SKU: KN.61465S
UPC: 822795614657.
The title of this bright swing excursion for advancing groups refers to the bebop line shared by the saxophone and brass sections. The main theme includes some interesting harmonic twists, but the solo section utilizes F blues chord changes that are easier for soloists to negotiatesuggested solos are provided. A guitar chord chart by Jim Greeson is also included in each set. Duration 3:10. Available in SmartMusic.
SKU: KN.61694S
UPC: 822795616941.
Inspired by the scenic grandeur of California's Monterey Peninsula as seen from the road that hugs the Pacific coastline there, this catchy rock shuffle for advancing groups grooves from start to finish. A memorable melody, contemporary harmonic techniques, and solo space for tenor complete this satisfying excursion. A guitar chord chart by Jim Greeson is included in each set. Duration 6:15.
SKU: CL.032-4480-01
A totally energetic and exciting rock piece featuring a hip, driving, minor-key melody over a set of shifting and unexpected chord changes. Built upon a 12-bar frame, featuring lines layered over the propulsive bass line. No solos to worry about on this chart; just great ensemble writing that features the entire band. An exciting drum break leads into a solid saxophone soli, followed by a sensational out-chorus that builds and builds. Carefully scored with modest ranges and to sound full with limited instrumentation, A sure winner!
SKU: CL.032-4480-00
SKU: PR.11441157S
UPC: 680160016808. 9 x 12 inches.
SKU: KN.KEN60155S
UPC: 822795601558.
Professional composer Carl Carl Strommen has followed up his bestselling Line Drive with another great chart sporting a baseball titlethis one refers to alternating two and four feels. As the chart repeatedly switches between a buoyant half-note pulse and a driving swing feel, the result is reminiscent of the music of Art Blakey and the Jazz Messengers. Written or ad lib solos for trumpet and tenor create a combo-like setting within the big band context that's well within the grasp of developing groups. Each set includes a guitar chord chart by Jim Greeson. Duration 2:50.
SKU: KN.10156S
UPC: 822795101560.
Imagine a scene of great celebration with Slavic dances and lyrical themes soaring over underlying rhythmic drive. That sums up this Alexander Borodin favorite with all of its power, playfulness, lyricism and liveliness. A stunning selection for grade 4 groups concert or festival! Duration 4:10. Available in SmartMusic.
SKU: CL.031-2663-01
A sophisticated sounding yet very playable swing chart by popular composer, Larry Neeck. Strong ensemble writing combined with lots of unison lines make this arrangement sound great, even with limited instrumentation. Includes a solo section that is easily opened up for solos by players of your choice.
SKU: KN.42713S
UPC: 822795427134.
A relentless hip-hop groove drives this upbeat original by Bret Zvacek. Add a catchy melody and an open solo section (written lines provided), and you have a chart that will be a big hit with bands and audiences alike. Rhythm section parts are notated with chords cued. Duration 4:15.
SKU: CL.032-3799-01
And the prize goes to your rhythm section! They will absolutely love this half-time/double-time rock chart! The bell-ride cymbal work and eighth note bass line really drive this tune. Your sax section will shine on the true unison sax soli and then the brass section then kicks it into overdrive with a contrasting bridge section. This chart sounds harder than it really is. And all solos are optional as the chart cooks with just the great sax soli and brass kicks. A guitar performance helper part includes tablature for licks and chord shape suggestions. A sure winner!
SKU: CF.BPS115F
ISBN 9781491152690. UPC: 680160910199.
The Gauntlet is a piece written to sound bold and exciting while also being accessible to young performers with a limited range. Simple yet bold rhythms add excitement, heightened by the fact that every section has an opportunity to play melodic content. The interesting “development†section provides a contrast to the opening and helps to build the suspense before the return of the main theme. The percussion helps to drive the energy of the piece by providing a variety of colorful sounds including a gong solo at the end to signal the knight’s triumph.A knight gallops over the rise of the hill into battle, determination shining in his eyes. He must charge through the treacherous lines and survive in order to preserve his kingdom and his honor. The pounding of the battle drums echoes the desperate pounding of his heart. Swords clash and the hooves of the horses strike the muddy ground. He must run this torturous gauntlet. Will he succeed before it is too late?The Gauntlet is a piece written to sound bold and exciting while also being easy for young players to perform due to the piece’s limited range (comprised of the first seven notes in most method books). Simple but bold rhythms add an air of excitement. This is heightened by the fact that every section has an opportunity to play melodic content, even the low brass. The interesting “development†section provides a contrast to the opening section and helps to build some intrigue and suspense before the return of the main theme. The percussion helps to drive the energy of the piece by providing lots of colorful sounds including a gong solo at the end to signal the knight’s triumph.
SKU: CF.CPS272F
ISBN 9781491164112. UPC: 680160922901.
Pelican 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: CA.336520
ISBN 9790007243999. Language: Portuguese. Text: Aguiar, Ernani.
