Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
Composed by Benjamin Yeo.
Sws. Cps. Full score. 24
pages. Carl Fischer Music
#CPS245F. Published by
Carl Fischer Music
(CF.CPS245F).
ISBN
9781491158135. UPC:
680160916733. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
By Gustav Holst (1874-1934). Arranged by James Haynor. For Brass Ensemble. Briti...(+)
By Gustav Holst
(1874-1934). Arranged by
James Haynor. For Brass
Ensemble. British early
20th cent. Advanced. Full
Score and parts.
Published by Cherry
Classics
Abracadabra Ensemble d'École [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 4:30. Published
by Manhattan Beach Music.
(Critical Edition of the Complete Symphonies). By Franz Joseph Haydn (1732-1809)...(+)
(Critical Edition of the
Complete Symphonies). By
Franz Joseph Haydn
(1732-1809). Edited by
H.C. Robbins Landon. For
Wind Set. Haydn-Mozart
Presse. Set of parts.
Standard notation. Hob.
I:104. Duration 29
minutes. Published by
Universal Edition
Velvet Morning Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS33 Composed by Sean O...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS33
Composed by Sean
O'Loughlin. SWS - FS.
Carl Fischer Young String
Orchestra Series.
Classical. Score and
Parts. With Standard
notation.
8+16+16+4+10+10+10+3
pages. Carl Fischer Music
#YAS33. Published by Carl
Fischer Music (CF.YAS33).
ISBN 9780825858468.
UPC: 798408058463. 8.5 X
11 inches. Key: G
major.
A walk
through the park or a
morning stroll through
the forest is what this
piece best calls to mind.
With its pastoral setting
and lush melodies, Velvet
Morning will truly
showcase your group's
mastery of legato
playing. Velvet
Morning is a warm and
colorful work for string
orchestra. Please
play con sordino if
available. The music is a
reflection of my love for
the orchestral music of
Barber, Ravel, Debussy
and Satie. It should have
the same sense of passion
and intensity that those
masters employ in their
music.The opening tempo
is marked rubato, and
should speed up then slow
down based on the
phrases. The main melody
appears at m. 11 in the
first violins and should
have a flowing quality.
The harmony does utilize
some slight dissonances
from time to time which
should be emphasized. The
violas and cellos take
over the melody at m.19
with a counter line in
the violins. The melody
returns to the violin at
m. 27 with a pianistic
cello line punctuated
by pizzicato in the
bass. Some transitional
material follows that
builds up to a full
presentation at m. 47.
Let the ensemble open up
here with an intense,
full sound. This winds
down to a return of the
introduction at m. 60.
The ending should be
tender and deliberate all
the way to the last plush
chord.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Velvet Morning Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS33F Full Score...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS33F
Full Score.
Composed by Sean
O'Loughlin. Carl Fischer
Young String Orchestra
Series. Full score. With
Standard notation. 8
pages. Carl Fischer Music
#YAS33F. Published by
Carl Fischer Music
(CF.YAS33F).
ISBN
9780825858475. UPC:
798408058470. 8.5 X 11
inches. Key: G
major.
A walk
through the park or a
morning stroll through
the forest is what this
piece best calls to mind.
With its pastoral setting
and lush melodies, Velvet
Morning will truly
showcase your group's
mastery of legato
playing. Velvet
Morning is a warm and
colorful work for string
orchestra. Please
play con sordino if
available. The music is a
reflection of my love for
the orchestral music of
Barber, Ravel, Debussy
and Satie. It should have
the same sense of passion
and intensity that those
masters employ in their
music.The opening tempo
is marked rubato, and
should speed up then slow
down based on the
phrases. The main melody
appears at m. 11 in the
first violins and should
have a flowing quality.
The harmony does utilize
some slight dissonances
from time to time which
should be emphasized. The
violas and cellos take
over the melody at m.19
with a counter line in
the violins. The melody
returns to the violin at
m. 27 with a pianistic
cello line punctuated
by pizzicato in the
bass. Some transitional
material follows that
builds up to a full
presentation at m. 47.
Let the ensemble open up
here with an intense,
full sound. This winds
down to a return of the
introduction at m. 60.
The ending should be
tender and deliberate all
the way to the last plush
chord.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Op. 24. By Mendelssohn Bartoldy, Felix. Edited by Hogwood, Christopher. For Wind...(+)
Op. 24. By Mendelssohn
Bartoldy, Felix. Edited
by Hogwood, Christopher.
