Concert Band (optional solo piano) - intermediate SKU: AI.AMC-WB-003SSC C...(+)
Concert Band (optional
solo piano) -
intermediate
SKU:
AI.AMC-WB-003SSC
Composed by Francis
Johnson. Arranged by
Kenneth Amis. Music of
Black Composers and
Artists. Study score
only. Amis Musical Circle
#AMC-WB-003SSC. Published
by Amis Musical Circle
(AI.AMC-WB-003SSC).
8.5 x 11
inches.
The 1818
publication of Francis
Johnson's A Collection of
New Cotillions marks the
first known publication
of original music by a
black composer in the
United States. A prolific
composer,
instrumentalist, teacher
and conductor, Johnson
led a varied and
successful career in an
era in U.S. history that
was not inviting to black
professionals. His
musical interests ranged
from the contemporary
works of Johann Strauss
Jr. to traditional,
popular
dances.
The
cotillion is a French
country dance that was
popular in Europe and
America in the 18th
century. It was
originally danced by four
couples in square
formation and was an
important influence in
the development of the
square dance in the
United States. Francis
Johnson composed two sets
of six piano
accompaniments for this
dance. The original 1818
publication even included
movement instructions for
the eight dancers. The
short and charming
melodies that he composed
are a fitting example of
popular dance music of
the time.
This
transcription may be
performed as a piano
solo, with the piano as a
non-solistic instrument
within the ensemble or
without piano at all. If
it is to be a piano solo,
the other instruments
should not play the
passages marked
“opt. tacet
(optional tacet). If the
piano will not be treated
soloistically, the
conductor can have some
or all of the “opt.
tacet passages played at
their discretion. When
there is no piano
involved in the
performance ,all
instrumentalists should
ignore the “opt.
tacet instruction and
play everything.
Concert Band Solo Trumpet/Cornet and Concert Band SKU: AP.36-B384401 Comp...(+)
Concert Band Solo
Trumpet/Cornet and
Concert Band
SKU:
AP.36-B384401
Composed by Kenneth
Whitcomb. Concert Band,
Solo Brass with Ensemble,
Conductor Score. Master
Band Series. Score.
LudwigMasters
Publications #36-B384401.
Published by
LudwigMasters
Publications
(AP.36-B384401).
ISBN
9798892701242. UPC:
659359621505.
English.
Kenneth
Whitcomb (1926-1997) was
the staff arranger for
the United States
Military Academy Band at
West Point. He later
became the conductor of
the 30th United States
Army Band. Evening Breeze
for Trumpet or Cornet and
band accompaniment was
written during his time
as staff arranger.
Whitcomb uses a jazz
style that gives a sense
of an evening breeze.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Marching Band - Grade 4 SKU: AP.31680 Composed by Jerry Brubaker. Marchin...(+)
Marching Band - Grade 4
SKU: AP.31680
Composed by Jerry
Brubaker. Marching Band;
Performance Music
Ensemble; Single Titles.
Diamond Series. Form:
Fanfare. 4th of July;
Patriotic; Summer. Score
and Part(s). 128 pages.
Alfred Music #00-31680.
Published by Alfred Music
(AP.31680).
UPC:
038081349299.
English.
If you are
looking for something a
little different, here it
is. This spectacular and
moving fanfare was
composed by Jerry
Brubaker for the 75th
anniversary of the United
States Navy Band in
Washington, DC. Like its
name states, it is a
powerful work designed to
emphasize the importance
of a strong Navy in our
world today.
O Christmas Tree Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000905-010 Arranged by David ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000905-010
Arranged by David Well.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000905-010. Published by
Gobelin Music
Publications
(BT.GOB-000905-010).
The tradition
of the Christmas tree in
Western Europe dates back
to a time long before any
Christianization had
taken place. During the
severely cold winter
nights, so it was
believed, evil spirits
tried to 'kill' nature.
Needle-leaved trees were
the only ones which kept
their green colour
throughout the year, and
therefore became symbols
of immortality. These
'living' trees, said to
be the work of benign
spirits, were brought
into people's houses to
ward off evil,
life-threatening powers.
In the 14th century
people first started to
decorate Christmas trees.
It was a pagan custom,
originated by the
inhabitants of Alsace.
This custom was taken
over by the Church inthe
course of the 15th and
16th century. At first
the decoration consisted
mainly of edibles, such
as apples and wafers, but
later small presents were
added. Legend has it that
the reformer Martin
Luther was the first
person to decorate a
Christmas tree with
candles. The flickering
candle flames were meant
to create the image of a
starry sky in which
Christ's apparition could
be recognized. The German
organ-player Ernst
Anschütz from Leipzig
was the first person to
notate the song 'O
Tannenbaum', the melody
being a well-known folk
song. Next to 'Stille
Nacht' 'O Tannenbaum' is
the most famous German
Christmas song, now known
throughout the world. In
the United States of
America the melody of 'O
Tannenbaum' has even been
used in four States
(among which the State of
Maryland) for their State
song. In David Well's
arrangement the song is
first heard as many of us
know it. After this
introduction, however, it
is transformed into a
solid rock version, and
the beat has been
changed. In the second
part the familiar
three-four time is back,
but here the rhythm is
different from the
original. After the
richly ornamented rock
beat the basic theme can
be heard once again and
the composition is
concluded in a festive
manner.
De
traditie van de
‘Kerstboom’ gaat in
West-Europa terug tot ver
voordat er van enige
kerstening sprake was.
