Composed by Erik Satie (1866-1925). Arranged by M. Berry. Percussion Ensemble. For Marimba (4-mallet) (marimba (5-octave)). Medium difficult. Duration 4:30. Published by C. Alan Publications

By Benoit Moerlen. For Marimba Solo. Difficult. Duration 1-3 minutes. Published by Editions Francois Dhalmann

By Benoit Moerlen. For Marimba Solo. Intermediate - Difficult. Duration 1-3 minutes. Published by Editions Francois Dhalmann

By Benoit Moerlen. For Marimba Solo. Intermediate - Difficult. Duration 1-3 minutes. Published by Editions Francois Dhalmann

Composed by Patrick Roulet. Music Education. 48 pages. GIA Publications #121882. Published by GIA Publications

(for percussion ensemble). By Fred Emory Smith. Percussion Quintet. For snare drum, 4 concert toms, 4 timpani, concert bass drum, marimba (low A), glockenspiel, xylophone, chimes, tam tam, tambourine, temple blocks, triangle, ride cymbal, suspended cymbal

Metamorphoses on a Theme by Tchaikovsky for Wind Orchestra. By Johan De Meij. (Score and Parts). Amstel Concert Bands. Published by Amstel Music.

Marimba - intermediate

SKU: BT.DHP-1001930-401

By Gert Bomhof. By Ivo Weijmans. De Haske Percussion Series. Educational Tool. Book Only. Composed 2000. 44 pages. De Haske Publications #DHP 1001930-401. Published by De Haske Publications (BT.DHP-1001930-401).

ISBN 9789043108287. International.

This book contains 28 fantastic pieces that can be played on either two xylophones, two marimbas or on a xylophone and a marimba.

Mars, polka, rock, samba, walsâ?¦ In dit boek komen deze en nog vele andere stijlen aan bod. Diverse speeltechnieken worden behandeld in de 28 originele soloâ??s en duetten.

Marsch, Polka, Rock, Samba, Walzer... In diesem Buch für Xylophon oder Marimbaphon kommen diese und noch viele andere Stile vor. Daneben werden in den 28 Soli und Duetten zahlreiche Spieltechniken geübt.

Mallet Minded contient 28 compositions originales pour un et deux instruments clavier (2 xylophones / 2 marimbas ou 1 xylophone and 1 marimba).

Marce, Polka, Rock, Samba, Walzer. Afrrontate una moltitudine di generi musicali suonando i 28 brani proposti da questa pubblicazione. Imparerete a tenere il ritmo e ad esprimere musicalit , incantando il pubblico nei vostri primi concerti.

Metamorphoses on a Theme by Tchaikovsky for Brass Band. By Johan De Meij. (Score). Amstel Concert Bands. 90 pages. Published by Amstel Music.

(Percussion Trio Feature). Composed by Gregory Danner. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/). Band Music. Grade 4. Score and parts. Duration 14:50. Published by C. Alan Publications

(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Arranged by Nathan Daughtrey. For Soloist(s) with String Orchestra (Solo Marimba Percussion 1 (xylophone, bells, chimes) Percussion 2 (brake drum, cowbell, shaker, suspended cymbal, crash cymbals, temple blocks, triangle) Percussion 3 (4 toms, crash cymbals, bass drum, suspended cymbal, tam tam, hi hat) Violin I Violin II). Medium difficult. Orchestra score only. Duration 16:30. Published by C. Alan Publications

Mallet keyboard solo compilation - Medium

SKU: TA.TSPB-44

Composed by Various. Arranged by Jason Hammond-Wood. Books and Education. Timeless 2-mallet solos for today's mere mortal. Book and CD-ROM. Tapspace Publications #TSPB-44. Published by Tapspace Publications (TA.TSPB-44).

In Mainstream Mallets, Jason Hammond-Wood has compiled over 20 short, 2-mallet solos with optional piano accompaniment to challenge more experienced middle school students while offering high school percussionists more performance opportunities.

All selections are familiar tunes, including classical favorites such as The Nutcracker, Sleeping Beauty, Anitra's Dance (from Peer Gynt), and The Barber of Seville. Also included are nonclassical melodies like The Stars and Stripes Forever, The Entertainer, and On Wisconsin (the university's fight song).

