By Lee Aronson. Duet. For Euphonium and Electric Guitar. Published by Tuba-Euphonium Press

By Bob Margolis (After Claude Gervaise). Concert band. Suitable for high school, community, and college bands. Level: Grade 4. Conductor score and set of parts. Duration 4:30. Published by Manhattan Beach Music.

Concert band (1st Flute, 2nd Flute/Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st Trumpet, 2nd Trumpet, 1st F Horn, 2nd F Horn, Trombone, Euphonium, (TC Baritone), Tuba, ) - grade 1.5

SKU: CN.S11261

Composed by Adam Gorb. Band Music. Score only. Duration 4:10. Published by G & M Brand Music Publishers (CN.S11261).

The three short movements in this work should be played in an outdoor spirit. Three Way Suite is intended for the beginner band although more advanced ensembles shouldn't disregard it. The movements are titled: Marching Forwards, Swaying Sideways, and Running Away..

Latin Folk Song Trilogy (Grade 3 - Score and Parts). Arranged by William Himes. Curnow Music Concert Band. Grade 3. Curnow Music #044400. Published by Curnow Music

Concert band - Grade 4

SKU: MH.0-931329-53-1

Composed by Gregory B.Rudgers. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:30. Published by Manhattan Beach Music (MH.0-931329-53-1).

ISBN 9780931329531.

Jour ney back to ancient Greece and view a place of long-gone legend. Follow the trail to the Kingdom of Ithaca, from the heroic palace, to a place of tranquility, to a reckless dance of abandon, to the return of Odysseus. The melodic material used in 200 B.C. is from a two thousand year old Greek hymn to Apollo. The legendary adventures of Odysseus as described by Homer in the Odyssey (ca. 700 B.C.) provide the programmatic material. The music is freely based upon the First Delphic Hymn (or Paen to Apollo), composed ca. 200 B.C. The source is a transcription appearing on pages 363 - 367 of Ancient and Oriental Music, Edited by Egon Wellesz (Oxford University Press: London, 1957). Each movement of the work depicts a key event in the epic Homeric poem, as described below. Movement I: Intrada - The first four notes of this movement, C - Bb - G - Bb, are the melodic and harmonic foundation for the entire work. These pitches, introduced in a simple and direct manner, are subsequently developed in more complex fashions throughout the suite. Following this stately introduction is a militaristic fanfare that introduces the dotted-eighth and sixteenth-note figure later reprised in the second and fourth movements. Indeed, all the musical ideas which will be central to the remaining movements first appear in the Intrada. This movement depicts the grandeur of Odysseus and his kingdom in Ithaca, and establishes the heroic mood of the entire work. Movement II: Ballad - After a brief restatement of the opening dotted-eighth-and-sixteen th fanfare, the second movement extracts the falling third (Bb to G) from the C - Bb - G - Bb motif and extends it and expands it into a haunting solo for alto saxophone. The C - Bb - G - Bb motif appears again (see measures 23 - 33 in trumpets) as counterpoint to this melody, now pulsing through the thick texture of the band. Many performers have come to view the Ballad as the emotional epicenter of the entire suite; my conception of the Ballad is to achieve a union of pathos and strength. Programmatically, this movement depicts Odysseus's son, Telemachos, as he both longs for Odysseus's return and stoically defends his father's kingdom. Movement III: Dance - It will take Odysseus twenty years to return to Ithaca. During his absence, noblemen besiege his palace, violating the sanctity of the household and seeking the hand of his wife, Penelope. This movement depicts the wanton revelries that result. The original four-note motif is chromatically altered and the meter is made irregular. The rapid tempo, driving percussion, and angular meter and melodies combine in an explosion of reckless abandon. Movement IV: March Building from a delicate woodwind ensemble accompanied by finger cymbals to a fully orchestrated statement replete with thundering percussion, this is a resounding march of victory. Odysseus has returned in triumph to restore dignity to his household and to reclaim the throne of the Kingdom of Ithaca. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 - 2, 2 Oboe 1 - 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet, 2 Bassoon 1 - 2, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (B.C.), 2 Euphonium T.C., 4 Tuba, 1 Timpani, 2 Mallet Percussion: Bells, Xylophone, 2 Percussion 1: Snare Drum, Tambourine, 2 Percussion 2: Crash Cymbals, Suspended Cymbal, Tom-Tom, Finger Cymbals, 1 Percussion 3: Bass Drum.

