SKU: MA.EMR-28502
1. Part: Clarinet or Soprano Sax or Flute or Alto Sax / 2. Part: Clarinet or Alto Sax / 3. Part: Clarinet or Alto Sax or Tenor Sax / 4. Part: Clarinet or Tenor Sax / 5. Part: Tenor Sax or Bass Clarinet or Bassoon.
SKU: MA.EMR-28442
I Love Samba / Just Like You / Have A Nice Day / Let's Do The Jive / Midnight Rendezvous / Montana Melody / Moonlight Fantasy.
SKU: MA.EMR-28517
SKU: MA.EMR-28507
SKU: MA.EMR-28497
SKU: SU.50600030
Commissioned by the Colonial Symphony, Paul Hostetter, Music Director and Conductor First performed in 2006 Published by: Dunsinane Music Composer's Note: My inspiration for Smiling Dennis is the great bass clarinet virtuoso Dennis Smylie. I have had the pleasure of getting to know Dennis over the past several years owing to our mutual affiliation at Montclair State University. We would meet unintentionally in the halls and begin conversations regarding all manners of topics: from the colorful history of the bass clarinet—and bass clarinetists—to the furious appetite of the New Jersey groundhog. Dennis inevitably finds the humor in things—he revels in discovering the comic story that can often be found, just underneath the topic. When Maestro Hostetter asked me to compose a new piece during his initial season with the Colonial Symphony, and mentioned the possibility of a work related to humor, I immediately thought of the Dennis. When I spoke with Maestro Hostetter the following day, I had already conceived of the title (very unusual for me—I’m much more a musical/visual thinker than a verbal one) as well as the overall musical narrative. Smiling Dennis is a concerto in one movement for one bass clarinetist and twenty string players. Somewhat unusually, each performer has a unique musical assignment—that is, the string players are not aligned into their typical alliances of first violins, second violins and so forth. This permits a more complex string texture, allowing each performer to assert his or her individuality. Indeed, the notion of individuality is essential to this concerto, as it often is in concerti. For example, Smiling Dennis begins with the bass clarinet not quite obeying the conventions of tuning to the orchestra. Rather than simply take the A offered by the Concertmaster, the soloist playfully performs a gently descending series of notes. Offered another A, the soloist repeats this gesture (though with a different descending series). This exchange occurs four times. In the final one, members of the string orchestra join the soloist in the first significant statement of one of the central melodies. The bass clarinet completes this introductory section alone, playing all the way down to a low A, a third below the lowest note in the celli. Following the introduction, Smiling Dennis consists of six sections, somewhat along the lines of a dance suite: an energetic Allegro, a lyric Arioso, a forward Piú mosso, a light-hearted and syncopated dance, a even more energetic passage for strings alone, and finally a modified return to the introduction. In the return, the string ensemble is no longer at all oppositional to the soloist. Rather, in response to the soloist’s gentle cajoling and supportive commentary, the strings accompany—with pleasure, you might say—the quiet, individual playfulness of the bass clarinet. The work ends with a return to the soloist’s substratum A, accompanied quietly by the strings.
SKU: SS.50600030
Commissioned by the Colonial Symphony, Paul Hostetter, Music Director and Conductor. First performed in 2006. Composer's Note: My inspiration for Smiling Dennis is the great bass clarinet virtuoso Dennis Smylie. I have had the pleasure of getting to know Dennis over the past several years owing to our mutual affiliation at Montclair State University. We would meet unintentionally in the halls and begin conversations regarding all manners of topics: from the colorful history of the bass clarinet - and bass clarinetists - to the furious appetite of the New Jersey groundhog. Dennis inevitably finds the humor in things - he revels in discovering the comic story that can often be found, just underneath the topic. When Maestro Hostetter asked me to compose a new piece during his initial season with the Colonial Symphony, and mentioned the possibility of a work related to humor, I immediately thought of the Dennis. When I spoke with Maestro Hostetter the following day, I had already conceived of the title (very unusual for me - I'm much more a musical/visual thinker than a verbal one) as well as the overall musical narrative. Smiling Dennis is a concerto in one movement for one bass clarinetist and twenty string players. Somewhat unusually, each performer has a unique musical assignment - that is, the string players are not aligned into their typical alliances of first violins, second violins and so forth. This permits a more complex string texture, allowing each performer to assert his or her individuality. Indeed, the notion of individuality is essential to this concerto, as it often is in concerti. For example, Smiling Dennis begins with the bass clarinet not quite obeying the conventions of tuning to the orchestra. Rather than simply take the A offered by the Concertmaster, the soloist playfully performs a gently descending series of notes. Offered another A, the soloist repeats this gesture (though with a different descending series). This exchange occurs four times. In the final one, members of the string orchestra join the soloist in the first significant statement of one of the central melodies. The bass clarinet completes this introductory section alone, playing all the way down to a low A, a third below the lowest note in the celli. Following the introduction, Smiling Dennis consists of six sections, somewhat along the lines of a dance suite: an energetic Allegro, a lyric Arioso, a forward Piu mosso, a light-hearted and syncopated dance, a even more energetic passage for strings alone, and finally a modified return to the introduction. In the return, the string ensemble is no longer at all oppositional to the soloist. Rather, in response to the soloist's gentle cajoling and supportive commentary, the strings accompany - with pleasure, you might say - the quiet, individual playfulness of the bass clarinet. The work ends with a return to the soloist's substratum A, accompanied quietly by the strings.
