Big band (Soprano Sax, Alto Sax, Tenor Sax 1, Tenor Sax 2, Baritone Sax, Trumpet/Flugelhorn 1-3, Flugelhorn/Trumpet 4-5, Trombone 1-3, Bass Trombone 4-5, Piano, Guitar, Bass, Drums) - difficult

SKU: M7.SMP-1122

Concert Jazz. Composed by Neil Slater. Sheet music. Score and parts. Handelsware #SMP 1122. Published by Handelsware (M7.SMP-1122).

English.

As recorded on the Lab 2011 CD by the North Texas One O'clock Lab Band, this is one of Neil Slaters newest compositions. It has a lovely beginning and then launches into a wonderful, swinging groove. 5-5-5-4.

C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Standards. Softcover. 802 pages. Published by Hal Leonard

E-flat Edition. Composed by Various. Fake Book. Jazz. Softcover. 504 pages. Published by Hal Leonard (HL.175279).

Eb Instruments. Composed by Various. Arranged by Robert Rawlins. Fake Book. Dixieland, Jazz. Softcover. Published by Hal Leonard

By Various. Arranged by Chuck Sher. For E§ Instruments, Melody/Lyrics/Chords. Latin and Latin Jazz. Difficulty: easy-medium to medium. Fakebook (spiral bound). Melody and chord names. 572 pages. Published by Sher Music Company

For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced flat-pick players who are ready to throw down that pick for a while to finally get a handle on fingerstyle. That's the secret ingredient of this study program -- its a beginning fingerstyle. DVD. Published by eMedia Music

(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 856 pages. 9x12 inches. Published by Hal Leonard.

Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: Hal Leonard Fake Books. 864 pages. Published by Hal Leonard.

B-flat Edition. Composed by Various. Fake Book. Softcover. 504 pages. Published by Hal Leonard

(C Edition). By Various. By Various. For C Instruments. Fake Book. Softcover. 464 pages. Published by Hal Leonard

(C Instruments). By Various. Arranged by Robert Rawlins. Fake Book. Softcover. 380 pages. Published by Hal Leonard

(B-Flat Instruments). Composed by Various. Arranged by Robert Rawlins. For B-flat Instruments. Fake Book. Softcover. 380 pages. Published by Hal Leonard

By Various. For C Instruments. Fake Book. Softcover. 560 pages. Published by Hal Leonard

Chamber Music Bassoon, Clarinet, Flute, Horn, Oboe

SKU: PR.114419490

Composed by Amanda Harberg. Folio. Set of Score and Parts. 40+16+16+16+12+12 pages. Duration 18 minutes. Theodore Presser Company #114-41949. Published by Theodore Presser Company (PR.114419490).

ISBN 9781491131435. UPC: 680160677320. 9 x 12 inches.

The depth and inventiveness of Amanda Harberg’s SUITE FOR WIND QUINTET can only be described as remarkable. Harberg combines the rich tradition of renaissance and baroque dance suites with her own American voice, stirring up dramatic, exciting sounds and stories. Cantus uses the imitative entries of renaissance motets as a jumping off point into a more contemporary world. The playfully virtuosic Furlana refers to the Italian folk dance rhythm in 6, punctuated by lots of unexpected 5’s. Fantasia hints at being a lullaby with an animated and jazz-influenced middle section, and the closing Cabaletta is true to its 19th-century meaning of a rousing closing section following beautiful lyricism. SUITE FOR WIND QUINTET was commissioned and premiered by the Dorian Wind Quintet.
Amanda Harberg’s Suite for Wind Quintet was commissioned by the Dorian Wind Quintet in 2017. The piece was the result of a conversation in a bar between Harberg, Dorian’s flutist Gretchen Pusch and Pusch’s husband Richard Bayles, on the occasion of Dorian’s clarinetist Ben Fingland’s 40th birthday party. A year and a half later, the Dorian Wind Quintet gave the world premiere of Harberg’s quintet at Bargemusic, and has incorporated it into their repertoire ever since. Suite for Wind Quintet is in four movements- 1. Cantus, 2. Furlana, 3. Fantasia and 4. Cabaletta. The melodic material heard in the very opening of the piece can be heard recurring and transforming throughout the four movements, until it unites triumphantly in the final coda with the theme of the concluding movement. The piece was inspired by the concept of placing Renaissance and Baroque-inspired dance suites into Harberg’s idiom as a 21st century composer.