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Concert for flute and orchestra in B flat Major (IV-2) by Manuel Pla. Edited by Josep Dolcet. For Flute, String Orchestra and Basso continuo. Pre-classical. Concerto. Full Score. 28 pages. Duration 16 minutes. Published by Trito Ediciones (TI.TR-00006). ISBN 84-88955-05-7. Concerto.
$48.95

Pages: 28
Instruments: Flute, Piano and Keyboard, Woodwinds
Genres: Classical
Io pur respiro, for woodwind quintet by Don Carlo Gesualdo (1566-1613). Arranged by Kenneth Amis. Woodwind Quintet. For flute, oboe, clarinet, bassoon, french horn. Renaissance Madrigal. Full score and set of parts. Duration 3:00. Published by Amis Musical Circle (AI.AMC-WW-007).
$9.00

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Woodwinds, Brass
Genres: Renaissance, Classical
Mille volte il di moro (for woodwind quintet) by Don Carlo Gesualdo (1566-1613). Arranged by Kenneth Amis. Woodwind Quintet. For flute, oboe, clarinet, bassoon, french horn. Renaissance Madrigal. Full score and set of parts. Duration 3:30. Published by Amis Musical Circle (AI.AMC-WW-006).
$9.00

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Woodwinds, Brass
Genres: Renaissance, Classical
Io parto e non piu dissi (for woodwind quintet) by Don Carlo Gesualdo (1566-1613). Arranged by Kenneth Amis. Woodwind Quintet. For flute, oboe, clarinet, bassoon, french horn. Renaissance Madrigal. Full score and set of parts. Duration 3:00. Published by Amis Musical Circle (AI.AMC-WW-005).
$9.00

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Woodwinds, Brass
Genres: Renaissance, Classical
Resta di darmi noia, for woodwind quintet by Don Carlo Gesualdo (1566-1613). Arranged by Kenneth Amis. Woodwind Quintet. For flute, oboe, clarinet, bassoon, french horn. Renaissance Madrigal. Full score and set of parts. Duration 3:30. Published by Amis Musical Circle (AI.AMC-WW-004).
$9.00

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Woodwinds, Brass
Genres: Renaissance, Classical
Belta poi che t'assenti (for woodwind quintet) by Don Carlo Gesualdo (1566-1613). Arranged by Kenneth Amis. Woodwind Quintet. For flute, oboe, clarinet, bassoon, french horn. Renaissance Madrigal. Full score and set of parts. Duration 3:15. Published by Amis Musical Circle (AI.AMC-WW-003).
$9.00

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Woodwinds, Brass
Genres: Renaissance, Classical
Moro lasso al mio duolo (for woodwind quintet) by Don Carlo Gesualdo (1566-1613). Arranged by Kenneth Amis. Woodwind Quintet. For flute, oboe, clarinet, bassoon, french horn. Renaissance Madrigal. Full score and set of parts. Duration 3:45. Published by Amis Musical Circle (AI.AMC-WW-002).
$9.00

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Woodwinds, Brass
Genres: Renaissance, Classical
Giuliani: La Battaglia Di Marengo (For Flute & Guitar) by Mauro Giuliani (1781-1829). For Guitar (Classical). Chamber. Chanterelle. Classic. Intermediate. Book. 28 pages. Published by Chanterelle (MB.ECH541). ISBN 9790204700929. Classic. 9x12 inches. An interesting and unusual descriptive work for flute and guitar attributed to Giuliani.
$15.99

Pages: 28
Instruments: Flute, Acoustic Guitar, Woodwinds, Guitar
Genres: Classical Period, Classical
Gaude - Sonata Op. 24 (For Guitar & Flute (Oboe) or Violin) by Theodor Gaude. Edited by Simon Wynberg. For Guitar (Classical). Chamber. Chanterelle. Classic. Intermediate. Book. 20 pages. Published by Chanterelle (MB.ECH518). ISBN 9790204700813. Classic. 9x12 inches. Theodor Gaude composed his vivacious sonata Op. 24 for the famous flute virtuoso Raphael Dressler. This valuable addition to the repertoire, for flute and guitar is published for the first time in a reliable modern edition.
$15.99