SKU: MA.EMR-28352
1st Part: Clarinet or Soprano Saxophone or Flute or Alto Saxophone / 2nd Part: Clarinet or Alto Saxophone / 3rd Part: Tenor Saxophone or Bass Clarinet.
SKU: MA.EMR-28322
1st Part: Flute or Alto Sax or Clarinet or Soprano Sax or Trumpet / 2nd Part: Clarinet or Alto Sax or F-Eb Horn / 3rd Part: Trombone or Euphonium or Tenor Sax or Bass Clarinet.
SKU: MA.EMR-26267
SKU: MA.EMR-28347
1st Part: Clarinet or Soprano Sax or Flute or Alto Sax / 2nd Part: Clarinet or Alto Sax / 3rd Part: Tenor Sax or Bass Clarinet.
SKU: MA.EMR-28327
SKU: MA.EMR-28357
SKU: MA.EMR-28317
SKU: MA.EMR-26372
SKU: MA.EMR-28367
SKU: CF.CPS222
ISBN 9781491152485. UPC: 680160909988.
From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences.  Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster and leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. The piece continues through a more lyrical second section before a dramatic return of the opening material to close out this contest/festival style piece.From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences. Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster. This leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. After a quickly paced melody in the low register for the clarinets, the piece gives way to an exciting tutti section that features horns and saxes on an answering countermelody.The second section is a dance that starts with low reeds and a flute solo, but develops into a full band Spanish-sounding dance, with melody in many different places. The recap is a reverse of the beginning section and again loosely represents the danger of life on the high seas.The short ostinato that is used at the beginning and in some transitional moments is based on the beginning notes of Irish Tune from County Derry, a favorite of J. C. Sykes, who this piece honors. Mr. Sykes gave a lifetime to teaching music to band students in North Carolina. The first four notes in clarinet 1, the first four in flute 1 and the first four in clarinet 2 make up the first phrase from that beautiful melody. Just something to get students thinking about composition in a new way.
SKU: CF.CPS222F
ISBN 9781491153161. UPC: 680160910663.
SKU: CF.SPS48F
ISBN 9780825885105. UPC: 798408085100. 9x12 inches.
Give your group a chance to sound like a classic big band in the style of Glenn Miller with Indiana, a fun, brash new piece in the swing style. If you’re looking for repertoire for a pops concert or for your community band’s performance, Jerry Nowak has just the ticket. You’ll be sure to get people on the dance floor with this one.
SKU: XC.WB2003
ISBN 9781644020302. UPC: 812598032802. 9 x 12 inches.
Adaptable Trios contains 25 newly-composed or arranged trios that can be flexibly used with any combination of wind instruments, making them an invaluable resource in the modern band room! Written at an accessible 1.5-3 grade level, Adaptable Trios follow the popular Adaptable Duets books by the same composers. Tyler Arcari and Matthew R. Putnam bring with them a wealth of educational experience as music educators to craft trios that are fun to play and musically stimulating. Adaptable Trios are sure to become an instant favorite.Table of Contents:Alla HornpipeContredanseDanza de HerculesFanfareFlamingosGerman DanceGerman DanceMarchMinuetMusetteMy Country, 'Tis of TheePastoralePathetiqueRondoSailor's SongSaint Anthony ChoraleShenandoahSunayamaThe Ash GroveThe ImpValse NobleVolteWait just a MinuetWaltz.
SKU: MA.EMR-28262
SKU: MA.EMR-26462
SKU: CA.2709709
ISBN 9790007255114. Key: E flat major. Latin.
Carl Maria von Weber wrote his Missa sancta no. 1 in E flat major in just two months, despite his heavy workload as Kapellmeister at the Dresden court. The work acquired the nickname Freischutz Mass because the composer interrupted work on his opera of the same name in January and February 1818 to compose the mass. And so Weber presented himself to his new employer King Friedrich August I of Saxony as a versatile composer, for as well as his main task of developing a German opera alongside the existing Italian opera at court, his duties also included writing church music. In the Mass Weber responded to the local conditions in a particular way: he took into account liturgical practice at the Dresden court by adding an Offertorium to the sections of the mass ordinary, setting this as a bravura aria specially written for the Dresden star soprano Filippo Sassaroli. Because of the reverberant acoustics in the Hofkirche, he avoided rapid changes of harmony. Although the Mass was perceived as too operatic by critics, it was very well received by audiences and also pleased the King. * Practically oriented edition based on the sources, performance material available on sale for the first time * Easy to medium difficulty level * Text of the Mass includes an Offertorium in accordance with liturgical practice at the Dresden court at the time.