Euphonium ensemble (5 euphoniums)

SKU: TE.TEP10885

Composed by Hidetoshi Takumi. Quintet. Score and parts. Published by Tuba-Euphonium Press (TE.TEP10885).

Concert band - Grade 5

SKU: MH.1-59913-082-3

Composed by Bob Margolis. Suitable for community bands, high school bands, and college bands. 14 minutes duration if played as a suite; or movements 1 or 3 may be performed separately. Conductor score and set of parts. Duration 14:00. Published by Manhattan Beach Music (MH.1-59913-082-3).

ISBN 9781599130828.

Fant asia Nova is a suite comprising two concert marches and a slow, middle movement that derives its themes from both marches. Ragtime (composed in early September, 1978) is a new from old sort of piece. Although its tunefulness and harmonies have an old-fashioned character, its structure, development, and orchestration are unusual for a march. In the chorale section (measures 111 - 148) the band director must be very careful in balancing, for each of the elements must come through. More important is that the audience be brought up by this section -- filled with a joyous exaltation; great attention must be paid to sonority and the band must play earnestly. Ragtime stands on its own and may be performed separately. Dreams (composed in late September, 1978) is the traditional march of the two. It is very closely modeled (in structure only) to Sousa's Stars and Stripes Forever. It even includes a tricky piccolo solo, although the accompaniment has a chorale texture, almost like a school alma mater. This march has a patriotic, inspirational sound, because it was composed for the town of Irondequoit, New York -- for a Town March contest held by the town's community concert band. It did not, so far as I know, become the town's march; one can hear the name, Irondequoit, throughout the Trio, for every turn of the melody (in fact, each group of four notes) fits the accent pattern (Ih-RON-dih-kwoit) of the town's name. Parade stands on its own as a complete work and may be performed separately. Ensemble instrumentation: 1 Piccolo, 6 Flutes, 2 1st & 2nd Oboes, 1 English Horn, 1 Eb Clarinet, 3 1st Bb Clarinet, 3 2nd Bb Clarinet, 3 3rd Bb Clarinet, 1 Eb Alto Clarinet, 2 Bb Bass Clarinet, 1 Eb Contrabass Clarinet (optional), 2 1st & 2nd Bassoons, 1 Contrabassoon (optional), 1 1st Eb Alto Saxophone, 1 2nd Eb Alto Saxophone, 1 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 1st Bb Cornets, 3 2nd Bb Cornets, 3 3rd Bb Cornets, 1 1st Horn in F, 1 2nd Horn in F, 2 3rd and 4th Horns in F, 2 1st Trombones, 2 2nd Trombones, 2 3rd Trombones, 1 Euphonium (Treble Clef), 2 Euphonium (Bass Clef), 4 Tuba, 1 String Bass, 1 Timpani (Triangle), 5 Percussion.

(Movement 1 from the Vaughan Williams Suite) By Robert W. Smith. Conductor's score and set of performance parts for concert band (3 - 1st flute, 3 - 2nd flute, 1 - 1st oboe, 1 - 2nd oboe, 2 - bassoon, 3 - 1st clarinet, 3 - 2nd clarinet, 3 - 3rd clarinet, 1 - alto clarinet, 2 - bass clarinet, 1 - contralto clarinet, 2 - 1st alto saxophone, 2 - 2nd alto saxophone, 1 - tenor saxophone, 1 - baritone saxophone, 3 - 1st trumpet, 3 - 2nd trumpet, 3 - 3rd trumpet, 2 - 1st horn in F, 2 - 2nd horn in F, 2 - 1st trombone, 2 - 2nd trombone, 2 - 3rd trombone, 2 - euphonium, 1 - baritone (treble clef), 4 - tuba, 3 - mallet percussion, 1 - timpani, 4 - percussion I, 2 - per

By Randy Aldcroft. For Tenor and Bass Trombone Duet. Jazz duets. Advanced. Booklet. Published by Cherry Classics

