Line Drive (Full Score)

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: PR.11441157S

UPC: 680160016808. 9 x 12 inches.

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: 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: 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: 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:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

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: PR.16500102F

ISBN 9781491131749. UPC: 680160680276.

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.