All pieces are playable on xylophone, vibraphone, or marimba, and two of the solos are adapted to be performed as duets! The optional piano accompaniment may be performed with a pianist, or by using the provided audio accompaniment tracks.

Mainstream Mallets includes these 24 pieces:

On Wisconsin | J.S. Hubbard and Charles D. Rosa | (Med-Easy, :35)
The Happy Farmer | Robert Schumann | (Med-Easy, :51)
Bourree | Johann Sebastian Bach | (Med-Easy, 1:51)
Infernal Galop | Jacques Offenbach | (Med-Easy, 1:06)
Sonatina | Muzio Clementi | (Medium, 1:07)
Hungarian Dance No. 5 | Johannes Brahms | (Medium, 1:47)
Pizzicati | Leo Delibes | (Med-Easy, 2:07)
Sleeping Beauty | Pyotr Ilyich Tchaikovsky | (Medium, 1:33)
The Barber of Seville | Gioachino Rossini | (Medium, 1:22)
The Royal Fireworks | George Frideric Handel | (Medium, 1:19)
Anitra's Dance | Edvard Grieg | (Medium, 1:40)
The Entertainer | Scott Joplin | (Medium, 2:10)
Spring Season | Antonio Vivaldi | (Medium, 1:47)
The Stars and Stripes Forever | John Phillip Sousa | (Medium, 2:12)
Badinerie | Johann Sebastian Bach | (Med-Advanced, :57)
The Chromatic Galop | Franz Liszt | (Medium, 1:19)
The Sorcerer's Apprentice | Paul Dukas | (Med-Advanced, 1:43)
Trepak [Russian Dance] | Pyotr Ilyich Tchaikovsky | (Med-Advanced, 1:10)
Turkish March | Wolfgang Amadeus Mozart | (Med-Advanced, 1:52)
Csardas | Vittorio Monti | (Med-Advanced, 1:44)
Back Home Again | James F. Hanley | (Medium, 1:18)
Raindrop | Frederic Chopin | (Medium, 1:45)
Bourree [Duet Version] | Johann Sebastian Bach | (Med-Easy, 1:53)
Sleeping Beauty [Duet Version] | Pyotr Ilyich Tchaikovsky | (Medium, 1:35)

Mainstream Mallets ships as a fully-bound book with a sleek cover design by Bob Beck of Montreal's Design Society. Also included are reference recordings of each solo, PDF parts for duets, PDF parts for the piano accompaniment, and audio tracks with piano only, so that players can perform with just the piano accompaniment.

SKU: GI.G-10291

Composed by Anthony J Cirone & Tammy Chen. Music Education. 48 pages. GIA Publications #10291. Published by GIA Publications (GI.G-10291).

ISBN 9781574635317.

Alth ough many of the greatest composers from the Baroque, Classical, and Romantic periods did not write for marimba, their works are still available and are perfectly suited for this instrument. Many of these works were written for violin and contain bowings and fingerings that assist in the stylistic interpretation for violin but do not apply to marimba. To that end, Tammy Chen has arranged a collection of outstanding pieces that work perfectly for marimba. To aid the performer in developing a musical interpretation of these master works, she added stylistic markings including phrasing, articulations and musical directives. Below are the compositions included from the Violin Sonatas and Partitas by one of the world’s greatest composers, Johann Sebastian Bach. Giga from Partita No. 3 Double #1 from Partita No. 1 Giga from Partita No. 2 Presto from Sonata No. 1 Allegro from Sonata No. 2 Allemanda from Partita No. 2 Preludio from Partita No. 3 Allegro Assai from Sonata No. 3 Menuetto I. from Partita No. 3 Menuetto II. From Partita No. 3 Corrente from Partita No. 1 Bourrѐe from Partita No. 3 Bourrѐe from Partita No. 1 Gavotte en Rondeau from Partita No. 3 Corrente from Partita No. 2 Largo from Sonata No. 3 Double #2 from Partita No. 1 Double #4 from Partita No. 1 Sarabanda from Partita No. 2 Double #3 from Partita No. 1 Fuga from Sonata No. 1 Andante from Sonata No. 2 Cantabile from Sonata No. 1 Siciliano from Sonata No. 1 Ciaccona from Partita No. 2 Learn more about this new resource from the authors in this short video below:  .