Pages: 20
Instruments: Flute, Oboe, Violin, Acoustic Guitar, Woodwinds, Strings, Guitar
Genres: Classical
Concerto for Flute and Strings (BWV 1056) by Johann Sebastian Bach (1685-1750). For flute and strings. Published by Pizzicato Verlag (PZ.PVH-1381).
$69.75

Instruments: Flute, Woodwinds
Genres: Classical, Baroque Period
Quintet by Franz Joseph Haydn (1732-1809). Arranged by Muth. For Woodwind Quintet. Woodwind Solos & Ensembles - Woodwind Quintet. Full Score. Published by Southern Music Company (SO.SS537FS).
$6.00

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Woodwinds, Brass
Genres: Classical, Classical Period
Trio in 1 Movement by Stanley Hoffman. For Harp, Flute, and Viola. Harp, Flute & Viola. Contemporary, tonal. Intermediate. Published by Fatrock Ink Music Publishers (FR.076-2248).
$15.50

Instruments: Flute, Viola, Harp, Woodwinds, Strings
Genres: Classical
Music for Duke Orsino's Table by Byron Adams. For Flute, Viola, Harp, and Percussion. Flute, Viola, Harp & Percussion. 3 movements. Contemporary, tonal. Professional. Published by Fatrock Ink Music Publishers (FR.076-1803).
$38.00

Instruments: Flute, Viola, Harp, Percussion, Woodwinds, Strings
Genres: Classical
Springscape by Bruce Babcock. For Harp, Flute, and Viola. Harp, Flute & Viola. Contemporary, tonal. Professional. Published by Fatrock Ink Music Publishers (FR.076-1950).
$16.00

Instruments: Flute, Viola, Harp, Woodwinds, Strings
Genres: Classical
Trois Poemes de Ronsard by Byron Adams. For Soprano, Flute, Cello, and Harpsichord. Soprano/Flute/Cello/Harpsichord. 3 movements. Contemporary, tonal. Professional. Published by Fatrock Ink Music Publishers (FR.026-1805). Poems by Pierre de Ronsard.
$24.00

Instruments: Flute, Cello, Harpsichord, Woodwinds, Strings, Piano and Keyboard
Genres: Classical
So Went the Christ unto His Death - Inst Ensemble Score/Parts by Lloyd Larson. For flute, oboe (clarinet), string orchestra, percussion. Sacred Anthem: Holy Week, Lent. Instrumental Score & Parts. Published by Exaltation Publications (LO.30-2294L). The final steps of Christ's journey to Calvary are recounted in this solemn Holy Week anthem. The lyrics offer an insightful view as we--both singers and congregation--experience the passion of Christ from a close and personal vantage point.
$39.95

Instruments: Flute, Clarinet, Oboe, Percussion, Woodwinds
Genres: Classical, Christian, Religious
So Went the Christ unto His Death by Lloyd Larson. For SATB choir and piano (with optional flute, oboe (clarinet), string orchestra). Sacred Anthem: Holy Week, Lent. Octavo. Published by Exaltation Publications (LO.10-3645L). The final steps of Christ's journey to Calvary are recounted in this solemn Holy Week anthem. The lyrics offer an insightful view as we--both singers and congregation--experience the passion of Christ from a close and personal vantage point.
$1.70

Instruments: Choir, Piano Accompaniment, Flute, Clarinet, Oboe, Vocal, Piano, Piano and Keyboard, Woodwinds
Genres: Classical, Christian, Religious
Concerto in G Major. For Flute and Piano. Woodwind Solo. Reduction of orignal for Flute, Strings, and Keyboard. 16 pages. Hal Leonard #SIK455K. Published by Hal Leonard (HL.50157940).
$17.95

