PARTITIONS GRATUITES : 1 PIANO, 4 MAINS (DUO)
- Warriors

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Snare Drum and more. - Grade 3.5

SKU: CF.CPS266F

Composed by Mark Lortz. Cps. Full score. 28 pages. Carl Fischer Music #CPS266F. Published by Carl Fischer Music (CF.CPS266F).

ISBN 9781491161760. UPC: 680160920457.

Clash of the Warriors is lightly based upon the Bulgarian folk song Kaval Sviri. The composer's vision was to create a musical depiction of two warriors getting ready and ultimately battling each other. The introduction should be mysterious and ominous. To create the open fifth interval slide effect, the trombone glissandi in measures 2-3 should be emphasized, and the suggested slide positions followed. At Rehearsal 10, the timpani, marimba, and tambourine will control the pulse and diminuendo to Rehearsal 18, where the woodwinds have the melody. Rehearsal 38 should be bold and energetic, whereas Rehearsal 57 should be light with a driving pulse. The Rehearsal 92 9/8 section should be conducted in four (2+2+2+3) and set up the warrior's battle clash. Rehearsal 109 represents the 'clash' of the warriors where they will ultimately battle against one another, represented by the three measure motivic tradeoffs. Finally, rehearsal 129 to the end is the soundtrack for the final conflict for the warriors. I hope you and your ensemble enjoy performing Clash of the Warriors..
Clash of the Warriors is lightly based upon the Bulgarian folk song Kaval Sviri. The composer's vision was to create a musical depiction of two warriors getting ready and ultimately battling each other. The introduction should be mysterious and ominous. To create the open fifth interval slide effect, the trombone glissandi in measures 2-3 should be emphasized, and the suggested slide positions followed. At Rehearsal 10, the timpani, marimba, and tambourine will control the pulse and diminuendo to Rehearsal 18, where the woodwinds have the melody. Rehearsal 38 should be bold and energetic, whereas Rehearsal 57 should be light with a driving pulse. The Rehearsal 92 9/8 section should be conducted in four (2+2+2+3) and set up the warrior's battle clash. Rehearsal 109 represents the 'clash' of the warriors where they will ultimately battle against one another, represented by the three measure motivic tradeoffs. Finally, rehearsal 129 to the end is the soundtrack for the final conflict for the warriors.I hope you and your ensemble enjoy performing “Clash of the Warriors.”.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Clarinet 3, Euphonium, Euphonium T.C., Flute 1, Flute 2, Gong, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Snare Drum and more. - Grade 3.5

SKU: CF.CPS266

Composed by Mark Lortz. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+4+4+4+4+8 +8+8+4+4+6+6+6+6+4+8+2+6+ 2+4+10+28 pages. Carl Fischer Music #CPS266. Published by Carl Fischer Music (CF.CPS266).

ISBN 9781491161296. UPC: 680160919888.

Clash of the Warriors is loosely based upon the Bulgarian folk song Kaval Sviri. The composer's vision was to create a musical depiction of two warriors getting ready and ultimately battling each other. The introduction should be mysterious and ominous. To create the open fifth interval slide effect, the trombone glissandi in measures 2-3 should be emphasized, and the suggested slide positions followed. At Rehearsal 10, the timpani, marimba, and tambourine will control the pulse and diminuendo to Rehearsal 18, where the woodwinds have the melody. Rehearsal 38 should be bold and energetic, whereas Rehearsal 57 should be light with a driving pulse. The Rehearsal 92 9/8 section should be conducted in four (2+2+2+3) and set up the warrior's battle clash. Rehearsal 109 represents the 'clash' of the warriors where they will ultimately battle against one another, represented by the three measure motivic tradeoffs. Finally, rehearsal 129 to the end is the soundtrack for the final conflict for the warriors. I hope you and your ensemble enjoy performing Clash of the Warriors..
Clash of the Warriors is loosely based upon the Bulgarian folk song Kaval Sviri. The composer's vision was to create a musical depiction of two warriors getting ready and ultimately battling each other. The introduction should be mysterious and ominous. To create the open fifth interval slide effect, the trombone glissandi in measures 2-3 should be emphasized, and the suggested slide positions followed. At Rehearsal 10, the timpani, marimba, and tambourine will control the pulse and diminuendo to Rehearsal 18, where the woodwinds have the melody. Rehearsal 38 should be bold and energetic, whereas Rehearsal 57 should be light with a driving pulse. The Rehearsal 92 9/8 section should be conducted in four (2+2+2+3) and set up the warrior's battle clash. Rehearsal 109 represents the 'clash' of the warriors where they will ultimately battle against one another, represented by the three measure motivic tradeoffs. Finally, rehearsal 129 to the end is the soundtrack for the final conflict for the warriors.I hope you and your ensemble enjoy performing “Clash of the Warriors.”.

