SKU: AP.36-50105341
ISBN 9798892703062. UPC: 659359602917. English.
Back Home Again in Indiana by James F. Hanley has become a jazz standard over the years and is the perfect vehicle for your band's vocal soloist. It may be played without the vocalist if you wish, with no cuts or substitutions necessary. (3:00).
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.
SKU: AP.36-50100341
UPC: 659359833182. English.
SKU: KN.42574S
UPC: 822795425741.
Great as a program opener or closer, this hard-driving swinger is punctuated by several spicy half-time funk passages that boost momentum and excitement from start to finish. Strong ensemble writing throughout is contrasted with two open solo sections -- one for brass, one for saxes and/or guitar -- with cued backgrounds. For players with little improvisation experience or confidence, written solos are included for alto, tenor, bari, trumpet and trombone. Duration 5:30. Available in SmartMusic.
SKU: CL.031-2629-00
A new medium tempo swing chart that is terrific for developing bands from the pen of Les Aldrich. Includes several nice duet sections featuring the 1st Alto and 1st Trumpet and lots of outstanding ensemble writing to help younger bands learn the swing concept. Solos sections with backgrounds for the horns are provided and this chart is playable with a limited instrumentation.
SKU: CL.031-2629-01
SKU: CL.011-3695-01
Oh NO! It’s happened again! Several years ago as the town band prepared their annual holiday concert, somehow the music got mixed up in the folders and upon the downbeat the rest was painful music history. This time the mix-up includes the ranting recitatives and aimless arias from some of the most famous opera tunes of all times. This crazy, mixed-up opera concert is sure to be the hit of your next program!
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: BT.GOB-000854-020
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 in thecourse 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 fonkelendevlammetjes creëerden 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 tussendeel is 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.
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