PARTITIONS GRATUITES :
- Born This Way: Timpani

By Giancarlo Aquilanti. For SATB soli, SATB choir, brass, timpani, percussion. Accomplished church, college, community, professional choruses. Moderately difficult. Piano/Vocal Score. 77 pages. Duration c. 22:00. Published by E.C. Schirmer Publishing

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Triangle, Trombone 1 and more. - Grade 5

SKU: CF.SPS78

Composed by Victor Herbert. Symphonic Band (SPS). Set of Score and Parts. With Standard notation. 3+12+12+6+6+3+12+24+24+6+ 6+8+8+6+6+9+18+18+27+8+8+ 8+8+9+9+9+9+12+3+6+6+40+6 pages. Duration 7:37. Carl Fischer Music #SPS78. Published by Carl Fischer Music (CF.SPS78).

ISBN 9781491152553. UPC: 680160910052. Key: Bb major.

Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
Festival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion 1, Percussion 2, Piccolo, Snare Drum, Timpani, Triangle, Trombone 1 and more. - Grade 5

SKU: CF.SPS78F

Composed by Victor Herbert. Symphonic Band (SPS). Full score. With Standard notation. 40 pages. Carl Fischer Music #SPS78F. Published by Carl Fischer Music (CF.SPS78F).

ISBN 9781491153239. UPC: 680160910731.

Festi val March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
About the CompositionFestival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

Orchestra 2 Bassoons, 2 Oboes, 3 Clarinets, 3 Flutes, 3 Trombones, 3 Trumpets, 4 Horns, Bass Drum, Contra-bassoon, Cymbal, English Horn, Percussion: Snare Drum, Strings, Timpani, Tuba

SKU: PR.466411770

Composed by Harl Mcdonald. This edition: Study Score. Contemporary. Full score. With Standard notation. 84 pages. Duration 15 minutes. Theodore Presser Company #466-41177. Published by Theodore Presser Company (PR.466411770).

UPC: 680160640850. 9 x 12 inches.

Mississippi I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. Saga of the Mississippi Harl McDonald Born near Boulder, Colorado, July 27, 1899 Now living in Philadelphia The original suggestion for a symphonic work on the subject of the Mississippi came indirectly from the late Booth Tarkington who saw in it color and movement and atmosphere translatable into the terms of music. In the course of time, by the mysterious processes of composers' chemistry, it took shape as a tone-poem of two sections, one representing the rise of the great stream from its primeval geologic sources, the other the human history of the river. Mr. McDonald devised the following verbal outline of the general scheme of his diptych: I. Father of Waters: born of the Highlands and the Lakes; the Glaciers, the Mountains, and the Prairies. The picture of your birth is clounded in the ice and mists of ancient ages but your spirit remains our life stream. II. The Red Man knew your bountiful gifts and gave thanks to the Great Spirit on your banks. -- The Spanish and French Fathers brought the glory of Christianity to America on Mississippi. But all men, white and dark; -- Indian, Spaniard, and Negro; Bourbon and Yankee, combined to make Mississippi the heart of America. The first of the two movements, beginning molto andante, is vaguel modal to hint at antiquity. It is built upon the conventional two themes, with an episode, poco piu mosso, misterioso, for prehistoric murk and muck. There are various changes of pace and mood. The second, Allegro ma vigorosamente, prefigures an Indian ceremony. A theme presented by flute, clarinet and bassoon is a Canadian Indian fishing call collected by the late J.B. Beck. A later passage of quasi-Gregorian chant identifies the French and Spanish priests who made the great river their highway. The fishing-call is altered in rhythm and harmony to represent Negro field hands and roustabous. A turbulent close brings all these elemts together in the muddy swirling currents of the Mississippi. The work was begun in the summer of 1945, and was revised and completed in the summer of 1947. Harl McDonald, who is the manager of The Philadelphia Orchestra, has concerned himself with music as an art, as a science and as a business in course of his career. He was born on a cattle ranch in the Rockies, but since his was a musical family, his up-bringing combined piano lessons with ranch life. Years of study and professional experience followed in Los Angeles and in Germany. In 1927 he was appointed lecuter in composition at the University of Pennsylvania and he has since then made is home in Philadelphia. In 1933 under a grant of the Rockefeller FOundation he collaborated with physicists in research dealing with the measurement of instrumental and vocal tone, new scale divisions and the resultant harmonies. In that same year he was named head of the University's music faculty and conductor of its choral organizations. In 1939, having been a member of the Board of Directors for five years, he was appointed manager of The Philadelphia Orchestra. He continus to write, but otherwise his entire attention is now devoted to managerial duties. Chief items in the catalogue of his compositions are four symphonies, three orchestra suites, a half-dozen tone-poems, three concertos and considerable quantity of choral music.

By Benjamin Britten. (Vocal Score). Boosey and Hawkes Large Choral. Size 7.25x10.25 inches. 45 pages. Published by Boosey and Hawkes.

Concert Band (Score & Parts)

SKU: HL.4008643

Score and Parts. Composed by Franco Cesarini. Arranged by Franco Cesarini. Editions Franco Cesarini. Concert Band, Tuning, Warm-Up. Softcover. Hal Leonard #EFC003-CBHA. Published by Hal Leonard (HL.4008643).

ISBN 9798350114997. UPC: 196288189664.

Durin g his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing” exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.

Concert Band (Full Score)

SKU: HL.4007483

Score. Composed by Franco Cesarini. Arranged by Franco Cesarini. Editions Franco Cesarini. Concert Band, Tuning, Warm-Up. Softcover. Hal Leonard #EFC003-SC. Published by Hal Leonard (HL.4007483).

UPC: 196288058175.

Durin g his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing” exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.