Pages: 16
Instruments: Piano Accompaniment, Flute, Piano, Piano and Keyboard, Woodwinds
Genres: Classical
Alleluia Round - Instrument by William Boyce (1711-1779). Arranged by Richard Proulx. For Flute, Brass quartet (2 Trombones, 2 Horns in F), Bass. Sacred. Easy. Instrumental Part. 24 pages. Published by GIA Publications (GI.G-6325INST).
$14.00

Pages: 24
Instruments: Flute, Horn, Trombone, Woodwinds, Brass
Genres: Classical Period, Classical
When Jesus Came from Nazareth (Instrumental Parts) by Randall Sensmeier (1944-). For Flute, Cello or Bb Clarinet or Bassoon. Sacred. Instrumental Part. 4 pages. Published by GIA Publications (GI.G-5137INST).
$5.00

Pages: 4
Instruments: Flute, B-Flat Clarinet, Bassoon, Cello, Woodwinds, Clarinet, Strings
Genres: 20th Century, Christian, Classical, Religious
This Love, O Christ (Instrumental part) by Randall Sensmeier (1944-). For Flute. Sacred. Instrumental Part. 1 pages. Published by GIA Publications (GI.G-4164INST).
$2.50

Pages: 1
Instruments: Flute, Woodwinds
Genres: 20th Century, Christian, Classical, Religious
The Virgin's Slumber Song by Max Reger (1873-1916). Arranged by Richard Proulx. For SATB Choir, Flute, Harp or Piano. Sacred, Christmas. Easy. Text language: English/Latin. 8 pages. Published by GIA Publications (GI.G-6467). With Text language: English/Latin. Sacred, Christmas. Text Source: Martin Boelitz tr Edward Teschemacher 1875-1940.
$1.38

Pages: 8
Instruments: Choir, Piano Accompaniment, Flute, Harp, Vocal, Piano, Piano and Keyboard, Woodwinds, Strings
Genres: 20th Century, Christmas, Classical, Miscellaneous
Concerto No. 2 for Marimba and Orchestra by Gillingham. Arranged by Nathan Daughtrey. For Soloist(s) with Full Orchestra (Piccolo, Flute 1/2, Oboe 1/2, Clarinet 1/2 in Bb, Bassoon 1/2, Trumpet 1/2 in C, Trumpet 3 in C, Horn 1/3, Horn 2/4, Trombone 1/2, Trombone 3, Bass Trombone, Tuba, Solo Marimba, Piano, Timpani, Percussion 1 (Bells, Brake Drum), Percussion 2 (Vibraphone, S). Orchestra Music. Grade 5. Score only. Duration 23:00. Published by C. Alan Publications (CN.11854). The Concerto for Marimba and Orchestra is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa.The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on theme with the orchestra playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage.The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the horns and low strings on the chaconne theme with the marimba on the variation. Variation II uses marimba, oboe, and horns and Variation III uses marimba, vibraphone, and strings. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, strings, timpani and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano, bells, and vibraphone. Variation VII features the strings and low winds on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with solo cello and solo violin on the second half of the variation. A somber coda brings the movement to a close.The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by strings and tambourine (reminiscent of Mvt. I). The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by horns, strings, and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the cellos on the first theme, followed by the horns and trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the 2nd movement chaconne are developed. A galloping presto (coda) follows bringing the movement to a close in D major.- David R. GillinghamPRAISE FOR THE CONCERTO"The new Concerto for Marimba by David Gillingham is an intriguing, engaging, and challenging piece. I had so much fun playing it and I am planning to perform it everywhere!! It is a "must-try" for all marimbists!"She-e Wuworld-renowned solo marimba artist.
$45.00

