SKU: HL
SKU: HL.44010549
UPC: 884088481599.
SKU: BT.1518-07-216-MS
9x12 inches. English-German-French-Dutch.
SKU: CL.011-1659-00
This lively work explores a few mixed meters and makes an excellent middle school contest piece.
SKU: HL.49016218
ISBN 9790001115094. UPC: 884088675103. 9.0x12.0x0.32 inches.
Penderecki's opera 'Ubu Rex' contains a small wind band functioning as King Ubu's 'military band'. Therefore the idea to arrange parts of the opera for large concert orchestra readily presented itself. Henning Brauel selected suitable material and arranged scenes from the opera into a suite of five movements without titles. The best of contemporary music for top ranking orchestral performances.Picc. * 2 * 2 * Es-Klar. * 3 * Altklar. * Bassklar. * 2 Altsax. * Tenorsax. * Baritonsax. * 2 - 4 * 3 * 2 Flugelhr. in B * 2 Tenorhr. in B * 3 * Bar./Euph. in C * 2 - P. S. (Trgl.-baum * Rohrengl. * 2 Kirchengl. [Rohrengl.] * Schellen * 2 hg. Beck. * Beckenpaar * Crotalenbaum * 3 Tamt. * Tamb. * 3 Tomt. * Ruhrtr. * Mil. Tr. * gr. Tr. m. Beck. * Peitsche * Guiro * Tempelbl. * Sage * Glsp. * Marimba * Xyl.) (5 Spieler) - Kb. (funfsaitig).
SKU: CF.YPS200
ISBN 9781491152201. UPC: 680160909704. Key: D minor.
Step right up, ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange, or “Circus of the Strange.†This piece evokes a bygone era when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities. Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups and is a great way to expose students to the march form and style without sounding like your typical march.Step right up ladies and gentleman, boys and girls, step right up! See the exotic, the strange, and the magical at the Cirque de L’étrange. Welcome to the Cirque de L’étrange, known in English as the “Circus of the Strange.†This piece evokes a time of a bygone era, a time when circuses and carnivals provided people from all walks of life a chance to see human and animal oddities that were sources of both delight and horror. While many of these sideshow attractions were deemed fraudulent, it did not deter the crowds from flocking to be shocked and awed. I have always held a special place in my heart for the showmanship of carnivals, because my grandfather dearly loved them. For much of his life, he worked at fairs and carnivals selling cotton candy and candy apples. A large portion of my days when growing up were spent running around fairgrounds and helping my grandfather with his stand. He imparted in me a love for the cunning, magic, and sheer joy that only carnivals and circuses can bring. In Cirque de L’étrange, I sought to capture the the mirthful, yet uncanny mood of the carnivals that I grew up exploring, thus transporting you to a different time.Cirque de L'étrange is an original concert march written in standard march form, but its sound is anything but standard. This piece is playable by younger groups, as it is a great way to expose students to the march form and style while not sounding like your typical march.Opening in D minor, the piece combines the playful feel of a march and a macabre tango. The second time through the First Strain (mm. 5-23), the upper woodwinds and bells add a second counter melody based in D harmonic minor, which heightens the peculiar nature of the piece. The Second Strain (mm. 24-43) by contrast, is a little more upbeat, thus evoking the magical ebullience of a circus, which is further highlighted by the xylophone part. The Second Strain ends in the key of F major and sets up the transition to the Trio in the key of G minor. The Trio (m. 44) begins with the G harmonic minor melody in the clarinets and a counter melody in the bassoon and tenor saxophone. The rest of the woodwinds and bells join in at m. 60 while the percussion adds a Gypsy-like feel with tambourine and triangle. At m. 76 the full band joins in the macabre parade with the trombones and baritones harmonizing the counter melody. The conclusion of the march has the upper woodwinds, adding a second counter melody complete with trills to bring the march to an exciting and dramatic finish.As the World’s Greatest Showman, P.T. Barnum, a man my grandfather greatly admired, once said “The noblest art is that of making others happy.†It is my hope that through this piece you will experience the thrill, delight, and fright that only carnivals can bring as you visit the Circus of the Strange!
SKU: CL.012-4502-75
This delightful work by Armas Jarnefelt has been a staple of pops orchestra programs for decades, and this transcription makes this composition accessible to concert bands and their audiences! A light, dance-style work which features many sections of the band, audiences will be charmed by this cheerful and delightful selection. It's an excellent choice for any program, and is appropriate for adult community bands as well. Very enjoyable!
About Gems of the Concert Band
A series of transcriptions and other works in varying styles, representative of the programming of the Great American Classic Concert Band era of a century ago, as exemplified by John Phillip Sousa, Edwin Franko Goldman, Karl L. King, and Leonard B. Smith
SKU: AP.41335
ISBN 9780739097786. UPC: 038081462288. English.