For Wind band. Wind
Parts; Urtext Edition.
Op. 24. Duration 10'.
Published by
Baerenreiter-Ausgaben
(German import). (BA9055
65)
Op. 24. By Mendelssohn Bartoldy, Felix. Edited by Hogwood, Christopher. For Wind...(+)
Op. 24. By Mendelssohn
Bartoldy, Felix. Edited
by Hogwood, Christopher.
For Wind band. Score;
Urtext Edition
(paperbound). Op. 24.
Duration 10'. Published
by Baerenreiter-Ausgaben
(German import). ISBN
M006522972.
Mass in C Major Soli, choeur mixte et accompagnement [Conducteur d'étude / Miniature] Carus Verlag
Composed by Franz Schubert (1797-1828). Edited by Manuela Jahrmarker. This editi...(+)
Composed by Franz
Schubert (1797-1828).
Edited by Manuela
Jahrmarker. This edition:
urtext. Stuttgart Urtext
Edition: Schubert. German
title: Messe In C
Rev.2000. Innovative
practice aids, Sacred
vocal music, Masses,
Latin. Study score.
Composed 1816. D 452. 72
pages. Duration 25
minutes. Carus Verlag #CV
40.658/07. Published by
Carus Verlag
(CA.4065807).
Composed by
Michael J. Miller.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
8+2+4+2+8+16+16+4+4+4+4+4
+4+8+8+8+4+4+6+6+6+8+6+2+
2+4+10+36+4 pages.
Duration 3 minutes, 3
seconds. Carl Fischer
Music #CPS216. Published
by Carl Fischer Music
(CF.CPS216).
ISBN
9781491152423. UPC:
680160909926.
Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed.
Composed by Todd Parrish.
Carl Fischer Concert
String Orchestra Series.
Set of Score and Parts.
16+16+10+10+10+12 pages.
Duration 3 minutes, 10
seconds. Carl Fischer
Music #CAS138. Published
by Carl Fischer Music
(CF.CAS138).
ISBN
9781491160534. UPC:
680160919123.
Named
for the West Wind, this
Grade 3 original work
makes use of quarter and
eighth note triplets to
depict a sense of
swirling motion. A
forward- moving theme is
passed between sections
in the orchestra
accompanied by a steady,
march-like staccato
pulse. The opening B
minor theme rises and
falls, giving way to a
faster, rhythmic section
in D major. Ascending and
descending scale passages
are exchanged between
voices with a light,
springy spiccato. The
music swells with
crescendos and
decrescendos portraying
the sweeping ebb and flow
of the wind. The primary
minor theme returns with
a dramatic unison
statement in the violins,
shifting modally as it
builds to a momentous
finale. An excellent
piece for working on
extended finger patterns,
bowing styles, and
dynamic changes. Named
for the West Wind, this
Grade 3 original work
makes use of quarter and
eighth note triplets to
depict a sense of
swirling motion. A
forward- moving theme is
passed between sections
in the orchestra
accompanied by a steady,
march-like staccato
pulse. The opening B
minor theme rises
andfalls, giving way to a
faster, rhythmic section
in D major. Ascending and
descending scale passages
are exchanged between
voices with a light,
springy spiccato. The
music swells with
crescendos and
decrescendos portraying
the sweeping ebb and flow
of the wind. The primary
minor theme returns with
a dramatic unison
statement in the violins,
shifting modally as it
builds to a momentous
finale. An excellent
piece for working on
extended finger patterns,
bowing styles, and
dynamic changes.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Shaul Ben-Meir. W...(+)
Composed by Wolfgang
Amadeus
Mozart (1756-1791).
Arranged
by Shaul Ben-Meir.
Woodwinds
- Flute. Megido
Publications
#MEG128. Published by
Megido
Publications
Composed
by Michael J. Miller.
Concert Band (CPS). Full
score. With Standard
notation. 36 pages. Carl
Fischer Music #CPS216F.
Published by Carl Fischer
Music (CF.CPS216F).
ISBN 9781491153109.
UPC:
680160910601.
