Fanfare for the Common Man Full Score

SKU: CF.CPS259F

ISBN 9781491161692. UPC: 680160920372.

Fanfa re for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was Saint Mary's: A Sign of Faith, Hope, & Knowledge. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text My hope is built on nothing less ... serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.
Fanfare for Hope was commissioned in honor of the inauguration of Father James P. Burns, the 14th President of Saint Mary's University of Minnesota. The theme of the inauguration was “Saint Mary’s: A Sign of Faith, Hope, & Knowledge”. The fanfare is based on the hymn tune Melita, more commonly known as the Navy Hymn, Eternal Father, Strong to Save, with the text “My hope is built on nothing less …” serving as the inspiration for the piece. The opening brass fanfare features the uplifting first notes of the tune transitioning into a legato treatment for the woodwinds and horns. The theme builds as the brass and percussion eventually return leading back to the original fanfare. The music ends triumphantly with the entire ensemble joining in celebration.

SKU: CF.YPS244F

ISBN 9781491159866. UPC: 680160918454.

Brass town Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft.  It is located in the northeastern part of the state and is part of the southern Appalachians.  The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.

SKU: MH.1-59913-054-8

ISBN 9781599130545.

Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

SKU: CF.CPS234F

ISBN 9781491156353. UPC: 680160914890. 9 x 12 inches.

Mercury - the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst's major orchestral suite The Planets that Mercury utilizes such light and swift themes. There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst's orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13-20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work. One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience. Rehearsal Notes and Suggestions As stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!.
Mercury – the Roman god of financial gain, commerce, travelers, boundaries, luck, trickery, merchants, and thieves. A popular deity in Roman culture, he was instantly recognized by his unique winged shoes (talaria) and hat (petasos). With its close proximity to the sun and faster orbit than all other planets, the Romans named this small celestial body after the swift-winged messenger of their culture. It is not surprising that in Holst’s major orchestral suite The Planets that Mercury utilizes such light and swift themes.There is some duality to the title of the work. Part of it involves my impression of what a playful chase of the winged messenger sounds like. The other part is the opening motif chasing two themes of Holst around the rest of the work. It was only after developing the first few ideas that I recognized some of the commonalities with some of those same themes from Holst’s orchestral work. There are several quotations from that famous piece by Holst (notably as both are stated successively at mm. 13–20). The idea of someone having to chase the Winged Messenger struck me as a unique title around which to craft a work.One of my core beliefs about music is that it can be imbued with meaning by a composer, and as the sonic story unfolds an ensemble, director, and audience members can draw out their own meaning from the experience. Who exactly is chasing Mercury? I leave that up to the wonderfully creative minds of the young ladies and gentlemen who have the opportunity to bring this work to life. The opportunity to compose music and allow student musicians to give this piece new life and draw out different meanings is a humbling experience.Rehearsal Notes and SuggestionsAs stated earlier, the opening motif (a range of a seventh) comes back frequently in the work in a variety of settings and textures. Throughout the work, it is important for students to recognize the two themes from Holst when they are present in the sound canvas. If the solos (clarinet and alto saxophone) are utilized, the supporting parts around and underneath those lines must be sensitive and play in such a way to properly balance those parts. There are number of muted sections for the trumpet section, and I would advocate for all trumpets acquiring the same mute to contribute to unity in timbre. The bold fanfare sections (the first occurs at m. 37) must be presented with a unified articulation style. As the texture intensifies prior to m. 169, it is crucial for the ensemble to play within themselves and exercise musical courtesy to allow all voices to be heard as they arrive at m. 181. My thanks in advance for your support of this music, and I wish you well as you and your ensemble begin Chasing Mercury!

SKU: MH.0-931329-92-2

ISBN 9780931329920.

Ente r the Olympians honors the competitive spirit. Although intended primarily for concert use, it can be used to honor teams and individual competitors everywhere. While composer in residence of the Meet The Composer Louisville Residency, I was commissioned to create a new score for the twenty-plus middle school bands of the Jefferson County Public School System. The work was to be appropriate for widely diverse bands: interesting to advanced students, yet accessible to less advanced students or bands with limited instrumentation. For interest, Enter the Olympians uses pedal tones with harmonies suspended above them, canonic fanfare motives, other harmonies not common at this grade level, and a mid-section that features the lower instruments playing the melody. The work's repetition of essential materials and its secure scoring style broaden its accessibility. Ensemble instrumentation: 8 Flute, 2 Oboe, 6 Bb Clarinet 1, 6 Bb Clarinet 2, 2 Bb Bass Clarinet, 5 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 4 Bb Trumpet 1, 4 Bb Trumpet 2, 3 F Horn, 3 Trombone 1, 7 Trombone 2, Euphonium, and Bassoon, 2 Euphonium T.C., 4 Tuba, 2 Timpani, 2 Percussion 1 (Glockenspiel), 3 Percussion 2 (Snare Drum, Bass Drum), 3 Percussion 3 (Crash Cymbal, Suspended Cymbal).

SKU: P2.W0004

Tribute: Those Who Serve, scored for Grade 4/5 band, is dedicated to the bravery, heroism and sacrifice of First Responders. The music is based on an earlier work for orchestra, called Tribute, commissioned by conductor Michael Gagliardo and the Etowah Youth Symphony Orchestra to commemorate the events of September 11, 2001. I composed the original Tribute in the spring of 2002 while in residence at Copland House in Cortlandt Manor, NY, where Aaron Copland lived and worked the last thirty years of his life. With gratitude to Copland House and as my own tribute to Mr. Copland, the orchestral version of Tribute opened and closed with the composer's initials A.C. featured in the strings as major chords on A and C. Mercifully, the current version for band has been transposed up a half-step to the key of B-flat. A central section in D-flat features robust quotes from Copland's Fanfare for the Common Man, a work that is at the spiritual core of Tribute: Those Who Serve.Tribute: Those Who Serve invites us to pause and reflect on the daily acts of valor exhibited by the many First Responders in our local communities--law enforcement officials, firefighters, search and rescue teams, emergency medical technicians and citizen volunteers, to name but a few. My hope is that Tribute: Those Who Serve will inspire community and school bands nationwide to hold events to honor the brave women and men who serve with consummate commitment and determination in our local communities, selflessly standing tall in times of local and national crisis.