Band Bass Clarinet, Bassoon, Cabasa, Chimes, Clarinet 1, Clarinet 2, Claves, Euphonium, Euphonium T.C., Flute, Flute 2, Gong, Horn, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal and more. - Grade 2.5

SKU: CF.YPS230

Composed by R. Alan Carter. Folio. Yps. Set of Score and Parts. 8+2+4+4+2+2+5+5+2+2+4+4+4 +3+3+2+3+2+1+1+6+4+20 pages. Duration 3 minutes, 35 seconds. Carl Fischer Music #YPS230. Published by Carl Fischer Music (CF.YPS230).

ISBN 9781491158142. UPC: 680160916740. 9 x 12 inches.

The Okefenokee Swamp is slated as one of the seven natural wonders of Georgia. The name has two different meanings: first being bubbling waters, and the second meaning Land of Trembling Earth, so named because the peat bog (land) moves when you walk on it, because it is actually floating on water. Although the Oconi are the earliest known inhabitants, this piece is written to honor the Chehaw Indians who gave the swamp its name. The beginning of the piece depicts the grandeur of the over 438,000 acre swamp (one of the five largest swamps in the world). The middle section includes a flute solo that depicts the life of the early inhabitants. For a more authentic portrayal, the use of a recorder, especially an alto recorder should be used. The piece ends with a spirited dance, beginning with the thunderous roll of the timpani and bass drums.
The Okefenokee Swamp is slated as one of the seven natural wonders of Georgia. The name has two different meanings: first being bubbling waters, and the second meaning Land of Trembling Earth, so named because the peat bog (land) moves when you walk on it, because it is actually floating on water. Although the Oconi are the earliest known inhabitants, this piece is written to honor the Chehaw Indians who gave the swamp its name. The beginning of the piece depicts the grandeur of the over 438,000 acre swamp (one of the five largest swamps in the world). The middle section includes a flute solo that depicts the  life of the early inhabitants. For a more authentic portrayal, the use of a recorder, especially an alto recorder should be used. The piece ends with a spirited dance, beginning with the thunderous roll of the timpani and bass drums.

Band Bass Clarinet, Bassoon, Cabasa, Chimes, Clarinet 1, Clarinet 2, Claves, Euphonium, Euphonium T.C., Flute, Flute 2, Gong, Horn, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal and more. - Grade 2.5

SKU: CF.YPS230F

Composed by R. Alan Carter. Sws. Fps. Full score. 20 pages. Duration 3 minutes, 35 seconds. Carl Fischer Music #YPS230F. Published by Carl Fischer Music (CF.YPS230F).

ISBN 9781491158159. UPC: 680160916757. 9 x 12 inches.

The Okefenokee Swamp is slated as one of the seven natural wonders of Georgia. The name has two different meanings: first being bubbling waters, and the second meaning Land of Trembling Earth, so named because the peat bog (land) moves when you walk on it, because it is actually floating on water. Although the Oconi are the earliest known inhabitants, this piece is written to honor the Chehaw Indians who gave the swamp its name. The beginning of the piece depicts the grandeur of the over 438,000 acre swamp (one of the five largest swamps in the world). The middle section has a flute solo that depicts the primitive life of the early inhabitants. For a more authentic portrayal, the use of a recorder, especially an alto recorder should be used. The piece ends with a spirited dance, beginning with the thunderous roll of the timpani and bass drums.
The Okefenokee Swamp is slated as one of the seven natural wonders of Georgia. The name has two different meanings: first being bubbling waters, and the second meaning Land of Trembling Earth, so named because the peat bog (land) moves when you walk on it, because it is actually floating on water. Although the Oconi are the earliest known inhabitants, this piece is written to honor the Chehaw Indians who gave the swamp its name. The beginning of the piece depicts the grandeur of the over 438,000 acre swamp (one of the five largest swamps in the world). The middle section has a flute solo that depicts the primitive life of the early inhabitants. For a more authentic portrayal, the use of a recorder, especially an alto recorder should be used. The piece ends with a spirited dance, beginning with the thunderous roll of the timpaniand bass drums.