Gedurende de koude
strenge winters dacht men
dat kwade geesten de
natuur ‘vermoordde’.
Naaldbomen behielden als
enige hungroene kleur en
werden daardoor symbolen
van onsterflijkheid. Deze
‘levende’ bomen, het
werk van goede machten,
werden in huis gehaald om
kwade geesten en
levensbedreigende
krachten buitenshuis te
houden. Van
‘versierde’
kerstbomenwas het eerst
sprake in de 14e eeuw.
Het was een heidens
gebruik, dat in deze
periode in de Elzas
voorkwam. Tijdens de 15e
en 16e eeuw werd het
versieren van de
kerstboom door de kerk
overgenomen. De
versiering bestond in
eersteinstantie vooral
uit etenswaar, als appels
en koekjes. Later ging
men ook kleine cadeautjes
als versiering gebruiken.
Er wordt beweerd dat
Martin Luther, de
hervormer, als eerste
kaarsen in een kerstboom
deed. De fonkelende
vlammetjescreëerden een
sterrenhemel waarin men
Christus’ verschijning
leek te herkennen. De
Duitse organist Ernst
Anschütz uit Leipzig,
was de eerste die het
lied ‘O Tannenbaum’
op schrift stelde. De
melodie was een bekend
volkswijsje.Naast
‘Stille Nacht’ is
‘O Tannenbaum’ het
meest bekende kerstlied
dat vanuit Duitsland de
hele wereld veroverde. De
melodie van ‘O
Tannenbaum’ wordt zelfs
in de Verenigde Staten
van Amerika in vier
verschillende staten
(o.a.Maryland) als
volkslied gebruikt. In
het arrangement van David
Well hoort u het lied
eerst op de manier zoals
velen het kennen. Na deze
inleiding klinkt een
stevige rock-versie en is
de maatsoort niet meer de
gebruikelijke. Het
tussendeelis weer in de
vertrouwde
driekwarts-maatsoort.
Hier is echter de ritmiek
in een ander jasje
gestoken. Na de rijkelijk
met slingers versierde
rock-beat klinkt nog
één keer het
oorspronkelijke thema om
daarna feestelijk af.
Composed by
Jeremy Martin. Folio.
Sps. Set of Score and
Parts.
4+28+28+14+14+4+14+14+7+2
4+28+28+8+4+8+8+14+8+9+12
+12+8+8+8+8+12+12+9+12+8+
16+4+3+2+6+6+6+7+44
pages. Duration 7
minutes, 8 seconds. Carl
Fischer Music #SPS85.
Published by Carl Fischer
Music (CF.SPS85).
ISBN
9781491156421. UPC:
680160914968. 9 x 12
inches.
Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy.
New Hampshire Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1175783-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1175783-020
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Set (Score & Parts).
Composed 2018. De Haske
Publications #DHP
1175783-020. Published by
De Haske Publications
(BT.DHP-1175783-020).
English-German-French-
Dutch.
New
Hampshire is part of the
greater region of New
England in the north-east
of the United States. The
introduction to this work
is inspired on the
nickname of New
Hampshire, ‘The
Granite State’,
which refers to the
extensive granite
formations and stone
quarries. We further
explore this beautiful
state through Market
Square in Portsmouth, the
nature park Franconia
Notch, and the Kancamagus
Highway. The work closes
in a grand manner, with a
bow to one of the most
beautiful of all American
states.
New
Hampshire maakt deel uit
van de grotere regio New
England in het
noordoosten van de
Verenigde Staten. De
inleiding van deze
compositie is ge
nspireerd op de bijnaam
van New Hampshire, The
Granite State, die
verwijst naar omvangrijke
granieten formaties en
steengroeven. We
verkennen deze prachtige
staat verder via de
Market Square in
Portsmouth, het
natuurpark Franconia
Notch en de Kancamagus
Highway. Het werk sluit
groots af met een buiging
voor een van de mooiste
staten die Amerika rijk
is.
New Hampshire
ist ein Bundesstaat in
der Region New England im
Nordosten der Vereinigten
Staaten. Die Einleitung
des Werkes ist vom
Spitznamen New Hampshires
The Granite State
(Granit-Staat“)
inspiriert, der sich auf
die großen
Granitformationen und
Steinbrüche bezieht.
In dem Stück entdeckt
man diesen
wunderschönen
Bundesstaat mit dem
Marktplatz von
Portsmouth, dem Naturpark
Franconia Notch und dem
Kancamagus Highway. Das
Werk endet auf
großartige Art und
Weise mit einer
Verneigung vor einem der
schönsten
Bundesstaaten
Amerikas.
Nordanvind Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .
New Hampshire Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1175783-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1175783-120
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2018. 27 pages. De Haske
Publications #DHP
1175783-120. Published by
De Haske Publications
(BT.DHP-1175783-120).
English-German-French-
Dutch.
New
Hampshire is part of the
greater region of New
England in the north-east
of the United States. The
introduction to this work
is inspired on the
nickname of New
Hampshire, ‘The
Granite State’,
which refers to the
extensive granite
formations and stone
quarries. We further
explore this beautiful
state through Market
Square in Portsmouth, the
nature park Franconia
Notch, and the Kancamagus
Highway. The work closes
in a grand manner, with a
bow to one of the most
beautiful of all American
states.