(IV. Princess Leia's Theme from Episode IV: A New Hope, V. Imperial March (Darth Vader's Theme)/ The Forest Battle from Episode V: The Empire Strikes Back and Episode VI: Return of the Jedi and VI. Star Wars (Main Title) from Episode I through VI) Composed by John Williams, arranged by Robert W. Smith. Conductor's score and set of performance parts for concert band (1 - piccolo, 3 - 1st flute, 3 - 2nd flute, 2 - oboe, 2 - bassoon, 3 - 1st clarinet, 3 - 2nd clarinet, 3 - 3rd clarinet, 2 - bass clarinet, 1 - contrabass clarinet, 2 - 1st alto saxophone, 2 - 2nd alto saxophone, 1 - tenor saxophone, 1 - baritone saxophone, 3 - 1st trumpet, 3 - 2nd trumpet, 3 - 3rd trumpet, 2 - 1st horn in F, 2 - 2nd horn in F, 2 - 1st trombone, 2 - 2nd trombone, 2 - 3rd trombone, 2 - euphonium, 1 - baritone (treble clef), 4 - tuba, 2 - piano/synthesizer, 4 - mallet percussion, 1 - timpani, 4 - percussion I, 3 - percussion II). Series: Belwin Concert Band Series. Published by Alfred Publishing.

Concert band - Grade 3

SKU: MH.1-59913-054-8

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

ISBN 9781599130545.

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

Composed by Johann Sebastian Bach (1685-1750). Arranged by Arthur Frackenpohl. Duet. For Horn and Tuba. Published by Tuba-Euphonium Press

Tuba ensemble (4 euphoniums and 4 tubas)

SKU: TE.TEP10308

Composed by Frank/Gabrielli. Arranged by Michael Forbes. Large ensemble music. Score and parts. Published by Tuba-Euphonium Press (TE.TEP10308).

For Concert Band. Composed by Michael Daugherty (1954-). Michael Daugherty Music. Softcover. Published by Hal Leonard (HL.4004650).

Greek Suite for Wind Orchestra. Composed by Istv and István Bogár. EMB. Classical. Editio Musica Budapest #Z14690SET. Published by Editio Musica Budapest

Composed by Adam Gorb (1958-). For concert band (1st Flute, 2nd Flute/Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st Trumpet, 2nd Trumpet, 1st F Horn, 2nd F Horn, Trombone, Euphonium, (TC Baritone), Tuba, ). Band Music. Grade 1.5. Score and parts. Duration 4:10. Published by C. Alan Publications

Tuba ensemble (5 euphoniums, 5 tubas, timpani and percussion)

SKU: TE.TEP10193

Composed by Barton Cummings. Large ensemble music. Score and parts. Published by Tuba-Euphonium Press (TE.TEP10193).

For Winston Morris and Symphonia.

By Alfred H. Bartles. For tuba and violoncello (or euphonium). Contemporary. 3. Published by Editions BIM

Euphonium and Piano. By James Curnow. (EUPHONIUM). Curnow Concert Band Full Set. Published by Curnow Music.

By Arcangelo Corelli. For 3 euphoniums & tuba (or 4 euphoniums). Swiss import. Level: 3+. Score and parts. Published by Editions Marc Reift. (EMR 4008B)

Tuba-euphonium quartet

SKU: P2.80087

Composed by Jack Adler-McKean. Chamber music, 20th century. Published by Potenza Music (P2.80087).

Grant writes, When I began composing Mark My Words, I told Mark to be prepared for something fun that sounded like Charlie Brown doing a funky bossa nova (think jazz pianist/composer Vince Guaraldi's Linus and Lucy). I did not tell him that the middle section of Mark My Words would make overt references to all of the principal shapes, motives and themes from the Three Furies - my way of thanking Mark Nelson, specifically, for opening wide the door of composing for tuba and euphonium those many years ago and for so enthusiastically escorting me over that threshold. I am but one of many grateful composers whom Mark has supported over the years by commissioning, then recording their music. Mark My Words is my humble attempts at giving back to this devoted educator, consummate musician, fervent promoter of new music for tuba, and - yes - kickass player..

14-part Brass Ensemble, Timpani & Glockenspiel - advanced

SKU: CY.CC2945

Composed by Gustav Holst. Arranged by Ralph Sauer. 20th Century British. Score and parts. 50 pages. Cherry Classics #2945. Published by Cherry Classics (CY.CC2945).

ISBN 9790530057643.

