SKU: PR.115402040
UPC: 680160591220. 9.5 x 13 inches. Key: G major.
Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo. In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete. Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010. More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.By 2008, Sonatine de Giverny was being performed so frequently that I decided to write another piccolo piece as soon as an opportunity arose. Since Giverny is a study in French style, I knew the new piece must be in my own authentic American voice. That summer, Giverny was performed six times at the NFA convention as a mandatory competition piece, and I returned from the August 2008 convention all charged up to write something different for piccolo.In September, Kate Prestia-Schaub wrote to tell me about the International Piccolo Symposium's new composer competition. She proposed that if I write a new piccolo/piano piece, she would record a demo for me to submit to the competition, and she would submit applications to perform it at the 2009 IPS convention and NFA convention. What amazing timing! I set out to compose a flashy showpiece with a jazzy snap, lots of idiomatic scales and arpeggios, and a scary middle section, and by mid-October FLASH! was complete.Kate followed suit and all 3 wishes came true - FLASH! won first prize in the IPS composer competition, and she performed it both there and at NFA. In the meantime many other piccoloists have added the work to their repertoire, Cynthia Ellis wrote an article about it for Flute Talk magazine, and Walfrid Kujala commissioned a band accompaniment to premiere at NFA in 2010.More recently, Sarah Jackson has commissioned an orchestra version, premiered at the 2014 NFA convention.
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: HP.8973
UPC: 763628189730.
Chris tmas Musical The message of Christmas is a message of joy - and becomes the central theme that is woven throughout this 37-minute musical by Lloyd Larson. Easily learned, this work contains eight selections of both new and familiar carols and spirituals, including Keith Getty's powerful song, 'Joy Has Dawned. ' The work is dynamically arranged for SATB choirs and orchestra, and is filled with the joy of the season, which congregations will find appealing, as the message embraces the hope that we have in both the good days and the bad - that joy has dawned upon the world - giving us something to celebrate!A Christmas musical composed & arranged by Lloyd Larson, orchestrated by Ed Hogan. Included parts: Conductor's Score, 2 Flutes, Oboe (or Soprano Sax or Clarinet)*, 2 Clarinets, Bassoon (or Bass Clarinet)*, 3 Horns (or Alto Sax or Clarinet)*, 3 Trumpets (or Alto Sax)*, 2 Trombones (or Tenor Sax or Baritone T.C.)*, Tuba, Percussion, Harp, Piano, 2 Violins, Viola (or Clarinet)*, Cello, Double Bass/Electric Bass, String Reduction, *Alternate Parts on CD-ROM.
SKU: HP.8976
UPC: 763628189761.
SKU: HP.8978
UPC: 763628189785.
SKU: HP.8975
UPC: 763628189754.
SKU: HP.8972
UPC: 763628189723.
SKU: HP.8977
UPC: 763628189778.
SKU: HP.8974
UPC: 763628189747.
SKU: CF.SPS93F
ISBN 9781491159781. UPC: 680160918379.
Adver sity, in any form at any point of our lives, can be absolutely debilitating mentally, physically, emotionally and spiritually. In the midst of hard times, it is difficult to imagine what our lives will look like on the other side of the adversity we are facing. Yet so many of us carry on, move forward, and rise above determined to never be defined by our circumstances. For some their personal faith, support from family, or relationship to friends provides the necessary fuel for the resilience they need to rise above adversity. It is amazing when a group of people are able to come together to overcome a common obstacle. With this in mind, I put to music that spirit of rising above for the Liberty High School Band and their director Michael Summers. Northeast Ohio has seen its share of prosperity and significant times of hardship along many different fronts. I still see resilient leaders, community members, and educators like Mike who continue to fight for what is best and what is right. The debut of this work, like so many other things, was interrupted in the spring of 2020. Now on the precipice of a new beginning for many band programs across the country, all of us in instrumental music education must summon resilience to ensure our groups recover, grow and flourish. The rising major second represents us all taking the first step forward in good and difficult times. The adversity (tension) arrives in various ways harmonically throughout the work. Tension can make us lose sense of where we are on our journey and rob us of our ability to imagine getting through our current situation. But I am reminded that not all tension is bad. Given enough time and enough resolution, we can often make sense of the adversity. We can recognize that the adversity taught us something about ourselves we didn't know, or perhaps challenged us to grow in a way we didn't think possible. Either way, it does not happen unless we possess resilience. I thank you in advance for your support of this music and wish you and your group the very best moving forward with Resilience.Adversity, in any form at any point of our lives, can be absolutely debilitating mentally, physically, emotionally and spiritually. In the midst of hard times, it is difficult to imagine what our lives will look like on the other side of the adversity we are facing. Yet so many of us carry on, move forward, and rise above determined to never be defined by our circumstances.For some their personal faith, support from family, or relationship to friends provides the necessary fuel for the resilience they need to rise above adversity. It is amazing when a group of people are able to come together to overcome a common obstacle. With this in mind, I put to music that spirit of rising above for the Liberty High School Band and their director Michael Summers. Northeast Ohio has seen its share of prosperity and significant times of hardship along many different fronts. I still see resilient leaders, community members, and educators like Mike who continue to fight for what is best and what is right. The debut of this work, like so many other things, was interrupted in the spring of 2020. Now on the precipice of a new beginning for many band programs across the country, all of us in instrumental music education must summon resilience to ensure our groups recover, grow and flourish. The rising major second represents us all taking the first step forward in good and difficult times. The adversity (tension) arrives in various ways harmonically throughout the work. Tension can make us lose sense of where we are on our journey and rob us of our ability to imagine getting through our current situation. But I am reminded that not all tension is bad. Given enough time and enough resolution, we can often make sense of the adversity. We can recognize that the adversity taught us something about ourselves we didn’t know, or perhaps challenged us to grow in a way we didn’t think possible. Either way, it does not happen unless we possess resilience.I thank you in advance for your support of this music and wish you and your group the very best moving forward with Resilience.