New
Hampshire maakt deel uit
van de grotere regio New
England in het
noordoosten van de
Verenigde Staten. De
inleiding van deze
compositie is ge
nspireerd op de bijnaam
van New Hampshire, The
Granite State, die
verwijst naar omvangrijke
granieten formaties en
steengroeven. We
verkennen deze prachtige
staat verder via de
Market Square in
Portsmouth, het
natuurpark Franconia
Notch en de Kancamagus
Highway. Het werk sluit
groots af met een buiging
voor een van de mooiste
staten die Amerika rijk
is.
New Hampshire
ist ein Bundesstaat in
der Region New England im
Nordosten der Vereinigten
Staaten. Die Einleitung
des Werkes ist vom
Spitznamen New Hampshires
The Granite State
(Granit-Staat“)
inspiriert, der sich auf
die großen
Granitformationen und
Steinbrüche bezieht.
In dem Stück entdeckt
man diesen
wunderschönen
Bundesstaat mit dem
Marktplatz von
Portsmouth, dem Naturpark
Franconia Notch und dem
Kancamagus Highway. Das
Werk endet auf
großartige Art und
Weise mit einer
Verneigung vor einem der
schönsten
Bundesstaaten
Amerikas.
SKU: GI.G-10352 A Marine's Musical Journey from the Bayou to the White...(+)
SKU: GI.G-10352
A Marine's Musical
Journey from the Bayou to
the White House.
Composed by John
Bourgeois. Music
Education. 334 pages. GIA
Publications #10352.
Published by GIA
Publications
(GI.G-10352).
ISBN
9781622774685.
With
his hallmark wit and
eloquence, Colonel John
R. Bourgeois gives an
autobiographical account
of his life and career as
a musician from humble
roots who rose through
the ranks to became the
twenty-fifth director of
“The
President’s
Own†United States
Marine Band. Page after
page is filled with
recollections from
Colonel
Bourgeois’s tenure
with the Marine Band,
many of which involve the
most significant musical
and political figures of
the twentieth and
twenty-first centuries,
including multiple
presidents, first ladies,
and a number of renowned
conductors and artists.
Augmenting the stories
are newspaper clippings,
letters from U.S.
presidents,
transcriptions of
speeches Colonel
Bourgeois gave at various
events, musical programs
for select concerts from
throughout his
illustrious career, and
90 previously unpublished
photographs of John
Bourgeois with his
family, friends, and the
presidents and first
ladies he served. Perfect
for wind band aficionados
and history buffs alike,
readers are sure to
delight in the tales and
musings of this towering
figure of American
political and musical
life. Colonel John R.
Bourgeois, USMC (ret.),
was the twenty-fifth
director of “The
President’s
Own†United States
Marine Band. His
acclaimed career spanned
nine presidential
administrations, from
Presidents Eisenhower to
Clinton. A native of
Louisiana, Colonel
Bourgeois is a graduate
of Loyola University in
New Orleans. He joined
the Marine Corps in 1956
and entered “The
President’s
Own†in 1958 as a
French hornist and
arranger. Named director
in 1979, Colonel
Bourgeois was promoted to
his present rank in 1983.
He retired from active
duty on 11 July 1996. As
director of “The
President’s
Own,†Bourgeois was
music adviser to the
White House. He selected
the musical program and
directed the Band in its
traditional place of
honor at the U.S. Capitol
for four presidential
inaugurations and
regularly conducted the
Marine Band and the
Marine Chamber Orchestra
at the White House,
appearing there more
frequently than any other
musician in the nation.
He is the only Marine
musician to have served
in every rank from
private to colonel.
(A Practical Application of Rudolf von Laban's Movement Language). By James Jord...(+)
(A Practical Application
of Rudolf von Laban's
Movement Language). By
James Jordan with Meade
Andrews and Giselle
Wyers. Book and DVD. 362
pages. Published by GIA
Publications
Composed
by R. Alan Carter. Sws.
Bps. Full score. 12
pages. Duration 1:45.
Carl Fischer Music
#BPS130F. Published by
Carl Fischer Music
(CF.BPS130F).
ISBN
9781491156278. UPC:
680160914814. 9 x 12
inches.
The
Kolomoki Mounds is one of
the largest and earliest
Woodland Period earthwork
mound complexes in the
Southeastern United
States and the largest in
Georgia. These mounds
were constructed between
350-600 A.D. The eight
mounds include a Great
Temple Mound, a
ceremonial mound, several
burial mounds and a large
plaza in the center where
some 1,500 residents
lived in a large village
of thatched houses.
Kolomoki celebrates the
Swift Creek and Weeden
Island Indian cultures.
Using the first six notes
for young band, the piece
begins with a rhythmic
statement from the brass
and percussion. A simple
melody is introduced by
the woodwinds and later
found in the trumpet
part. The middle section
features smaller
sections. The piece ends
with restatement of the
main theme with a
woodwind counter melody.
This piece is designed to
make your beginners sound
great. The
“Kolomoki
Mounds†is one of
the largest and earliest
Woodland Period earthwork
mound complexes in the
Southeastern United
States and the largest in
Georgia. These mounds
were constructed between
350–600 A.D. The
eight mounds include a
Great Temple Mound, a
ceremonial mound, several
burial mounds and a large
plaza in the center where
some 1,500 residents
lived in a large village
of thatched
houses.Kolomoki
celebrates the Swift
Creek and Weeden Island
Indian cultures. Using
the first six notes for
young band, the piece
begins with a rhythmic
statement from the brass
and percussion. A simple
melody is introduced by
the woodwinds and later
found in the trumpet
part. The middle section
features smaller
sections. The piece ends
with restatement of the
main theme with a
woodwind counter melody.