This original composition by Ernani Aguiar is a happy and vivid Christmas song. To enhance the words of exclamation of the Angels upon the birth of Christ, Aguiar uses a sharply articulated rhythmic fi gure in contrast to a more subdued melodic line that describes the sleeping shepherds. As the piece progresses, the vitality of the rhythm is driven by rapdily articulated syllables and an ongoing syncopated rhythm. The guitar accompaniment gives this composition the character of bossa nova.
SKU: CL.011-2324-01
The opening of this work is boldly announced with a fanfare and stately march. The drive of the exposition gradually yields to a reflective Andante characterized by long flowing melodic lines. A marvelous young band piece that provides outstanding opportunities for phrasing and expression.
SKU: CF.CAS66F
ISBN 9780825889486. UPC: 798408089481. 8.5 x 11 inches.
Yosemite Falls depicts the wide open spaces of this magnificent western treasure, exploring new sounds and harmonies in a fresh approach from Sean O'Loughlin. However, this work retains his signature flourishes, such as angular rhythm, drive, and punctuated harmonies. A very strong choice for your more advanced ensembles in contest or festival performance.The grandeur and spectacle of Yosemite National Park is the inspiration for the music of Yosemite Falls. Located in the northwest corner of California, this park continues to be a natural wonder to all who visit it each year. The falls are particularly beautiful in the spring when all the snow from winter is melting away.The piece begins with a pulsing rhythmic figure that will return periodically throughout the piece. Bring out the dynamic contrast in the section that follows at m. 9. The main melody appears at m. 17 and should have a light and airy feel to it. The secondary melody comes in at m. 30 and has a much more legato and lyrical quality. This melody continues to grow and expand until m. 44 when the opening rhythmic idea returns. This rhythm gets developed further throughout the nextfew sections until the main and secondary melodies collide at m. 67. Bring out the inner lines to create a lush accompaniment. This culminates in a unison statement of the melody at m. 83. The silence on the downbeat of m. 84 creates space and anticipation for the pulsing rhythms that gain momentum to the exciting conclusion.
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.011-4770-01
The continuous rhythmic energy and drive of Catapult! is infectious! Using dramatically contrasting syncopated melodic lines and ultra-legato contemporary harmonic phrases, the composer creates a colorful palette of sound which is both incredibly appealing and uniquely mysterious. At mid-point, the effect of the catapult is felt through rather dissonant descending chords, leading to an exciting resolution and conclusion in a new key. Looking for something different…but very playable? Check out Catapult!.
SKU: CL.012-3625-01
An exciting Ed Huckeby composition that creates an energetic atmosphere of jubilance within the framework of the traditional overture style. Creative changing meter, syncopation and dramatic rhythmic drive, contrasting with the flowing melodic lines in the Andante section, this piece a real winner for contest and competition performances.
About C.L. Barnhouse Spotlight Series
The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments
SKU: CF.CPS144F
ISBN 9780825892936. UPC: 798408092931. 9 x 12 inches.
This piece takes you right out of the box! It is exciting and aggressive, with piercing contemporary harmonies. Lots of pyramid effects contrasted by soaring horn lines in the middle section, accented by a constant drive and energy that will get any concert off to a great start.
SKU: CL.011-3767-01
Written in an exciting programmatic style, this piece is based on folklore surrounding the derailment and crash of a turn-of-the-century passenger train in North Carolina. The descriptive and creative writing of Ed Huckeby make this story come alive through the sounds of the train and driving rhythms which imitate the locomotive. With creative changing meter, syncopation and dramatic rhythmic drive, contrasted with the flowing melodic lines of the introduction and interlude, this piece is a real winner for concert or contest performance.
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: CF.YAS101F
ISBN 9780825889035. UPC: 798408089030. 8.5 x 11 inches.
As the title of this piece implies, Dance of Salome is a seductive-sounding piece with a Middle Eastern feel. Composer Joseph Compello has crafted a serious musical work for intermediate intermediate string players, with infectious melodic figures and incessant rhythms. This work will do a wonderful job of highlighting the strengths of your budding ensemble. Perfect for contest or festival performance.The Dance of Salome is a concert piece for a young string ensemble. The music should convey an atmosphere of antiquity; and, it should also be bold and aggressive. The middle, contrasting section beginning at m. 42 should be played legato without losing the persistent rhythmic drive.The following may be new to young players:1. Counting for the echoing figure which first appears at mm. 9-10. The two echoing figures are separated only by an eighth rest.2. Slurring eighth notes in groups of two.3. Hooked bowing.4. Eighth notes grouped in a 3+3+2 pattern appear throughout the piece, the first time at m. 21.5. The meter change at m.40.6. A≥ mm. 57 and 63. E≥ at m. 63.This arrangement has been recorded by Carl Fischer. The performance is available online free of charge. Thank you for choosing this composition. I hope you and your students enjoy performing it.Joseph CompelloGlen Arm, Maryland.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: PR.16500103F
ISBN 9781491131763. UPC: 680160680290.
Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.
SKU: PR.16500102F
ISBN 9781491131749. UPC: 680160680276.