SKU: CF.SPS93
ISBN 9781491159774. UPC: 680160918362.
SKU: PR.16500100F
ISBN 9781491114421. UPC: 680160669783. 9 x 12 inches.
Commissione d 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€cons tantly 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: CF.CPS148
ISBN 9780825895791. UPC: 798408095796. 9 x 12 inches.
This piece drives from the start with bold trumpet flourishes and interjections from the rest of the band. After the exciting first section, a lyrical second theme departs to something beautiful and lush in harmonic structure. The development section is based on the opening theme, eventually leading the piece back, followed by a dynamic brass flourish in the coda. A solid choice by a known composer for contests and festivals.
SKU: CF.CPS124F
ISBN 9780825888168. UPC: 798408088163. 9x12 inches.
Composer Bill Calhoun combines two popular Christmas carols into one sophisticated concert-style piece. It is bold and serious, containing shifting modalities and moves effortlessly from major to minor, and back again, many times throughout this effective setting. If you want to play something stunning and unexpected for your next holiday concert, then this is one that deserves serious consideration.
SKU: CF.CPS148F
ISBN 9780825896415. UPC: 798408096410. 9 x 12 inches.
SKU: CF.CPS145F
ISBN 9780825892950. UPC: 798408092955. 9 x 12 inches.
With Visions of Tomorrow is homage to the human spirit and its desire to learn, achieve more, and work towards improving our societies. It also symbolizes hope for a prosperous and peaceful future. Each day mankind realizes amazing technological breakthroughs and new wonders of science, arts and industry. With this in mind, the piece contains something for everyone; an eclectic barrage of musical ideas and style woven together with the hope for the future, and finishing, as it began, with a lively fanfare.
SKU: CF.CPS145
ISBN 9780825892943. UPC: 798408092948. 9 x 12 inches.
SKU: CF.CPS272
ISBN 9781491163719. UPC: 680160922505.
Pelic an Dance was composed in 2022 as part of my annual commitment to create a piece to be premiered by our University of Mobile High School Honor Band. I had a beginning concept for a “dance†piece and was leaning toward something which was a little quirky, fun and not too serious. One day, during my regular commute across Mobile Bay, I noticed the pelicans, elegant birds in the air and water but awkward on land. I tried to imagine a pelican dancing and decided I had my mascot and theme.The opening motif, played in octaves by the whole ensemble in the first measure, is fundamental for the entire work. It is stated in some form at the beginning of each section, is the basis for the first theme and is even used as the bass line later in the piece. It should be clearly stated each time it appears.Performance considerations: Although there are contrasting moments in the work, the tempo should never waiver. It should remain brisk and consistent from section to section.Dynamic contrast is an important aspect of the compositional design and stylistic makeup of the piece. The subito dynamics, fp, etc., need to be almost startling.Percussion drives the energy of this composition to a strong degree, and it is probably the most fun section in the band for this piece. Covering those parts effectively is critically important.
SKU: CF.SPS73F
ISBN 9781491148389. UPC: 680160905881. 9 x 12 inches.
Composer/ar ranger Sean O'Loughlin has provided a refreshing new setting of our National Anthem. It was originally written for orchestral brass and percussion and has been performed at both MLB and NBA events. The arrangement begins with a bold fanfare to set the tone, but also to provide the motive glue to hold the arrangement together and create something unique. Creative harmonic usage and colorful orchestration really make this version stand out from the rest.
SKU: PR.165001000
ISBN 9781491129241. UPC: 680160669776. 9 x 12 inches.
SKU: CF.CPS272F
ISBN 9781491164112. UPC: 680160922901.