This piece is designed to
make your beginners sound
great.
Leadership Initiatives for Music Educator. Composed by Kenneth R. Raessle...(+)
Leadership Initiatives
for Music Educator.
Composed by Kenneth R.
Raessler. Music
Education. Book. 385
pages. GIA Publications
#5789. Published by GIA
Publications (GI.G-5789).
Firestorm Fanfare [Conducteur] - Intermédiaire De Haske Publications
Fanfare Band - Grade 5 SKU: BT.DHP-0920349-120 Composed by Stephen Bulla....(+)
Fanfare Band - Grade 5
SKU:
BT.DHP-0920349-120
Composed by Stephen
Bulla. Sovereign Series.
Concert Piece. Score
Only. Composed 1992. De
Haske Publications #DHP
0920349-120. Published by
De Haske Publications
(BT.DHP-0920349-120).
The inspiration
for this piece,
commissioned by the
United States Army Band,
came from the Gulf and
its constant presentation
to the world as a media
event on television. The
composer wanted to
capture the colour and
events of war as they
were played out on the
television screen.
Composed as a single
movement rhapsody, the
work is framed by the
riveting sounds of
airborne bombing raids
with brass and percussion
combining to create a
gripping sense of
tension.
Stephen
Bulla schreef Firestorm,
waarvan de première op
27 april 1991 plaatsvond,
voor de United States
Army Band. De hevige
emoties die de Eerste
Golfoorlog bij de
componist losmaakte,
vormden voor hem de
aanleiding tot het
schrijven van deze
compositie.
Hypnotiserende geluiden
van bombardementen voeren
de boventoon in dit
spannende werk, dat in de
vorm van een rapsodie
werd geschreven.
The Baltic Way Ensemble de cuivres [Conducteur] - Intermédiaire De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1206253-130 Composed by Jan de Haan. Con...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1206253-130
Composed by Jan de Haan.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2019. 48 pages. De Haske
Publications #DHP
1206253-130. Published by
De Haske Publications
(BT.DHP-1206253-130).
English-German-French-
Dutch.
In 1989, the
demonstration named the
Baltic Way also
known as the Baltic
Chain— was held in
the Baltic states of
Estonia, Latvia and
Lithuania by its citizens
in a call for
independence from the
Soviet Union. On 23rd
August 1989, some two
million participants
formed a human chain,
hand-in-hand all the way
from the Estonian capital
of Tallinn its Latvian
counterpart, Riga,
through to the Lithuanian
capital of Vilnius - six
hundred kilometres long.
It became the longest
human chain ever created
and turned out to be the
final push needed for
much sought-after
independence. This
historic event became the
source of inspiration for
this composition. The
introduction of thefirst
movement, ‘Struggle
for Independence’,
is based on a nocturne
for piano by the renowned
Lithuanian composer and
painter Mikalojus
Konstantinas iurlionis
(1875-1911), thematic
material from which has
been incorporated
throughout the whole
composition. The
melancholic beginning is
followed by a powerful
theme which reflects the
resolve of the Baltic
people. The sudden
aggressive, dissonant
chords and a dominant
and—in rhythmic
terms—contrary
bass drum announce that
the resistance is not
going smoothly. Just for
a moment, we hear the
anthem of the Soviet
Union in the lower brass,
but this is relentlessly
pushed to the background
by the rest of the band
playing the Lithuanian
national anthem,
‘Tautiška giesm
’ (Lithuania, our
homeland). The second
movement, ‘Decades
of Suffering’,
echoes life under the
Soviet Union's thumb. In
the pursuit of
independence, a peaceful
protest is planned in
which a human chain is
formed across the Baltic
states of Estonia, Latvia
and Lithuania. This
‘Chain of
Freedom’ is
depicted in the final
movement of the work.
De Baltische Weg
(The Baltic Way)
was een demonstratie van
de bevolking van de
Baltische staten die in
1989 plaatsvond als een
roep om onafhankelijkheid
van de Sovjet-Unie. Deze
historische gebeurtenis
vormde de inspiratiebron
voor deze compositie. Van
Vilnius via Riga naar
Tallinn werd een
zeshonderd kilometer
lange keten van naar
schatting twee miljoen
mensen gevormd. Op 23
augustus 1989 gaven al
die mensen elkaar de hand
en werd De Baltische Weg
de langste menselijke
keten ooit. Het bleek de
uiteindelijke opmaat tot
de zo gewenste
onafhankelijkheid. De
inleiding van het eerste
deel, ‘Struggle for
Independence’, is
gebaseerd op een nocturne
voor piano van
devooraanstaande Litouwse
componist en
kunstschilder Mikalojus
Konstantinas iurlionis
(1875-1911). Het
thematische materiaal van
deze nocturne is door de
hele compositie heen
verwerkt. Na het
melancholische begin
volgt een krachtig thema,
waarmee de strijdbaarheid
van de Baltische
bevolking wordt
uitgebeeld. De
plotselinge agressieve
dissonante akkoorden en
een dominante en ritmisch
gezien tegendraadse grote
trom laten horen dat het
verzet niet eenvoudig
verloopt. Even klinkt het
begin van het volkslied
van de Sovjet-Unie in het
lage koper, maar dat
wordt door de rest van de
band onverbiddelijk naar
de achtergrond verwezen
door het Litouwse
nationale volkslied
‘Tautiška giesm
’ (Litouwen, ons
vaderland). In deel twee,
‘Decades of
Suffering’, wordt
het leven onder het juk
van de Sovjet-Unie
verklankt. In het streven
naar onafhankelijkheid
worden plannen gemaakt om
als vreedzaam protest
tegen de onderdrukking
een menselijke keten te
vormen over de wegen van
de Baltische staten
Litouwen, Letland en
Estland. Deze
‘Chain of
Freedom’ wordt in
het laatste deel van het
werk muzikaal
weergegeven.
