestra Series. Set of Score and Parts. 8+8+2+5+5+5+2+8 pages. Carl Fischer Music #FAS124. Published by Carl Fischer Music (CF.FAS124).

ISBN 9781491160411. UPC: 680160919000.

Bring an electrifying rock style to your next orchestra concert with Metallurgy! Designed to give students experience reading G and C string notes, the piece mainly uses simple quarter and eighth-note rhythms, making it ideal for younger orchestras. Dramatic dynamics changes add excitement and students will get to practice bow techniques like staccato and accents. Every section gets a chance to play the hard-driving melodies and accompaniments and an optional piano part adds extra support and percussive emphasis. Students and audiences are sure to respond to the energetic style of this powerful piece!.
Bring an electrifying rock style to your next orchestra concert with Metallurgy! Designed to give students experience reading G and C string notes, the piece mainly uses simple quarter and eighth-note rhythms, making it ideal for younger orchestras. Dramatic dynamics changes add excitement and students will get to practice bow techniques like staccato and accents. Every section gets a chance to play the hard-driving melodies and accompaniments and an optional piano part adds extra support and percussive emphasis. Students and audiences are sure to respond to the energetic style of this powerful piece!

Band Concert Band - Grade 2

SKU: CF.YPS187

Composed by Peter Terry. SWS FS. Carl Fischer Young Performance Series. Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8 +12+6+4+6+2+2+4+10+20 pages. Duration 3 minutes. Carl Fischer Music #YPS187. Published by Carl Fischer Music (CF.YPS187).

ISBN 9781491147399. UPC: 680160904891. 9 x 12 inches. Key: D minor.

In the Odyssey, dreams come into the world through one of two gates. If they come through the gates of ivory they are false dreams. However, if they come into the world through the gates of horn they are true dreams that tell the user of things to be, or illuminate truth. The Gates of Horn is a dramatic piece for band that alternates a syncopated fanfare with a bold, yet lyrical theme. These contrasting ideas chase each other throughout the piece.

Bass Drum, Snare Drum, Timpani, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2

SKU: PR.164000630

For Brass and Percussion. Composed by Louis Calabro. Set of Score and Parts. With Standard notation. 38 pages. Duration 6 minutes. Theodore Presser Company #164-00063. Published by Theodore Presser Company (PR.164000630).

UPC: 680160036110.

Band concert band

SKU: CF.YPS258F

Composed by William Harbinson. Full score. 12 pages. Carl Fischer Music #YPS258F. Published by Carl Fischer Music (CF.YPS258F).

ISBN 9781491163986. UPC: 680160922772.

Homew ard is a lyrical ballad in ABA form. The composition presents few rhythmic challenges, allowing the ensemble to concentrate on beauty of sound, balance, dynamic nuance, phrasing, and expressive performance. The woodwind voices present the melody at the opening accompanied by a flute countermelody. Care should be taken to balance the two parts. The four-measure phrases call for tapered dynamics and freedom of the metric pulse at cadence points. A change of tempo and key, with a lean toward the minor mode, mark the contrasting B section (m. 9). Heed the dynamic markings that swell to a climax (m. 16) and then subside within this section. Take liberty to hold back the tempo at the percussion link to the forte restatement of A (m. 27) and the arrival of the fortissimo climax (m. 33). The coda (m. 35) should be presented slowly and serenely as the composition comes to a quiet close.

String quartet (P/ST) - difficult

SKU: HL.49033305

Composed by Peteris Vasks. This edition: Saddle stitching. Sheet music. Edition Schott. Score and Parts. Composed 2004. 56 pages. Duration 25'. Schott Music #ED9809. Published by Schott Music (HL.49033305).

ISBN 9790001137911. UPC: 884088408053. 9.0x12.0x0.202 inches.

String Quartet No. 5 consists of two contrasting movements. The first movement, being present, immediately leads to an atmosphere of high emotional tension. The prevailing atmospheric elements of the music are dramatic and passionate, alternating with each other like a kaleidoscope. In contrast to that, a second theme is intoned three times - an invitation, a memory of the existence of another world, a light-house which illuminates the twilight in which we live so often. But this invitation remains unheard. The first movement concludes with dissonances in the upper register - a cry of utter desperation.The second movement, so distant ... yet so near, is the calm, unhurried vocal section of the quartet. A forgiving, loving look at a world tortured by grief and contradictions. Gradually, the singing becomes more personal, more emotional and more dramatic. The rhythmic figure of a funeral march in the recapitulation of the second movement is a gesture of loss. Eventually, the quartet loses itself in an atmosphere of light-filled grief. Peteris Vask.

Violin, cello and piano (ST)

SKU: HL.49022723

Composed by Windsperger. Sheet music. Edition Schott. Set of Parts. 67 pages. Schott Music #BSS 30482. Published by Schott Music (HL.49022723).

ISBN 9790001142175.

Band concert band - Grade 2

SKU: CF.YPS194

March. Composed by Harold Bennett. Arranged by Larry Clark. SWS FS. Carl Fischer Young Performance Series. Set of Score and Parts. With Standard notation. 8+2+4+4+2+2+5+2+2+4+4+4+6 +3+2+3+1+1+2+2+16 pages. Duration 2 minutes, 41 seconds. Carl Fischer Music #YPS194. Published by Carl Fischer Music (CF.YPS194).

ISBN 9781491147467. UPC: 680160904969. 9 x 12 inches. Key: C minor.

This is one of Harold Bennett's (pseudonym of Henry Fillmore) lesser-known marches, but that is no indication of its quality. It is a 6/8 march in standard march form but what is unique about this classic from the original Bennett Band Book is that it is one of the few Bennett marches that includes a break strain. This makes it a great introduction for younger students to prepare them to play the more challenging marches of Fillmore, Sousa, and others.