Cosmi
c Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. This
fanfare composition would
be perfect for opening a
concert. It has bold
brass fanfare figures
over textural woodwinds
to start and
then takes the
listener on a sonic
journey through a
variation of harmonic
colors, tambural and
textural
shifts. Cosmic
Expedition takes
performers on a musical
journey far across the
galaxy via three main
sections. The first, a
rather celebratory and
triumphant fanfare in Bb
major begins with the
upper woodwinds and
percussion creating a
sound-screen, that is a
busy texture consisting
of a flurry of repeated
notes over which the
horns and alto saxophones
present the opening
theme. The sound-screen
should be carefully
balanced and give way to
the melody at m. 5, which
should be played
extremely marcato. The
timpani solo beginning in
m. 11 must not be
understated. A brief
percussion interlude
separates a restatement
of the opening theme,
this time with the
addition of the trumpet,
tenor saxophone, and
euphonium, and a counter
melody by the low winds.
The percussion interlude
is playful, light, but
full of vigor and energy.
An Ab in the low winds
pulls the harmony towards
G minor in m. 40 to start
the second section, a
more serious fanfare.
Here, the marimba repeats
an ostinato that is
complemented by the bass
drum and woodblock. The
upper woodwinds with the
xylophone and snare drum
dance over the stern
secondary fanfare. A
longing call lead by the
trombones, interrupted by
a subtle snare drum
beckons to the clarinets
and horn who begin the
third section of the
piece at m. 68. This
haunting melody in C
minor is legato, and
starkly contrasts all
which came before it. A
relentless concert
tom-tom played with hard
mallets keeps the
momentum persistent, and
a heartbeat-like pulse is
felt from the tuba and
baritone saxophone. The
melody rises towards m.
84 when the brass harken
back to the fanfare style
before fading back into
another lush woodwind
strain.A recapitulation
of the low winds’
call is heard at m. 100
which in this occasion
intensifies into an
emphatic statement by the
battery percussion
instruments. Now in Eb
major, the opening
fanfare theme is heard
again once more before
fading into the beginning
of the piece’s
conclusion.To end, the
counter melody from the
opening section duels
with chromatic tension
above before swelling to
an arrival in the
original key of Bb major.
The full ensemble
celebrates the
piece’s
resolution, and after a
few crunchy power chords
the journey is
completed.
Composed by Todd Parrish.
Carl Fischer Concert
String Orchestra Series.
Full score. 12 pages.
Carl Fischer Music
#CAS138F. Published by
Carl Fischer Music
(CF.CAS138F).
ISBN
9781491160794. UPC:
680160919390.
Named
for the west wind, this
grade 3 original work
makes use of quarter and
eighth note triplets to
depict a sense of
swirling motion. A
forward moving theme is
passed between sections
in the orchestra
accompanied by a steady,
march-like staccato
pulse. The opening B
minor theme rises and
falls, giving way to a
faster, rhythmic section
in D major. Ascending and
descending scale passages
are exchanged between
voices with a light,
springy spiccato. The
music swells with
crescendos and
decrescendos portraying
the sweeping ebb and flow
of the wind. The primary
minor theme returns with
a dramatic unison
statement in the violins,
shifting modally as it
builds to a momentous
finale. An excellent
piece for working on
extended finger patterns,
bowing styles, and
dynamic changes. Named
for the west wind, this
grade 3 original work
makes use of quarter and
eighth note triplets to
depict a sense of
swirling motion. A
forward moving theme is
passed between sections
in the orchestra
accompanied by a steady,
march-like staccato
pulse. The opening B
minor theme rises
andfalls, giving way to a
faster, rhythmic section
in D major. Ascending and
descending scale passages
are exchanged between
voices with a light,
springy spiccato. The
music swells with
crescendos and
decrescendos portraying
the sweeping ebb and flow
of the wind. The primary
minor theme returns with
a dramatic unison
statement in the violins,
shifting modally as it
builds to a momentous
finale. An excellent
piece for working on
extended finger patterns,
bowing styles, and
dynamic changes.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed by Kevin Joest. Percussion Ensemble. For Marimba (4-mallet) and 6 Spoke...(+)
Composed by Kevin Joest.
Percussion Ensemble. For
Marimba (4-mallet) and 6
Spoken Voices (marimba
(5-octave), Speaking
chorus (minimum of 6
performers)). Medium
difficult. Score and
parts. Duration 7:00.
Published by C. Alan
Publications
SKU: CA.5022900 Composed by Josef Gabriel Rheinberger. Edited by Werner A...(+)
SKU: CA.5022900
Composed by Josef Gabriel
Rheinberger. Edited by
Werner Aderhold. This
edition: Complete
edition, linen cover.
Josef Gabriel Rheinberger
- Complete Works. German
title: Kammermusik Ohne
Klavier (Aderhold). Josef
Gabriel Rheinberger.