Der
sogenannte Baltischer Weg
(The Baltic Way)
auch unter dem Namen
Baltische Kette bekannt
war 1989 eine
Demonstration von
Bürgern in den
baltischen Staaten
Estland, Lettland und
Litauen mit dem Aufruf
zur Unabhängigkeit von
der Sowjetunion. Am 23.
August 1989 bildeten rund
zwei Millionen Teilnehmer
eine sechshundert
Kilometer lange
Menschenkette, die von
der estnischen Hauptstadt
Tallinn über das
lettische Riga bis zur
litauischen Hauptstadt
Vilnius reichte. Die
längste Menschenkette,
die jemals geschaffen
wurde, erwies sich als
der letzte Schritt, der
zur lang ersehnten
Unabhängigkeit
führte. Dieses
historische Ereignis
diente der Komposition
alsInspirationsquelle.
Die Einleitung des ersten
Satzes, Struggle for
Independence“,
basiert auf einem
Nocturne für Klavier
des bekannten litauischen
Komponisten und Malers
Mikalojus Konstantinas
iurlionis (1875 1911),
dessen thematisches
Material in der gesamten
Komposition verwendet
wird. Dem melancholischen
Anfang folgt ein
mitreißendes Thema,
das die Entschlossenheit
der baltischen
Bevölkerung
widerspiegelt. Die
plötzlichen
aggressiven, dissonanten
Akkorde und eine
dominante und rhythmisch
gegenläufige Bewegung
in der Basstrommel
kündigen an, dass der
Widerstand nicht
reibungslos verläuft.
Für einen kurzen
Moment erklingt die Hymne
der Sowjetunion in den
tiefen Blechbläsern,
aber diese wird
unerbittlich vom
restlichen Orchester in
den Hintergrund
gedrängt, welches die
litauische Nationalhymne
Tautiška giesm “
(Litauen, unser
Heimatland“)
spielt. Der zweite Satz,
Decades of
Suffering“,
spiegelt das Leben unter
dem Joch der Sowjetunion
wider. Für das Streben
nach Unabhängigkeit
war ein friedlicher
Protest geplant, bei dem
eine Menschenkette durch
die baltischen Staaten
Estland, Lettland und
Litauen gebildet wurde.
Diese Chain of
Freedom“ wird im
letzten Satz des Werkes
beschrieben.
Concert Band - Grade 2 SKU: AP.39522 Concert March. Composed by Ro...(+)
Concert Band - Grade 2
SKU: AP.39522
Concert March.
Composed by Roland
Barrett. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Belwin Young Band. Form:
March. Patriotic;
programmatic. Score and
Part(s). 238 pages.
Duration 2:00. Belwin
Music #00-39522.
Published by Belwin Music
(AP.39522).
UPC:
038081452814.
English.
The
Presidential Medal of
Freedom is the highest
civilian award in the
United States. Bestowed
by the President, the
award recognizes those
individuals who have made
an especially meritorious
contribution to the
security or national
interests of the United
States, world peace,
cultural or other
significant public or
private endeavors. This
bright, contemporary 2/4
march pays tribute to all
past, present, and future
winners of the award, and
salutes their numerous
achievements and
contributions. (2:00)
This title is available
in MakeMusic Cloud.
Seven
Little Pieces.
Composed by William Grant
Still. Large Score. 36
pages. Duration 12
minutes. Carl Fischer
Music #SC89L. Published
by Carl Fischer Music
(CF.SC89L).
William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€The
“Black beltâ€
refers to a region in the
southern United States
that was distinguished by
the color of its fertile
soil. It was an area
whose rich economy was
based on cotton and
tobacco plantations that
were controlled by rich
white people and worked
by poor black laborers.
Still’s piece From
the Black Belt from 1926
is presumably a musical
representation of these
laborers. He described
its seven parts in the
following
ways:Â William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€The
“Black beltâ€
refers to a region in the
southern United States
that was distinguished by
the color of its fertile
soil. It was an area
whose rich economy was
based on cotton and
tobacco plantations that
were controlled by rich
white people and worked
by poor black laborers.
Still’s piece From
the Black Belt from 1926
is presumably a musical
representation of these
laborers. He described
its seven parts in the
following ways:
Li’l Scamp If one
were to base his judgment
on the volume of sound,
he would think this
little fellow, who
delights in playing
childish pranks, a big
scamp. But the aptness of
the title is determined
by the brevity of the
piece rather than by the
volume of sound.
Honeysuckle A musical
suggestion of the
saccharine odor of the
honeysuckle. Dance This
title is
self-explanatory. Brown
GirlA tone picture of a
lovely girl. Mah Bones Is
Creakin’An old
man, afflicted with
rheumatism, complains
loudly. BlueThe lament of
a weary soul. Clap
Yo’
Han’sThe
participants in a game
for children form a
circle and clap their
hands at intervals.