(for percussion ensemble). Composed by Rick Dior. For Percussion Ensemble (9-13 players). Percussion Ensembles. Medium-Advanced. Folio and Parts on CD-ROM. 18 pages. Duration 4 minutes, 15 seconds. Published by Tapspace Publications

By Brian S. Mason. Percussion Ensemble. For 3 vibraphones, 3 marimbas (low A), timpani, bass guitar, drum set, djembe, vibra slap, 4 suspended cymbals, crotales (1 octave), mark tree, triangle, African claves, 2 gong drums, 2 shekeres, woodblock. An additional marimba can be used for lead/solo setup. (10 or 11 players). Level: Advanced. Full score and CD-Rom (containing printable parts). Duration 4:00. Published by Tapspace Publications.

By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Duboff, Jeffrey Sultanof, Alex Chilowicz, and Andrew Homzy. Arranged by Eddie Sauter. For string ensemble (score and parts) (Soloist (parts in concert, B-flat, and E-flat), Violin I (8 parts), Violin II (8 parts), Viola (5 Parts), Cello (5 Parts) , Double Bass (3 Parts), Harp, Piano/Celeste, Percussion (Snare Drum, Marimba, Tambourine)). Advanced. Score and parts. Published by Jazz Lines Publications

Percussion and strings (Perc (Marimba, Vibraphone (motor off), Crotales, Temple Blocks) - strings (4.3.2.2.1)) - difficult

SKU: HL.49017599

For solo percussion and strings. Composed by Joe Duddell. This edition: Saddle stitching. Sheet music. Percussion. Piano reduction with solo part. Composed 2001. 78 pages. Duration 18'. Schott Music #ED13077. Published by Schott Music (HL.49017599).

ISBN 9790220127380. UPC: 884088415983. 9.0x12.0x0.225 inches.

One of three works Duddell has written for percussionist Colin Currie, Snowblind highlights the melodic possibilities when writing for percussion. Throughout its three movements, Duddell takes the performers through a modern day Baroque sound-world with both the use of ritornello sections and focussing on unity between the accompaniment and soloist. Snowblind will stretch post Grade-8 students and is ideal for an exam or audition situation.

SKU: GI.G-CD-1043

GIA WindWorks Series. GIA WindWorks. Music Education. CD. GIA Publications #1043. Published by GIA Publications (GI.G-CD-1043).

Ford • McCarthy • Abe • Higdon • Goto Since the inception of the projects, composers, conductors, music critics, and connoisseurs worldwide have praised the recordings conducted by Eugene Migliaro Corporon for their innovation, excellence, and professional standards. These exceptional videos and compact discs identify and preserve the standard repertoire and globally encourage composers to contribute to the ever-growing legacy of great music that has the power of universality. The breadth and variety of the discs highlight the fact that the wind symphony, in its many forms throughout hundreds of years of music history, has been and continues to be a significant original medium for serious aesthetic expression. The projects have yielded more than 100 discs that showcase the creative energy of thousands of world-renowned composers and gifted musicians. Winds magazine offers the following regarding the body of work: “This series has immense historic value in documenting the best of the repertoire...as well as providing much sheer listening (and viewing) pleasure for the level of artistry in the performances. The acoustic quality of the recording is state-of-the- art...All of the works are superbly realized and worthy of exploration...these discs represent the standards to which all must aspire.”   This is a monumental recording that should be listened to and studied by every serious concert percussionist. The writing for percussion and winds is innovative and cutting edge, and there is much here for composers to learn about scoring for percussion and winds. The [University of North Texas] Wind Symphony performs these works fabulously and flawlessly, and the baton of Maestro Corporon is evident throughout. —Tom Morgan, Percussive Notes • Vol. 56, No. 3 • July 2018 Watch this video: Eugene Corporon and Mark Ford Discuss Contact Read Mark Ford's commentary on his project with Eugene Corporon: Contact Contents 1. Stubernic Fantasy (2012) • Mark Ford (b. 1958) • (13:04) Copyright © Innovative Percussion • Mark Ford, Paul Rennick, Sandi Rennick – Marimba Soloists Chamber Symphony No. 1 for Marimba (1993) • Daniel McCarthy (b. 1955) • (16:03) Copyright © C. Alan Publications 2. Deer Hunting in Michigan (4:07) 3. Harmonic Rhythms (4:33) 4. The Stuff of Adventure (7:23) Mark Ford – Marimba Soloist 5. Prism Rhapsody II (1996) • Keiko Abe (b. 1937) • (15:54) Copyright © Xebec Music • Mark Ford, Keiko Abe – Marimba Soloists 6. Percussion Concerto (2009) • Jennifer Higdon (b. 1962) • (25:21) Copyright © Lawson Press • Mark Ford – Percussion Soloist 7. Ruffles Call from Afar (2013) • Yo Goto (b. 1958) • (10:26) Copyright © C. Alan Publications • Mark Ford – Snare Drum Soloist Total Time (70:22)  .

