SKU: SU.80401490
SSAATTBB Chorus & Brass Quintet Composed: 1988 Published by: Paulus Publications Also available: Choral Score - 80401491 Quintet Parts - 80401495.
SKU: SU.80401491
SSAATTBB Chorus & Brass Quintet Composed: 1988 Published by: Paulus Publications Also available: Full Score - 80401490 Quintet Parts - 80401495.
SKU: AP.37831S
UPC: 038081429892. English.
Check out this lively mix of traditional songs from the American West, colorfully scored for concert band. It includes Red River Valley, a unique, bluesy setting of The Yellow Rose of Texas, a jaunty Whoopee Ti-Yi-Yo, and caps off with a bright, boot-scootin' Cotton Eyed-Joe. This arrangement is lots of fun for audiences and performers alike---a great selection to round up a concert program.
SKU: SU.80401496
Full Score and Brass PartsSATB Chorus & Brass Quintet Composed: 1988 Published by: Paulus Publications.
SKU: SU.80401495
SSAATTBB Chorus & Brass Quintet Composed: 1988 Published by: Paulus Publications Also available: Choral Score - 80401491 Full Score - 80401490.
SKU: CF.CAS120F
ISBN 9781491154700. UPC: 680160913251. 9 x 12 inches. Key: A minor.
With a blend of Celtic and American fiddle tunes, the medley Emerald Melodies begins with Star of the County Down in a moderate 3/4 and intensifies with two Irish jigs: Another Jig Will Do and Coleraine, in multiple compound meters. Melodies are passed throughout every section while still having rhythmically interesting accompaniment parts. The last section brings it all home in the friendly fiddle key of D Major with Lost Indian, an American bluegrass standard.With a blend of Celtic and American fiddle tunes, the medley Emerald Melodies begins with “Star of the County Down†in a moderate 3/4 and intensifies with two Irish jigs: “Another Jig Will Do†and “Coleraine,†in multiple compound meters. Melodies are passed throughout every section while still having rhythmically interesting accompaniment parts. The last section brings it all home in the friendly fiddle key of D Major with “Lost Indian,†an American bluegrass standard.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CL.011-2984-01
Sons of Liberty is an inspiring and exciting medley of three songs from the American Revolution: Chester, Paul Jones Victory, and Yankee Doodle. A perfect choice for concert of contest use, Larry Neeck's tremendous arrangement is an excellent addition to the young band repertoire. NOT TO BE MISSED!
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: CL.026-4822-01
Perfect for that patriotic number on your next concert, Sons of Liberty appeals to audience and band members alike! This inspiring and exciting medley of three songs from the American Revolution: Chester, Paul Jones Victory, and Yankee Doodle Even if your band is limited in size or instrumentation, you will find this unique arrangement musically and educationally satisfying. Superb!
SKU: CF.CAS108F
ISBN 9781491151648. UPC: 680160909148. 9 x 12 inches. Key: D minor.
Thomas Jefferson's Fiddle Tunes is inspired by Thomas and Martha Jefferson's musical evenings after dinner at Monticello. Composer James Meredith has taken three reels from the colonial period in American history and put them together into a potpourri setting that students will enjoy playing.Good music played well inspires the imagination. In the evenings after dinner at Monticello Thomas and Martha Jefferson enjoyed nothing better than to play music. Each was an accomplished musician. Jefferson would play the violin, and Martha would often accompany him at the piano. He especially enjoyed the music of Corelli. Thomas Jefferson’s Fiddle Tunes is an effort to depict what a musical evening might have been at the farm with guests joining in, clapping, stomping, or dancing to the lively tunes. Three reels of the Colonial period are featured in this medley. Jefferson and Liberty, Smash the Windows, and The White Cockade. Each jig is introduced by a solo violin then the whole section joins in.
SKU: GI.G-317154
UPC: 884088010539.
Four original works for medium-advanced high school or college-level percussion ensemble. Written for 9 players but can be played with as few as 7. Both performers and audience will love these pieces that are fun to play and exciting to hear. Each piece can be played individually or combined into a medley of tunes. A full-performance CD is included.
SKU: CL.011-2490-01
Having trouble meeting your schools multicultural objectives in band class? This new multicultural collection saves the day and is a great teaching tool and addition to your next concert as well. A well crafted medley of five folk tunes from around the world (Russian, African, Israeli, Mexican and Native American) that is sure to be a favorite with your audiences.
SKU: PR.16500100F
ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.