December
7, 1941. Composed by
Christina Huss R. Alan
Carter. Sps. Set of Score
and Parts.
2+16+4+8+8+8+4+4+4+4+4+4+
6+6+6+4+4+4+4+6+6+6+6+4+6
+6+2+4+8+2+28 pages.
Duration 6 minutes, 45
seconds. Carl Fischer
Music #SPS95. Published
by Carl Fischer Music
(CF.SPS95).
ISBN
9781491161302. UPC:
680160919895.
Writt
en to commemorate the
80th Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the date which will live
in infamy- December 7,
1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting aftermath.
The musical voyage begins
with chimes, signifying
the hour of the attack
that Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors Aweigh
takes us to the naval
base at Pearl Harbor and
the activities of the
day. By the end of
Anchors Aweigh, the mood
seems to change,
foreshadowing the fate of
the U.S. fleet. Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who perished.
Following this solemn
moment, the American
spirit begins to rise as
they come together to
defeat the enemy. As the
U.S. triumphs in the end,
we hear fragments of many
American tunes depicting
the strength and
resilience of the
American People. You may
want to consider using
portions of Franklin
Delano Roosevelt's famous
speech to enhance your
performance. The
following sections are
suggested: Measure 46:
Yesterday, December 7th,
1941 - a date which will
live in infamy - the
United States of America
was suddenly and
deliberately attacked by
the naval and air forces
of the Empire of Japan.
Measure 83: The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been lost. Measure
105: No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.. Written to
commemorate the 80th
Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the “date which
will live in
infamyâ€- December
7, 1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting
aftermath.The musical
voyage begins with
chimes, signifying the
hour of the attack that
Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors
Aweigh takes us to the
naval base at Pearl
Harbor and the activities
of the day. By the end of
Anchors Aweigh, the mood
seems to change,
foreshadowing the fate of
the U.S.
fleet.  Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who
perished.Following this
solemn moment, the
American spirit begins to
rise as they come
together to defeat the
enemy. As the U.S.
triumphs in the end, we
hear fragments of many
American tunes depicting
the strength and
resilience of the
American People.You may
want to consider using
portions of Franklin
Delano Roosevelt’s
famous speech to enhance
your performance. The
following sections are
suggested:Measure 46:
“Yesterday,
December 7th, 1941
– a date which
will live in infamy
– the United
States of America was
suddenly and deliberately
attacked by the naval and
air forces of the Empire
of Japan.â€Measure
83: “The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been
lost.â€Measure 105:
“No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.â€.
Composed by
William Harbinson. Fps.
Set of Score and Parts.
2+8+8+4+8+8+8+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+4+6+4+2+
10+24 pages. Duration
4:15. Carl Fischer Music
#FPS162. Published by
Carl Fischer Music
(CF.FPS162).
ISBN
9781491161548. UPC:
680160920198.
Music
for a Noble Gathering
captures the pomp and
dignity of a regal
celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for a connected
and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is paramount.
The climax in m. 53
quickly subsides but
immediately rebuilds for
a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure. William
Harbinson is Professor
Emeritus and former Dean
of the Hayes School of
Music at Appalachian
State University. He has
received nine J.W. Pepper
Editors' Choice Awards
that identify the very
best of the new music
available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed worldwide.
 . Music for a
Noble Gathering captures
the pomp and dignity of a
regal celebration. The
composition opens with a
percussion flourish to a
fanfare. Perform this
passage at a stately
tempo with marked
separation. A legato,
lyrical theme appears (m.
17) that contrasts the
opening passage.
Emphasize the ritard and
crescendo in m. 24 in
preparation for the
return of the opening
theme (m. 25) that
completes the A section.
Although thematically
related to the fanfare,
the B section (m. 35)
provides contrast in
tempo, key, and style.
Strive for aÂ
connected and sustained
presentation with careful
attention to the shaping
of the phrases. Proper
balance between the
melody and countermelody
at m. 45 is
paramount. The climax
in m. 53 quickly subsides
but immediately rebuilds
for a lively percussion
feature. The restatement
of the A section (m. 61)
leads to a final climax
(m. 91), a brief coda (m.
93) and a dynamic
closure.William Harbinson
is Professor Emeritus and
former Dean of the Hayes
School of Music at
Appalachian State
University. He has
received nine J.W. Pepper
Editors’ Choice
Awards that identify the
very best of the new
music available. His
compositions for band
appear on
contest/festival
literature lists of
several states and are
performed
worldwide. .
America Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS252 Composed by Michael J. Miller....(+)
Band Concert Band - Grade
3
SKU: CF.CPS252
Composed by Michael J.
Miller. Set of Score and
Parts.
12+4+4+2+4+4+4+2+2+2+2+2+
2+4+4+4+2+2+3+3+3+2+4+3+1
+2+3 pages. Duration
1:45. Carl Fischer Music
#CPS252. Published by
Carl Fischer Music
(CF.CPS252).
ISBN
9781491159699. UPC:
680160918287.
Ameri
ca is intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible. The
introduction, mm. 1-12,
should be approached in
the style of a fanfare,
with an emphasis on
syncopation and
exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm. 15-22 the
melody is carefully
hidden among counter
lines. This should be
carefully balanced to
highlight the melody,
while still shaping the
counter melodies
appropriately. A brief
return to the fanfare
style occurs in mm. 33-35
before melding back into
the chorale style. In
regards to dynamics,
performers should be
reminded that within any
single dynamic exists a
range of expressive
shades. No two notes
should be played at the
same volume, ensuring
direction in even the
simplest of phrases.