Composed by Rob Grice. Concert Band. Concert Band. Challenger Band Series. Grade 1.5. Conductor Score and Parts. 120 pages. Published by Alfred Music

Composed by Chris M. Bernotas. Concert Band; Performance Music Ensemble; Single Titles. Sound Innovations for Concert Band. Part(s); Score. 142 pages. Alfred Music #00-45970. Published by Alfred Music (AP.45970).

Concert Band - Grade 1.5

SKU: AP.31691S

Composed by Rob Grice. Concert Band; Performance Music Ensemble; Single Titles. Challenger Band Series. Score. 8 pages. Alfred Music #00-31691S. Published by Alfred Music (AP.31691S).

UPC: 038081343969. English.

After traveling to Beijing, China in the summer of 2008, the composer was inspired to create a concert work that depicts the ancient battles of Qin Shi Huang, the first emperor of China in 221 BC, and his warriors. This Emperor's reign included unification, the building of the Great Wall and his endless search for immortality. Qin Shi Huang had over 8000 Terracotta Warriors buried in front of his tomb in order to have a strong underground army to defend him in the afterlife.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Gong, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Trombone, Trumpet, Tuba, Vibraslap, alto Saxophone and more.

SKU: CF.PPS60F

Composed by Zachary Poulter. Full score. 8 pages. Carl Fischer Music #PPS60F. Published by Carl Fischer Music (CF.PPS60F).

ISBN 9781491163825. UPC: 680160922611.

An ancient world calls… Spirit of the Warrior explores both the beauty and the power of a forgotten civilization; man’s mighty force amidst nature’s gentle majesty. It is dedicated to all soldiers and warriors, past and present, who give their all to protect home and nation. The warrior shows courage in the face of danger, and loyalty to a cause beyond self-interest. The warrior sees life’s fragile beauty with eyes few others can understand. Long after warriors fall in battle, their spirit lives on in the people and lands they have protected.  Using only the first six notes of the concert Bb scale, Spirit of the Warrior begins boldly. Separated notes in the low brass and winds represent the warrior’s power. Nature’s inspiring beauty is represented by the high woodwinds and bells, which play in counterpoint to the lower instruments.  Fully separate the staccatos, and shape the accents throughout to help the music feel powerful without being overly heavy or loud. At m. 29, be sure that the countermelody played by the clarinets and alto saxophone can be clearly heard.If you have additional percussionists, consider doubling the snare drum part on a low tom-tom. Experiment with the gong to find the sound you prefer: strike closer to the edge for a brash “crash” sound, or closer to the center for a more mysterious tone. The piece ends with the sound of the sustaining gong . Enjoy the drama and let the sound fade without (much) dampening.  .

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet, Euphonium, Euphonium T.C., Flute, Gong, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Trombone, Trumpet, Tuba, Vibraslap, alto Saxophone and more. - Grade 0.5

SKU: CF.PPS60

Composed by Zachary Poulter. Set of Score and Parts. Carl Fischer Music #PPS60. Published by Carl Fischer Music (CF.PPS60).

ISBN 9781491163429. UPC: 680160922215.

An ancient world calls… Spirit of the Warrior explores both the beauty and the power of a forgotten civilization; man’s mighty force amidst nature’s gentle majesty. It is dedicated to all soldiers and warriors, past and present, who give their all to protect home and nation. The warrior shows courage in the face of danger, and loyalty to a cause beyond self-interest. The warrior sees life’s fragile beauty with eyes few others can understand. Long after warriors fall in battle, their spirit lives on in the people and lands they have protected.  Using only the first six notes of the concert Bb scale, Spirit of the Warrior begins boldly. Separated notes in the low brass and winds represent the warrior’s power. Nature’s inspiring beauty is represented by the high woodwinds and bells, which play in counterpoint to the lower instruments.  Fully separate the staccatos, and shape the accents throughout to help the music feel powerful without being overly heavy or loud. At m. 29, be sure that the countermelody played by the clarinets and alto saxophone can be clearly heard.If you have additional percussionists, consider doubling the snare drum part on a low tom-tom. Experiment with the gong to find the sound you prefer: strike closer to the edge for a brash “crash” sound, or closer to the center for a more mysterious tone. The piece ends with the sound of the sustaining gong . Enjoy the drama and let the sound fade without (much) dampening.  .

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Tambourine, Timpani and more. - Grade 2.5

SKU: CF.YPS239

Composed by Aaron McMichael. Set of Score and Parts. 22+16+4+8+4+4+4+5+2+4+4+4 +4+6+3+3+1+1+2+4+4+2 pages. Duration 2:40. Carl Fischer Music #YPS239. Published by Carl Fischer Music (CF.YPS239).

ISBN 9781491159613. UPC: 680160918201.

This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43-51 as a percussion feature. I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many. Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group. I hope you enjoy my new piece The Brave Warrior.
This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43–51 as a “percussion” feature.  I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many.  Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group.  I hope you enjoy my new piece The Brave Warrior.