Hols t's 7-movement Suite, The Planets was written between 1914-16 and its first version was scored for two pianos except for the Neptune movement, which was written for organ alone. The music is the first ever composed with a fade-away ending using a womens' chorus. Later, Holst completed his orchestration of the 7-movement Suite, which has become one of the most popular works in the repertoire.
Mr. Sauer has brilliantly scored this movement of about nine minutes in length for 14-part brass ensemble with Timpani and Glockenspiel. This concludes his arranging of the complete suite for Large Brass Ensemble. The entire 7-movement Suite is also available for sale as a complete set on our website.
Instrumentat ion is for:
4 Trumpets in C
4 Horns in F
3 Trombones
Euphonium, Tuba
Timpani and Glockenspiel
This music is appropriate for advanced performers.

Brass Ensemble, Timpani & Percussion - advanced

SKU: CY.CC2487

Composed by Joio, Norman Dell. Arranged by Julien Simard. American 20th century. Score and parts. Published by Cherry Classics (CY.CC2487).

This work for 11-part Brass Ensemble with Timpani and Percussion is a 5-movement suite depicting the development of The Louvre during the Renaissance and utilizing themes from composers of that era. Dello Joio received an Emmy Award for the most outstanding music written for television in the 1964-65 season for his score which was originally for wind band.

Mr. Simard has produced a wonderful score for advanced performers.
Instrument ation is:
4 Trumpets (part 1 is for piccolo trumpet)
2 Horns
3 Trombones, 1 Euphonium, 1 Tuba
Timpani and 2 Percussion
Distributed by Lassus Publications.

By Peter Ilyich Tchaikovsky. Arranged by Joseph Compello. Concert band/stage band. For Flute, Oboe, Flute II, Clarinet I, Clarinet II, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn, Tenor, Euphonium, Bassoon, Treble Baritone, Tuba, Bells, Xylophone, Timpani, Snare Drum, Bass Drum, Triangle, Tambourine. Carl Fischer First Plus Performance Series. Classical. Level: very easy. Score and parts. 20 pages. Published by Carl Fischer.

Composed by Astor Piazzolla (1921-1992). Arranged by Paul Bhasin. Score and part(s). With Standard notation. Carl Fischer #BQ-126. Published by Carl Fischer

Soloist(s) with Concert Band (piccolo, flute 1-2, oboe 1-2, Bb clarinet 1-3, Eb alto clarinet, Bb bass clarinet, bassoon 1-2, alto saxophone 1-2, Bb tenor saxophone, Eb baritone saxophone, Bb cornet 1-3, horn in F 1-4, trombone 1-3, euphonium, baritone Tc, tuba, string bass, timpani) - grade 4

SKU: CN.R10232

Alto Saxophone Feature. Composed by Geoffrey Brand. Arranged by Geoffrey Brand. Band Music. Score and parts. Duration 9:30. Published by G & M Brand Music Publishers (CN.R10232).

Advancing alto saxophonists will enjoy being featured on this expressive movement from Bizet's Symphony! The timbre of the alto saxophone is perfectly suited to bring out the slightly exotic colors of the melody, yet the band accompaniment remains in a classic style, the combination of which is intriguing to the ear. The overall result is very flattering to the capabilities of skilled saxophonists.

The great French Composer, Georges Bizet, began writing his symphony in October 1855 and finished it in November of the same year. A remarkable achievement. In spite of his diligence, Bizet never heard his symphony performed. It was not heard until February of 1935 in Basel, Switzerland. The symphony is in four movements, of which the Adagio is the second.

14-part brass ensemble, timpani & percussion - advanced

SKU: CY.CC2840

Composed by Gustav Holst. Arranged by Ralph Sauer. 20th Century British. Score and parts. Published by Cherry Classics (CY.CC2840).

Venus and Mercury movements from the Planets Suite are now available for sale to supplement your present package of 4 movements, or just to order the two movements alone.
Brilliantly transcribed by Ralph Sauer for 14-part Brass Ensemble and Percussion, these two movements will finish off your collection perfectly, or make a lovely 15 minute mini-suite.
This package has been discounted from purchasing the movements separately.
For advanced performers.
Instrumen tation is for:
4 Trumpets in C (parts include Piccolo and Flugelhorn in B-flat)
4 Horns
3 Trombones
Euphonium (Tenor Tuba), 2 Tubas
Timpani and Glockenspiel.