Band Bass Clarinet, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3

SKU: CF.CPS251

Composed by Patrick Glenn Harper. Set of Score and Parts. 28+8+8+4+8+8+8+4+4+4+4+4+ 4+8+8+8+4+4+6+6+6+4+8+1+4 +2+2+12+2+8 pages. Duration 4 minutes, 27 seconds. Carl Fischer Music #CPS251. Published by Carl Fischer Music (CF.CPS251).

ISBN 9781491159873. UPC: 680160918461.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.

(Piano Feature). By David Gillingham. For Solo with Percussion Ensemble (Solo Piano, Timpani (5 drums), Percussion 1 (crotales, bells, xylophone), Percussion 2 (3-octave vibraphone), Percussion 3 (4-octave marimba), Percussion 4 (4-octave marimba), Percussion 5 (4-octave marimba), Percussion 6 (5-octave marimba), Percussion 7 ). Medium difficult. Score and parts. Duration 17:00. Published by C. Alan Publications

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

SKU: CF.CPS251F

Composed by Patrick Glenn Harper. Full score. 25 pages. Carl Fischer Music #CPS251F. Published by Carl Fischer Music (CF.CPS251F).

ISBN 9781491159880. UPC: 680160918478.

About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature.  But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career.  And for that, I will always be grateful.Performance NotesMeasures 1-12:   The beginning of the piece should be performed in a majestic, fanfare-like style.  The woodwind cues should only be used if absolutely needed during this section.Measures 41-58:   The concert toms should establish a presence, but not overpower the winds.   The triangle and woodblock parts should be heard distinctly over the concert toms.  A higher pitched woodblock should be used for this section.  (A set of claves could be used in place of the woodblock if desired.) Measures 59-94:   The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections.   The quarter-note triplets in the middle and low winds should be emphasized at m. 70.   The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End:   In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures.  In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.

Trumpet, trombone and chamber ensemble (Score & Parts) - difficult

SKU: HL.49045226

Concerto grosso for trumpet, tenor trombone and chamber ensemble. Composed by Enjott Schneider. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 2010. 88 pages. Duration 25'. Schott Music #ED22465. Published by Schott Music (HL.49045226).

ISBN 9790001159555. 9.0x12.0x0.237 inches.

The concerto takes the historical figure of the brutal impaler Vlad Tzepesch (1431-1476) as its starting point and subsequently develops the myth into an overwrought and gruesome piece of work: 1: 'Oderint dum metuant' is a raving Allegro with a Baroque ritornello structure and modern 'Draculisms'. 2: 'Luna su Tirgoviste' is a memoriam for the thousands of impaled victims who came to a violent end in today's Targoviste. 3: 'Il ballo transilvano' confronts a naive waltz rhythm with aggressive polyrhythmic reinterpretations - in the manner of the stick and the carrot. 4: 'Bacio di sangue' is Neo-Baroque horror music which has got out of hand, demanding extreme virtuosity from both soloists and ensemble. Enjott Schneider

Bassklar . * Fg. (auch Kfg.) - S. (Crot. * Vibr. * Marimba * Rohrengl. * Trgl. * 2 Beck. * Tamt. * kl. Tr. * 2 Tomt. * gr. Tr. * Chimes* Tempelbl. * Woodbl.) (2 Spieler) - Cemb. - Str. (6 Vl. * 4 Va. I * 4 Va. II * 3 Vc. I * 3 Vc. II * 3 Kb. [Die Streicher konnen auch solistisch besetzt werden.]).

(Alto Saxophone Feature). Composed by Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score and parts. Duration 6:00. Published by C. Alan Publications