By John Higdon. Arranged by Joseph Joubert. For SATB Choir and Keyboard accompaniment. African American Church Music Series. Sacred. Easy. Text language: English. 8 pages. Published by GIA Publications

By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin Concert Band. Level: 3 (Medium Easy) (grade 3). Conductor Score and Parts. 308 pages. Duration 5:10. Published by Alfred Publishing.

(As recorded by Neon Trees). By Neon Trees. By Tyler Glenn and Tim Pagnotta [Neon Trees]. Arranged by Michael Story and Mike Story. Marching Band. Marching Band; Part(s); Score. Big and Easy. Rock. Grade 2. 116 pages. Published by Alfred Music

(As recorded by Rush). By Geddy Lee and Neil Peart [Rush]. Arranged by Doug Adams. Marching Band. Marching Band; Part(s); Score. Easy Pops for Marching Band. Pop/Rock. Grade 2. Published by Alfred Music

From A Star Is Born. Composed by Bradley Cooper and Lukas Nelson. Arranged by Doug Adams. Marching Band; Performance Music Ensemble; Single Titles. Easy Pops for Marching Band. Movie; Rock. Part(s); Score. 124 pages. Alfred Music #00- 47496. Published by Alfred Music

By Michael Story and Mike Story. Marching Band. Marching Band; Score. Big and Easy. Latin. Grade 2. 8 pages. Published by Alfred Music Publishing

By Modest Petrovich Mussorgsky (1839-1881). Arranged by Michael Story. Marching Band. Marching Band; Masterworks. Big and Easy. Masterwork; Romantic. Grade 2. Conductor Score and Parts. 114 pages

(Combines with (flexible) Easy Band version). Composed by Airto Moreira/Ramon Zenker. Arranged by Henk Ummels. For concert band. Grade 3. Score and parts. Duration 2 minutes, 30 seconds. Published by Molenaar Edition

Concert Band - Grade 2

SKU: AP.38320S

As performed by Bruno Mars. By Bruno Mars. By Claude Kelly, Peter Hernandez, Brody Brown, Philip Lawrence, Ari Levine, and Andrew Wyatt [Bruno Mars]. Arranged by Michael Story. Concert Band; Performance Music Ensemble; Single Titles. Pop Young Band. Pop; Rock. Score. 16 pages. Alfred Music #00-38320S. Published by Alfred Music (AP.38320S).

UPC: 038081440873. English.

A pop R&B ballad by recording artist Bruno Mars, this hot chart was nominated for Song of the Year, Record of the Year, and a track on Album of the Year by the Grammys in 2011. The arrangement begins with an introduction featuring the clarinet section and rapidly develops to the easy driving pulse of the melody initiated by the trumpets and the entire ensemble. Recognizable and energetic!

Arranged by Chris Sharp. For Marching Band. Matrix Marching Band. Pop Tunes. Grade 3 (Medium-Easy). Score and parts. Published by Matrix Publishing

(The Music of Chicago, Part 1). By James Pankow [Chicago]. Arranged by Michael Story and Mike Story. Marching Band. Marching Band; Part(s); Score. Big and Easy. Pop/Rock; Rock. Grade 2. 225 pages. Published by Alfred Music

Composed by Matthew Owens. For SATB choir and organ accompaniment. Mixed Voices. Sacred. Level B (easy). Octavo. 8 pages. Duration 2'. Published by Oxford University Press

By Michael Story. By Michael Story. For Concert Band. Concert Band. Belwin Young Band. Level: Easy (grade II). Conductor Score and Parts. 234 pages. Published by Alfred Publishing.

(The Music of Chicago, Part 3). Composed by Steve Winwood and Jimmy Miller [Chicago]. Arranged by Michael Story and Mike Story. Marching Band. Marching Band; Score. Big and Easy. Rock. Grade 2. 12 pages. Published by Alfred Music

By Ralph Ford. By Ralph Ford. For Concert Band. Concert Band. Belwin Young Band. Level: Easy (grade II). Conductor Score & Parts. 318 pages. Published by Alfred Publishing.

(Featuring: Oil Rig / What Are You Going to Do When You Are Not Saving the World?). By Hans Zimmer (1957-). Arranged by Mike Story. Marching Band. Marching Band; Part(s); Score. Big and Easy. Movie. Grade 2. 138 pages. Published by Alfred Music

By Mark Williams. For Concert Band. Concert Band. Challenger Band Series. Level: 2 (Medium Easy) (grade 2). Conductor Score and Parts. 70 pages. Published by Alfred Publishing.

Arranged by Dave Henning. For marching band. Pop Tunes. Medium easy. Score and parts. Published by Matrix Publishing

By Aretha Franklin. Arranged by Dallas Burke & Carl Major. For marching band. Pop Tunes. Medium easy. Score and parts. Published by Matrix Publishing

By Various. E-Z Play Today. Softcover. Big note notation. 880 pages. Published by Hal Leonard

(Full Score and Parts). By Alan Lee Silva. String orchestra. For String Orchestra. Carl Fischer Concert String Orchestra Series. Classical. Medium Easy/Medium. Score and Parts. Standard notation. 16 pages. Published by Carl Fischer . Score and Parts. classical.

By Gary Fagan. For Concert Band. Concert Band. Young Symphonic. Level: 2.5 (Medium Easy) (grade 2.5). Conductor Score and Parts. 137 pages. Published by Alfred Publishing.

As Recorded by Portugal. The Man. By John Gourley, Zach Carothers, Jason Sechrist, Eric Howk, Kyle O'Quin, John Hill, Asa Taccone, Robert Bateman, Georgia Dobbins, William Garrett, Freddy Gorman, and Brian Holland [Portugal. The Man]. By John Gourley, Zach Carothers, Jason Sechrist, Eric Howk, Kyle O'Quin, John Hill, Asa Taccone, Robert Bateman, Georgia Dobbins, William Garrett, Freddy Gorman, and Brian Holland. Arranged by Mike Story. Marching Band; Performance Music Ensemble; Single Titles. Big and Easy. Pop. Part(s); Score. 116 pages. Alfred Music #00- 47035. Published by Alfred Music

Choral Bass 1, Bass 2, baritone voice tenor 1, tenor 2

SKU: CF.CM9634

Composed by Traditional Christmas Spiritual. Arranged by Ken Berg. Sws. Performance Score. 16 pages. Duration 3 minutes, 40 seconds. Carl Fischer Music #CM9634. Published by Carl Fischer Music (CF.CM9634).

ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.

Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.

Fake Book (Includes melody line and chords). Size 9x12 inches. 384 pages. Published by Hal Leonard.