Commissioned for a consortium of high school and college bands in the north Dallas region, FOR THEMYSTIC HARMONY is a 10-minute inspirational work in homage to Norwood and Elizabeth Dixon,patrons of the Fort Worth Symphony and the Van Cliburn Competition. Welcher draws melodic flavorfrom five American hymns, spirituals, and folk tunes of the 19th century. The last of these sources toappear is the hymn tune For the Beauty of the Earth, whose third stanza is the quatrain: “For the joy of earand eye, For the heart and mind’s delight, For the mystic harmony, Linking sense to sound and sight,â€giving rise to the work’s title.This work, commissioned for a consortium of high school bands in the north Dallas area, is my fifteenth maturework for wind ensemble (not counting transcriptions). When I asked Todd Dixon, the band director whospearheaded this project, what kind of a work he most wanted, he first said “something that’s basically slow,†butwanted to leave the details to me. During a long subsequent conversation, he mentioned that his grandparents,Norwood and Elizabeth Dixon, were prime supporters of the Fort Worth Symphony, going so far as to purchase anumber of high quality instruments for that orchestra. This intrigued me, so I asked more about his grandparentsand was provided an 80-page biographical sketch. Reading that article, including a long section about theirdevotion to supporting a young man through the rigors of the Van Cliburn International Piano Competition fora number of years, moved me very much. Norwood and Elizabeth Dixon weren’t just supporters of the arts; theywere passionate lovers of music and musicians. I determined to make this work a testament to that love, and tothe religious faith that sustained them both. The idea of using extant hymns was also suggested by Todd Dixon,and this 10-minute work is the result.I have employed existing melodies in several works, delving into certain kinds of religious music more than a fewtimes. In seeking new sounds, new ways of harmonizing old tunes, and the contrapuntal overlaying of one tunewith another, I was able to make works like ZION (using 19th-century Revivalist hymns) and LABORING SONGS(using Shaker melodies) reflect the spirit of the composers who created these melodies, without sounding likepastiches or medleys. I determined to do the same with this new work, with the added problem of employingmelodies that were more familiar. I chose five tunes from the 19th century: hymns, spirituals, and folk-tunes.Some of these are known by differing titles, but they all appear in hymnals of various Christian denominations(with various titles and texts). My idea was to employ the tunes without altering their notes, instead using aconstantly modulating sense of harmony — sometimes leading to polytonal harmonizations of what are normallysimple four-chord hymns.The work begins and ends with a repeated chime on the note C: a reminder of steeples, white clapboard churchesin the country, and small church organs. Beginning with a Mixolydian folk tune of Caribbean origin presentedtwice with layered entrances, the work starts with a feeling of mystery and gentle sorrow. It proceeds, after along transition, into a second hymn that is sometimes connected to the sea (hence the sensation of water andwaves throughout it). This tune, by John B. Dykes (1823-1876), is a bit more chromatic and “shifty†than mosthymn-tunes, so I chose to play with the constant sensation of modulation even more than the original does. Atthe climax, the familiar spiritual “Were you there?†takes over, with a double-time polytonal feeling propelling itforward at “Sometimes it causes me to tremble.â€Trumpets in counterpoint raise the temperature, and the tempo as well, leading the music into a third tune (ofunknown provenance, though it appears with different texts in various hymnals) that is presented in a sprightlymanner. Bassoons introduce the melody, but it is quickly taken up by other instruments over three “verses,â€constantly growing in orchestration and volume. A mysterious second tune, unrelated to this one, interrupts it inall three verses, sending the melody into unknown regions.The final melody is “For the Beauty of the Earth.†This tune by Conrad Kocher (1786-1872) is commonly sung atThanksgiving — the perfect choice to end this work celebrating two people known for their generosity.Keeping the sense of constant modulation that has been present throughout, I chose to present this hymn in threegrowing verses, but with a twist: every four bars, the “key†of the hymn seems to shift — until the “Lord of all, toThee we praise†melody bursts out in a surprising compound meter. This, as it turns out, was the “mystery tuneâ€heard earlier in the piece. After an Ivesian, almost polytonal climax, the Coda begins over a long B( pedal. At first,it seems to be a restatement of the first two phrases of “For the Beauty†with long spaces between them, but it soonchanges to a series of “Amen†cadences, widely separated by range and color. These, too, do not conform to anykey, but instead overlay each other in ways that are unpredictable but strangely comforting.The third verse of “For the Beauty of the Earth†contains this quatrain:“For the joy of ear and eye, –For the heart and mind’s delightFor the mystic harmonyLinking sense to sound and sightâ€and it was from this poetry that I drew the title for the present work. It is my hope that audiences and performerswill find within it a sense of grace: more than a little familiar, but also quite new and unexpected.
SKU: CL.016-1021-00
#37 NOTE: This is a vintage orchestra publication, designed for the small theater orchestras of the very late 1800s and early 1900s – whose instrumentation varies considerably from a modern full orchestra work. Parts for standard string instruments are included, along with wind and percussion parts as scored by the musical judgment of the composer or arranger. Be cautioned that published parts might include less familiar transpositions, such as Clarinet or Cornet in A, Horn in Eb, etc. Please contact us with any specific instrumentation questions.
SKU: AP.46693S
UPC: 038081535198. English. Orchestrated by Douglas E. Wagner.
A brilliant six-and-a-half minute tour de force that will add excitement and sparkle to any December concert that includes three of the six movements found in the original Suite of Carols. Wonderful played as one piece or individually and now available for full orchestra, this arrangement by Douglas E. Wagner includes Pastores a Belén (Spanish), O, Little Town of Bethlehem (American), and Wassail Song (British).