Over the course of ten years, legendary young-band composers John O'Reilly and Mark Williams composed and arranged over 100 creative works that correlate with specific pages in their highly successful band method, Accent on Achievement. Alfred Music is now proud to make these arrangements available in a book format that includes 22 full arrangements in each collection. The Light Concert Collection includes creative arrangements of folk, rock, jazz, and Latin-American music. Titles: Rockin' la Bamba * Sailors Holiday * River Trilogy * No Drummer Left Behind * African Marching Song * Stand Up and Swing * and 16 others.
SKU: CL.012-4100-01
Written in 1914 for the Sells-Floto Circus, this King march masterpiece will entertain audiences and performers alike! Moderate technical demands will give your band a chance to show off, and the delightful use of syncopation in this march will have toes tapping. Carefully edited for concert band from the original quickstep, this new edition features extensive program notes, rehearsal suggestions, and historical information. Long live the KING!
SKU: HL.49016227
ISBN 9790001101134. UPC: 884088112530. 8.25x11.75x0.052 inches.
Hermann Regner took up a suggestion of Carl Orffs in his preface to Klavierubung in the Orff Schulwerk, where he wrote: The melodies, which are close to nursery rhymes, folk songs and dancing songs, should first of all... be played in unison...The simple accompanying parts can be extended and built up. The little pieces, which can easily be put together in a suite, can be repeated several times,... verse by verse...!' With this in mind, Hermann Regner, for many years a colleague of Carl Orffs, has chosen individual pieces from the collection and arranged them for brass. They represent an enrichment in the repertoire for such groups. They are also suitable for music schools.
SKU: GI.G-10546
UPC: 785147054610.
This edition of A Real Slow Drag for Concert Band by Scott Joplin is an exciting step forward in music education! BaobaoTree LLC, under the leadership of its founder, Dr. Georgiary Bledsoe, created the Africentric Music Education Framework. The Framework is a systematic way of teaching and learning about African American contributions to American music through perspectives grounded in Black music culture. This arrangement, as with all BaobaoTree teaching tools, was designed to reflect core principles of the Africentric Music Education Framework. Additional resources and pedagogical activities are available for free through BaobaoTree, including a companion guide to A Real Slow Drag for Concert Band. To learn more about BaobaoTree and the Africentric Music Education Framework, visit www.baobaotreelearning.com. Words of Praise for BaobaoTree Teaching Tools.
SKU: AP.39527S
UPC: 038081458441. English. Adapted by Daniel Butterfield.
Intertwining a harmonic component and featuring counterpunctual textures, this concert work was inspired by a performance of Taps witnessed by the arranger in Arlington National Cemetery celebration the 150th anniversary of the hallowed melody with 150 buglers positioned throughout the twelve acre grounds. Moving and mysterious, this wonderful treatment will enhance any performance with a patriotic flair. (3:15).
SKU: AP.49176S
ISBN 9781470647049. UPC: 038081566276. English.
Written by Curtis Mayfield and made famous in the 1960s by The Impressions, this timeless classic has been covered by several major artists and was featured in the Disney/Pixar smash hit movie Soul. This arrangement by Chris M. Bernotas will put a smile on everyone's face and will be a great way to help students learn to play in the swing style. This title available in MakeMusic Cloud.
SKU: CL.012-4484-75
This suite was written and intended as a homage and stepping stone to the great band works of Holst, Grainger & Vaughan Williams. The three movements are based on traditional English folk tunes which include settings of sea songs, a ballad, and variations on an old whimsical children's song. Written somewhat in the style of the above-mentioned masters, this suite is accessible to younger bands yet appropriate for more advanced ensembles. Destined to be a band classic!
SKU: CF.YPS198F
ISBN 9781491152867. UPC: 680160910366.
All the While was inspired by a very special person in Tyler Arcari's life. Director's will be happy to find many opportunities for emotional and passionate playing with plenty of fun in the middle for young bands. All the While gives students a number of chances to work on expressive playing during the beginning and ending sections, and offers a light rhythmic middle section for contrast.Program Notes:All the While is a bit of a personal piece for me. I was inspired to write it by a very special person in my life. It might be a young-band piece but I feel that it has the capacity for great emotion and passionate playing as well as a little fun in the middle. Sometimes it is difficult to tell people how you feel, even if you have known them for a long time. I think sometimes we say in our heads that “I have felt this way for a long time,†and all the while never being able to put it to words.About the work:The piece opens with a flute and alto saxophone duet. This melody trades off at m. 10 with the addition of new voices and harmonies building in intensity all the way to m. 28. I personally like to use extended phrases in this section, though it looks like it would just utilize four-measure phrases. I feel this adds to the momentum building in dynamic intensity. Measure 28 is a subito change beginning with a prominent Timpani solo. The following section should be played as lightly as possible to avoid a lumbering feel. In mm. 68- 70, the agogic accents should not be very heavy, but more pointed in their momentum to m. 70.Measures 70–76 should be taken with metric liberty bringing out all of the moving parts in the low brass. The low brass really adds the foundation of momentum for the rest of the band here. Measure 76 to the end, though a repetition of material from the beginning, should be played as the high point of the piece and familiar conclusion.