Generally speaking, the
fortissimo dynamic should
be approached
thoughtfully, with the
bulk of the sound coming
from the lowest voices,
and the least from the
highest
voices. America is
intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible.The
introduction, mm.
1–12, should be
approached in the style
of a fanfare, with an
emphasis on syncopation
and exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm.
15–22 the melody
is carefully hidden among
counter lines. This
should be carefully
balanced to highlight the
melody, while still
shaping the counter
melodies appropriately.A
brief return to the
fanfare style occurs in
mm. 33–35 before
melding back into the
chorale style.In regards
to dynamics, performers
should be reminded that
within any single dynamic
exists a range of
expressive shades. No two
notes should be played at
the same volume, ensuring
direction in even the
simplest of
phrases.Generally
speaking, the fortissimo
dynamic should be
approached thoughtfully,
with the bulk of the
sound coming from the
lowest voices, and the
least from the highest
voices.
Chamber Music Violin SKU: CF.BF142 22 Holiday Arrangements for Any Com...(+)
Chamber Music Violin
SKU: CF.BF142
22 Holiday
Arrangements for Any
Combination of String
Instruments. Composed
by Basque Carol, Bernard
de la Monnoye, Catalonian
Carol, English Carol,
Felix Bartholdy
Mendelssohn, Franz Xaver
Gruber, French carol,
James Pierpont, John
Henry Hopkins, John Wade,
Lewis Redner, Mykola
Leontovich, Richard
Storrs Willis, and Welsh
Carol. Arranged by Todd
Parrish. Collection -
Score. 48 pages. Carl
Fischer Music #BF142.
Published by Carl Fischer
Music (CF.BF142).
ISBN
9781491160145. UPC:
680160918744.
The
22 holiday classics
contained in this
collection have been
carefully arranged for
any combination of string
trio. The melodies,
both sacred and secular,
cover many centuries and
originate in Western
Europe and the United
States. Each work was
selected for its quality,
musical interest, and
appropriateness in a
chamber setting. All
pieces in this collection
have stood the test of
time and are worthy of
both study and
performance. Arranged
specifically for a
chamber setting, the
trios may be performed in
a variety of venues from
church services to
holiday gatherings. This
Compatible String
Ensembles collection of
Christmas Trios will set
the mood in any
environment.This Series
is Available for:Violin
BF142Viola BF143Cello
BF144Bass BF145. The
22 Christmas tunes
contained in this
collection have been
carefully arranged for
any combination of string
trio. The most standard
instrumentation for
voicing is violin, viola,
and cello. However, three
of the same instruments
work well as do other
groupings, given that the
higher-pitched instrument
plays the higher part.
This three-part format
follows a standard order:
part 1 is melody, part 2
is harmony, and part 3 is
a traditional bass line.
Optional 8va markings are
sometimes given to help
the voicings sound
better.The selections
have been arranged in
alphabetic order. The
melodies, both sacred and
secular, cover many
centuries and originate
in Western Europe and the
United States. Each work
is in the public domain
and was selected for both
its quality and musical
interest.Arranged
specifically for a
chamber setting, the
trios may be performed in
a variety of venues from
church services to
holiday gatherings. Some
repeats are marked in the
music, but any selection
may be repeated for the
appropriate amount of
music needed. Bowings
have been added as
suggestions, and some
fingerings have been
added to show the
direction of shifts
beyond first
position.—Todd
ParrishOrchestra Editor,
Carl Fischer MusicJune
2021.
Choral TTB choir, piano SKU: CF.CM9441 Composed by Greg Gilpin. Fold. Per...(+)
Choral TTB choir, piano
SKU: CF.CM9441
Composed by Greg Gilpin.
Fold. Performance Score.
With Standard notation.
12 pages. Duration 2
minutes. Carl Fischer
Music #CM9441. Published
by Carl Fischer Music
(CF.CM9441).
ISBN
9781491142493. UPC:
680160630554. 6.875 x
10.5 inches. Text: Greg
Gilpin. Greg
Gilpin.
E Pluribus
Unum, out of many, one,
is the phrase on the Seal
of the United States.
Never codified by law,
the phrase was considered
a de facto motto of the
United States until 1956.
This sets the tone for
this strong setting for
developing tenor-bass
ensembles. Gilpin affords
singers the opportunity
to develop independent
part-singing with pure,
uniform, Latin
vowels.
A Masterwork Method for the Developing Pianist. Composed by Nancy Bachus. Gr...(+)
A Masterwork Method for
the
Developing Pianist.
Composed
by Nancy Bachus. Graded
Standard Repertoire;
Masterworks; Piano
Collection. Exploring
Piano
Classics. Masterwork.
Book;
CD. 56 pages. Alfred
Music
#00-42636. Published by
Alfred Music
Concert Band Solo Trumpet/Cornet and Concert Band SKU: AP.36-B384402 Comp...(+)
Concert Band Solo
Trumpet/Cornet and
Concert Band
SKU:
AP.36-B384402
Composed by Kenneth
Whitcomb. Concert Band,
Solo Brass with Ensemble,
Conductor Score & Parts.
Master Band Series. Score
and Part(s).
LudwigMasters
Publications #36-B384402.
Published by
LudwigMasters
Publications
(AP.36-B384402).