Complete Works. Full
score (complete edition /
selected edition). Carus
Verlag #CV 50.229/00.
Published by Carus Verlag
(CA.5022900).
ISBN
9790007087463.
Rhei
nberger's string
quartets, his string
quintet and his nonet for
winds and strings were
often performed and were
very successful works
during his lifetime.
Their density, but also
the delicateness of the
scherzo movements are in
the tradition of Schumann
and Mendelssohn and these
traits are combined with
Rheinberger's sense for
the clear, defined
structure of the
movements and solid
contrapuntal writing. The
octet for winds and
strings is published here
for the first time and
the nonet, which is
actually a reworking of
this octet that
Rheinberger undertook
some twenty years later,
is also published in this
volume. Rheinberger made
major changes from the
original octet and he
added two new movements
to the nonet. Both works
show especially the
interest and pleasure
which he derived from the
variety in the
differentiation of colors
in ensemble playing. The
Thema mit Veranderungen
op. 93, which until now
has been known as a work
for string quartet, is
published here with the
double bass part which
Rheinberger later
added.
Composed
by Dan Welcher. Premiered
on April 21, 2002 by the
Texas Tech University
Symphonic Wind Ensemble,
John Cody Birdwell,
Conductor. Classical.
Full score. With Standard
notation. Composed 2001.
Duration 15 minutes.
Theodore Presser Company
#465-00002. Published by
Theodore Presser Company
(PR.465000020).
ISBN
9781598060102. UPC:
680160493869. Key: C
major.
Welcher has
created a wholly-Celtic
masterpiece in Minstrels
of the Kells. Citing a
good number of Irish
classics, he covers the
duality of the music -
the soul-searing angst
and mournfulness, and the
toe-tapping reels and
jigs that we know and
love. This is a marvelous
concert piece that was
commissioned by the Big
Twelve Band Directors
Association. (An
interesting option-
Welcher provides a spot
in the second movement
for the addition of a pub
band (Irish folk band)
and a three-minute
vamp).
In Times Of Turbulence Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
Grade 1 SKU: CL.024-4812-00 Composed by Robert W. Smith. Young Concert Ba...(+)
Grade 1
SKU:
CL.024-4812-00
Composed by Robert W.
Smith. Young Concert
Band. Score and set of
parts. C.L. Barnhouse
#024-4812-00. Published
by C.L. Barnhouse
(CL.024-4812-00).
In Times of
Turbluence is a dramatic
and powerful concert work
from the pen of prolific
composer Robert W. Smith.
Beginning with a soft and
stately chorale, the mood
quickly changes to sounds
of turbulence in a
contemporary setting for
the developing band.
Biting dissonance and
powerful rhythmic
percussion sustain the
turbulent atmosphere as
it develops throughout
the ensemble in a minor
mode. The percussion and
winds exchange powerful
musical statements
leading to the final
triumphant resolution in
a major key. An excellent
choice for concert or
festival performance.
Grade 1 SKU: CL.024-4812-01 Composed by Robert W. Smith. Young Concert Ba...(+)
Grade 1
SKU:
CL.024-4812-01
Composed by Robert W.
Smith. Young Concert
Band. Extra full score.
C.L. Barnhouse
#024-4812-01. Published
by C.L. Barnhouse
(CL.024-4812-01).
In Times of
Turbluence is a dramatic
and powerful concert work
from the pen of prolific
composer Robert W. Smith.
Beginning with a soft and
stately chorale, the mood
quickly changes to sounds
of turbulence in a
contemporary setting for
the developing band.
Biting dissonance and
powerful rhythmic
percussion sustain the
turbulent atmosphere as
it develops throughout
the ensemble in a minor
mode. The percussion and
winds exchange powerful
musical statements
leading to the final
triumphant resolution in
a major key. An excellent
choice for concert or
festival performance.
Piano - Intermediate SKU: FJ.E1109 Composed by Mary Leaf. Piano Duet; Pia...(+)
Piano - Intermediate
SKU: FJ.E1109
Composed by Mary Leaf.
Piano Duet; Piano
Supplemental; Solo Small
Ensembles. The FJH Piano
Ensemble Series. Score.
The FJH Music Company Inc
#98-E1109. Published by
The FJH Music Company Inc
(FJ.E1109).
UPC:
241444381168.
English.
Each part
plays steady, flowing
eighth notes while the
other part plays quarter
notes in this
Impressionistic piece in
C major. The perpetual
eighth-note movement
evokes the image of
smooth sailing on a windy
day. The ensemble is very
easy.
