Grade 2

SKU: CL.057-2254-00

Composed by Metzer. Marching Band. Percussion. Composed 1990. C.L. Barnhouse #057-2254-00. Published by C.L. Barnhouse (CL.057-2254-00).

Percussion, drumline, parade.

Grade 1

SKU: CL.MB109

Composed by A. Clark. Marching Band. Score and set of parts. C.L. Barnhouse #MB109. Published by C.L. Barnhouse (CL.MB109).

Drum Line Cadences.

Arranged by Alan Keown. Matrix Marching Band. Percussion Cadences. Score and parts. Published by Matrix Publishing (JN.SC86).

Grade 2

SKU: CL.058-2806-01

Composed by A. Clark. Marching Band. Extra score. Composed 1996. C.L. Barnhouse #058-2806-01. Published by C.L. Barnhouse (CL.058-2806-01).

Three Drum Cadences.

Arranged by Alan Keown. For Marching Band. Matrix Marching Band. Percussion Cadences. Grade 3 (Medium-Easy). Score and parts. Published by Matrix Publishing

Grade 2

SKU: CL.058-2806-00

Composed by A. Clark. Marching Band. Score and set of parts. Composed 1996. C.L. Barnhouse #058-2806-00. Published by C.L. Barnhouse (CL.058-2806-00).

Three Drum Cadences.

Arranged by Carl Major. For Marching Band. Jalen Marching Band. Percussion Cadences. Grade 3 (Medium-Easy). Score and parts. Published by Jalen Publishing

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.YPS249F

Three Persian Folk Songs. Composed by Michael J. Miller. Yps. Full score. 20 pages. Duration 3 minutes, 29 seconds. Carl Fischer Music #YPS249F. Published by Carl Fischer Music (CF.YPS249F).

ISBN 9781491161883. UPC: 680160920563.

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.
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.

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.

By Sam Grondale. For Snare Drum, Multi Tenors, Cymbals, Tonal Bass Drums. Marching Percussion Series/Cadences. Cadence. Medium/Advanced. Score and set of parts

By John Wooton. For bass drum (includes parts for 3, 4, or 5 bass drums plus CD). Cadence(s). 4

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Floor Tom, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tam-tam, Tambourine, Timpani, Tom-tom, Trombone, Trumpet 1 and more. - Grade 1

SKU: CF.BPS126

Composed by Joseph Compello. Folio. Bps. Set of Score and Parts. 8+2+8+2+5+2+2+8+4+6+2+3+1 +1+8+2+16 pages. Duration 2:20. Carl Fischer Music #BPS126. Published by Carl Fischer Music (CF.BPS126).

ISBN 9781491156186. UPC: 680160914722. 9 x 12 inches.

Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes Ceremony of Peace contains only the notes of the ascending pentatonic scale: Bb, C, Eb, F, and G. The middle voice written for Oboe, Tenor Sax and Horn uses the note D at cadences. The character of the music should give the impression of ceremonial music performed on primitive instruments. The Tom-Tom parts are exactly the same as the Snare Drum and Bass Drum parts. The director may decide whether to use one or the other or both. If Snare Drum with snares off is used, try it with mallets instead of drum sticks. If a Bass Drum is used be certain that it does not overpower the band. The director may choose to turn it on its side and muffle it with a towel. In the Percussion 2 part Sleigh Bells may double with the Tambourine to add a primitive, ceremonial sound. The Clarinet part may be doubled an octave higher in bands where this is possible.
Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in  Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life’s course on the path of music.Performance NotesCeremony of Peace contains only the notes of the ascending pentatonic scale: Bb, C, Eb, F, and G. The middle voice written for Oboe, Tenor Sax and Horn uses the note D at cadences.The character of the music should give the impression of ceremonial music performed on primitive instruments. The Tom-Tom parts are exactly the same as the Snare Drum and Bass Drum parts. The director may decide whether to use one or the other or both. If Snare Drum with snares off is used, try it with mallets instead of drum sticks. If a Bass Drum is used be certain that it does not overpower the band. The director may choose to turn it on its side and muffle it with a towel. In the Percussion 2 part Sleigh Bells may double with the Tambourine to add a primitive, ceremonial sound.The Clarinet part may be doubled an octave higher in bands where this is possible.

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Floor Tom, Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Tam-tam, Tambourine, Timpani, Tom-tom, Trombone, Trumpet 1 and more. - Grade 1

SKU: CF.BPS126F

Composed by Joseph Compello. Sws. Bps. Full score. 16 pages. Duration 2:20. Carl Fischer Music #BPS126F. Published by Carl Fischer Music (CF.BPS126F).

ISBN 9781491156193. UPC: 680160914739. 9 x 12 inches.

Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes Ceremony of Peace contains only the notes of the ascending pentatonic scale: Bb, C, Eb, F, and G. The middle voice written for Oboe, Tenor Sax and Horn uses the note D at cadences. The character of the music should give the impression of ceremonial music performed on primitive instruments. The Tom-Tom parts are exactly the same as the Snare Drum and Bass Drum parts. The director may decide whether to use one or the other or both. If Snare Drum with snares off is used, try it with mallets instead of drum sticks. If a Bass Drum is used be certain that it does not overpower the band. The director may choose to turn it on its side and muffle it with a towel. In the Percussion 2 part Sleigh Bells may double with the Tambourine to add a primitive, ceremonial sound. The Clarinet part may be doubled an octave higher in bands where this is possible.
Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in  Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life’s course on the path of music.Performance NotesCeremony of Peace contains only the notes of the ascending pentatonic scale: Bb, C, Eb, F, and G. The middle voice written for Oboe, Tenor Sax and Horn uses the note D at cadences.The character of the music should give the impression of ceremonial music performed on primitive instruments. The Tom-Tom parts are exactly the same as the Snare Drum and Bass Drum parts. The director may decide whether to use one or the other or both. If Snare Drum with snares off is used, try it with mallets instead of drum sticks. If a Bass Drum is used be certain that it does not overpower the band. The director may choose to turn it on its side and muffle it with a towel. In the Percussion 2 part Sleigh Bells may double with the Tambourine to add a primitive, ceremonial sound.The Clarinet part may be doubled an octave higher in bands where this is possible.

Arranged by Andy Clark. Young Concert Band. Command. Full score and set of parts. Composed 2006. Duration 0:02:23. Published by C.L. Barnhouse.
Level: Grade 2.

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

Band concert band - Grade 4.5

SKU: CF.SPS75

Composed by Brant Karrick. SWS FS. Carl Fischer Symphonic Performance Series. Set of Score and Parts. With Standard notation. 3+12+12+6+12+12+12+6+6+6+ 6+6+6+9+9+9+6+6+9+9+9+9+6 +12+6+9+3+9+9+40 pages. Duration 6 minutes, 44 seconds. Carl Fischer Music #SPS75. Published by Carl Fischer Music (CF.SPS75).

ISBN 9781491147702. UPC: 680160905201. 9 x 12 inches. Key: F major.

When Hearts Tremble is an emotion packed piece dedicated to musician friends lost all to soon. This beautiful composition by Brant Karrick reflects on the fragility of human existence, joyous memories of loved ones and their effect on everyone around them, and maintaining hope for what the future will hold when all feels lost. This tour de force piece perfectly displays Karrick's polished compositional craft with impeccable scoring, beautiful melodic writing, and exceptional orchestrational color.
While the day-to-day grind of our lives can be filled with overwhelming obligations, goals and commitments, it is sometimes very easy to forget just how precious and fragile life is . It is so easy to get caught up in our own personal feelings and worries that we sometimes don’t realize and appreciate the many blessings we have, especially friendships . On Wednesday, November 18, 2015 the Jefferson High School Band in Jefferson, Georgia lost two of its members to a fatal car accident . The victims were brothers . Music was a constant part of their lives, and the boys were talented percussionists in the marching band . To help with the grieving process the school and community commissioned this piece to celebrate the lives of William and Alex Trimble .As a father, I cannot imagine losing a child, let alone two, and beginning this piece was very difficult as I felt extreme anguish, especially for the parents . But it was decided the piece should primarily reflect the enthusiasm, youthful spirits and positive influence these two young men demonstrated as they were deeply loved by their band mates, community and family . There are four main themes, each representing the feelings and emotions that are certain to occur after a loss of loved ones . The first theme is a short, introductory fanfare, strong and bold, to stand for courage . A second dance-like melody features a liltingly mixed meter to portray a youthful and carefree innocence . This soon changes into a third more song-like, and stately theme intended to provide encouragement as we move forward through life .The middle of the piece includes a soft transition as two snare drummers give voice to the boys, allowing them to thank their friends and assuring them that it will be okay . This moves directly into a slow melody introduced by the saxophones (Alex, the younger brother was also a saxophonist) and is a time for reflection and allows for feelings of sadness at losing beloved friends . However, a second statement of the same theme, now at full volume with a strong percussion cadence, intends to lift the spirits and allows all friends to unite in joyous celebration of life . Both the enthusiastic dance theme and stately lyrical theme return, now in different keys, and work their way toward the highly energetic burst of glorious sound in the short and wild coda . When Hearts Tremble was written to celebrate the joys of youth and life, and should remind us that our friends and loved ones are precious, and we should live each day to bring more joy into the world and into the lives of others .

Arranged by Alan Keown. Marching Band. Matrix Marching Band. Grade 2 (Easy). Score and set of parts. Composed 2004