UPC:
659359714566.
English.
Kenneth
Whitcomb (1926-1997) was
the staff arranger for
the United States
Military Academy Band at
West Point. He later
became the conductor of
the 30th United States
Army Band. Evening Breeze
for Trumpet or Cornet and
band accompaniment was
written during his time
as staff arranger.
Whitcomb uses a jazz
style that gives a sense
of an evening breeze.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
December
7, 1941. Composed by
Christina Huss R. Alan
Carter. Sps. Full score.
28 pages. Duration 6
minutes, 45 seconds. Carl
Fischer Music #SPS95F.
Published by Carl Fischer
Music (CF.SPS95F).
ISBN 9781491161845.
UPC:
680160920525.
Writt
en to commemorate the
80th Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the date which will live
in infamy- December 7,
1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting aftermath.
The musical voyage begins
with chimes, signifying
the hour of the attack
that Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors Aweigh
takes us to the naval
base at Pearl Harbor and
the activities of the
day. By the end of
Anchors Away, the mood
seems to change,
foreshadowing the fate of
the U.S. fleet. Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who perished.
Following this solemn
moment, the American
spirit begins to rise as
they come together to
defeat the enemy. As the
U.S. triumphs in the end,
we hear fragments of many
American tunes depicting
the strength and
resilience of the
American People. You may
want to consider using
portions of Franklin
Delano Roosevelt's famous
speech to enhance your
performance. The
following sections are
suggested: Measure 46:
Yesterday, December 7th,
1941 - a date which will
live in infamy - the
United States of America
was suddenly and
deliberately attacked by
the naval and air forces
of the Empire of Japan.
Measure 83: The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been lost. Measure
105: No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.. Written to
commemorate the 80th
Anniversary of the
surprise attack on the
American Pacific Fleet,
Remembering Pearl Harbor
is a stirring tribute
honoring the heroes of
the “date which
will live in
infamyâ€- December
7, 1941. Like flying over
the Pacific, the opening
bars seemingly soar back
in time. The composition
takes the listener on a
moving journey from the
precarious moments before
the fateful attack,
through the air strike
and resulting
aftermath.The musical
voyage begins with
chimes, signifying the
hour of the attack that
Sunday morning,
developing into the
heroic main theme
representing the Spirit
of America. A rousing
version of Anchors
Aweigh takes us to the
naval base at Pearl
Harbor and the activities
of the day. By the end of
Anchors Away, the mood
seems to change,
foreshadowing the fate of
the U.S.
fleet.  Next, the
haunting theme of the
Japanese National Anthem
is heard and the distant
sound of propellers as
they approach. When the
planes arrive, the battle
rages until there is
total destruction.
Countless people lost
their lives on this
tragic day. The playing
of Taps and the Navy
Hymn, Eternal Father,
Strong to Save is
presented as an homage to
those who
perished.Following this
solemn moment, the
American spirit begins to
rise as they come
together to defeat the
enemy. As the U.S.
triumphs in the end, we
hear fragments of many
American tunes depicting
the strength and
resilience of the
American People.You may
want to consider using
portions of Franklin
Delano Roosevelt’s
famous speech to enhance
your performance. The
following sections are
suggested:Measure 46:
“Yesterday,
December 7th, 1941
– a date which
will live in infamy
– the United
States of America was
suddenly and deliberately
attacked by the naval and
air forces of the Empire
of Japan.â€Measure
83: “The attack
yesterday on the Hawaiian
Islands has caused severe
damage to American naval
and military forces. I
regret to tell you that
very many American lives
have been
lost.â€Measure 105:
“No matter how long
it may take us to
overcome this
premeditated invasion,
the American people in
their righteous might
will win through to
absolute
victory.â€.
Concert Band (optional solo piano) - intermediate SKU: AI.AMC-WB-003 Comp...(+)
Concert Band (optional
solo piano) -
intermediate
SKU:
AI.AMC-WB-003
Composed by Francis
Johnson. Arranged by
Kenneth Amis. Music of
Black Composers and
Artists. Score and Parts.
Amis Musical Circle
#AMC-WB-003. Published by
Amis Musical Circle
(AI.AMC-WB-003).
The 1818
publication of Francis
Johnson's A Collection of
New Cotillions marks the
first known publication
of original music by a
black composer in the
United States. A prolific
composer,
instrumentalist, teacher
and conductor, Johnson
led a varied and
successful career in an
era in U.S. history that
was not inviting to black
professionals. His
musical interests ranged
from the contemporary
works of Johann Strauss
Jr. to traditional,
popular
dances.
The
cotillion is a French
country dance that was
popular in Europe and
America in the 18th
century. It was
originally danced by four
couples in square
formation and was an
important influence in
the development of the
square dance in the
United States. Francis
Johnson composed two sets
of six piano
accompaniments for this
dance. The original 1818
publication even included
movement instructions for
the eight dancers. The
short and charming
melodies that he composed
are a fitting example of
popular dance music of
the time.
This
transcription may be
performed as a piano
solo, with the piano as a
non-solistic instrument
within the ensemble or
without piano at all. If
it is to be a piano solo,
the other instruments
should not play the
passages marked
“opt. tacet
(optional tacet). If the
piano will not be treated
soloistically, the
conductor can have some
or all of the “opt.
tacet passages played at
their discretion. When
there is no piano
involved in the
performance ,all
instrumentalists should
ignore the “opt.
tacet instruction and
play everything.