Composed by Franz
Schubert. Edited by
Manuela Jahrmarker. This
edition: urtext. 1x
40.658/21 oboe 1, 1x
40.658/22 oboe 2, 1x
40.658/31 trumpet 1, 1x
40.658/32 trumpet 2, 1x
40.658/41 timpani.
Stuttgart Urtext Edition:
Schubert. German title:
Messe In C Rev.2000.
Innovative practice aids,
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. Composed
1816. D 452. 28 pages.
Duration 25 minutes.
Carus Verlag #CV
40.658/09. Published by
Carus Verlag
(CA.4065809).
ISBN
9790007085360. Key: C
major. Language:
Latin.
Ensembles
which are not large
enough to tackle the
great masses by Schubert
will find a suitable
alternative in this
compact Mass of 1816,
scored for small forces.
In size and length (c. 25
minutes) it is like a
Missa brevis. The
compositional structure
is comparatively simple,
but without lacking any
of the typically
Schubertian style in
harmony or melody. The
wind parts added later by
the composer can be
regarded as optional, as
the work was originally
scored for just the south
German-Austrian church
trio of 2 violins and
organ. This work is now
available in carus music,
the choir app! Score and
parts available
separately - see item
CA.4065800.
Composed by Franz
Schubert. Edited by
Manuela Jahrmarker. This
edition: urtext.
Stuttgart Urtext Edition:
Schubert. German title:
Messe In C Rev.2000.
Innovative practice aids,
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. Composed
1816. D 452. Duration 25
minutes. Carus Verlag #CV
40.658/19. Published by
Carus Verlag
(CA.4065819).
ISBN
9790007133412. Key: C
major. Language:
Latin.
Ensembles
which are not large
enough to tackle the
great masses by Schubert
will find a suitable
alternative in this
compact Mass of 1816,
scored for small forces.
In size and length (c. 25
minutes) it is like a
Missa brevis. The
compositional structure
is comparatively simple,
but without lacking any
of the typically
Schubertian style in
harmony or melody. The
wind parts added later by
the composer can be
regarded as optional, as
the work was originally
scored for just the south
German-Austrian church
trio of 2 violins and
organ. This work is now
available in carus music,
the choir app! Score and
parts available
separately - see item
CA.4065800.
Composed by Franz
Schubert. Edited by
Manuela Jahrmarker. This
edition: urtext.
Stuttgart Urtext Edition:
Schubert. German title:
Messe In C Rev.2000.
Innovative practice aids,
Sacred vocal music,
Masses, Latin. Full
score. Composed 1816. D
452. 72 pages. Duration
25 minutes. Carus Verlag
#CV 40.658/00. Published
by Carus Verlag
(CA.4065800).
ISBN
9790007085339. Key: C
major. Language:
Latin.
Ensembles
which are not large
enough to tackle the
great masses by Schubert
will find a suitable
alternative in this
compact Mass of 1816,
scored for small forces.
In size and length (c. 25
minutes) it is like a
Missa brevis. The
compositional structure
is comparatively simple,
but without lacking any
of the typically
Schubertian style in
harmony or melody. The
wind parts added later by
the composer can be
regarded as optional, as
the work was originally
scored for just the south
German-Austrian church
trio of 2 violins and
organ. This work is now
available in carus music,
the choir app!
Le Petit Negre Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Leduc, Alphonse
Woodwind Quintet SKU: HL.48181113 For Wind Quintet. Composed by Cl...(+)
Woodwind Quintet
SKU:
HL.48181113
For
Wind Quintet.
Composed by Claude
Debussy. Leduc.
Classical. Alphonse Leduc
#AL20263. Published by
Alphonse Leduc
(HL.48181113).
UPC:
888680862053. 9x12
inches.
The
Little Negro was
originally composed by
Claude Debussy
(1862-1918) for piano in
1909. The purpose was to
write a great work that
could also played by
children. Eugène
Bozza made the piece even
more accessible in 1984
by arranging it for wind
quintet. The Little
Negro is marked
Allegro and begins with a
theme modelled on ragtime
music, a style which was
very popular at the time
of composition. Jazz
influences, the C major
key signature, 2/4 meter
and upbeat features make
for an exciting and
accessible piece for all
the ensemble. Bozza's
arrangement of Debussy's
The Little Negro
for a wind quintet made
up of flute, clarinet,
oboe, bassoon and horn is
a thrilling addition to
the repertoire.