Instruments: Piano, Flute, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Marimba, Vibraphone, Tuba, Piano and Keyboard, Woodwinds, Brass, Trumpet, Trombone
Genres: Classical
Hunter's Chorus by Carl Maria von Weber (1786-1826). Arranged by B. Ward. For Concert Band (flute (oboe) clarinet in Bb (bass clarinet) alto saxophone, tenor saxophone (baritone saxophone) trumpet in Bb, horn in F, trombone (euphonium) (baritone Tc) tuba, timpani, mallets, snare drum, tenor drum, bass drum, crash cymbals, triangle). Band Music. Grade 2. Score only. Duration 1:35. Published by C. Alan Publications (CN.12271). Barry Ward has done a superb job of capturing the jolly spirit of the ever-popular "Hunter's Chorus" from Weber's opera 'Der Freischutz" in his arrangement for young bands.
$10.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Horn, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Romantic Period, Classical
Hunter's Chorus by Carl Maria von Weber (1786-1826). Arranged by B. Ward. For Concert Band (flute (oboe) clarinet in Bb (bass clarinet) alto saxophone, tenor saxophone (baritone saxophone) trumpet in Bb, horn in F, trombone (euphonium) (baritone Tc) tuba, timpani, mallets, snare drum, tenor drum, bass drum, crash cymbals, triangle). Band Music. Grade 2. Score and parts. Duration 1:35. Published by C. Alan Publications (CN.12270). Barry Ward has done a superb job of capturing the jolly spirit of the ever-popular "Hunter's Chorus" from Weber's opera 'Der Freischutz" in his arrangement for young bands.
$55.20

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Horn, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Romantic Period, Classical
Concerto for Percussion Solo & Orchestra by Ziek. Arranged by Nathan Daughtrey. For Soloist(s) with Full Orchestra (Piccolo, Flute 1/2, Oboe 1/2, English Horn, E-flat Clarinet, Clarinet 1/2, Bassoon 1/2, Trumpet 1 in C, Trumpet 2/3 in C, Horn 1/3, Horn 2/4, Trombone 1, Trombone 2/3, Tuba, Solo Percussion, Timpani, Percussion 1 (tam tam, wind chimes, temple blocks, wind). Grade 5. Score only. Duration 14:20. Published by C. Alan Publications (CN.05385). Concerto for Percussion Solo was composed in January of 2001 as a showcase for the talents of percussionist Scott Herring. The concerto is in three connected movements and features the soloist on a variety of instruments, including marimba, vibraphone, bells, and crotales. A large percussion battery with two snare drums, multiple toms, brake drums, and bass drum is also used. The first movement, March, utilizes a quasi five-part rondo form. The movement starts with a solo snare drum, with the ensemble providing melodic interjections. The introduction builds to the first solo marimba entrance. A left hand ostinato leads to a melodic figure which alternates between six-eight and common time. A short snare drum solo sets up the middle section, in which the soloist and ensemble trade musical ideas. The multi-meter passage returns, with the soloist embellishing ensemble melodic figures. An abrupt modulation leads to the final section, which echoes the opening ideas of the movement. March ends with the soloist back on the snare drum, as it comes quietly to its conclusion. The concerto immediately segues into the second movement, Meditation, which begins with the ethereal sound of multiple sets of wind chimes. As the movement progresses, the soloist plays long, reflective lines over a simple accompaniment, on various combinations of keyboard percussion instruments. The movement builds to a moment of triumph, before returning to its initial contemplative state. Fantasia (a free flight of fantasy) immediately shatters the previous mood. A loud, cacophonous accompaniment provides a charged atmosphere for the soloist to utilize the percussion battery. A short melodic section, noble in character, leads to the initial climax of the final movement. The atmosphere abruptly changes again, as the ensemble and soloist embark upon a fast, violent new section. Musical lines are furiously exchanged, leading up to a thunderous percussive display. The mood is suddenly tinged with blues and jazz influences, letting the soloist function in a manner reminiscent of a drum set player. The final section of Fantasia begins with a unaccompanied marimba solo, played at breakneck speed. The ensemble begins to gradually join the soloist, as the movement builds to a final, fortissimo climax.
$50.00

Instruments: Flute, E-Flat Clarinet, Oboe, Bassoon, English Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Trumpet, Brass
Genres: Classical
Concert Piece for Marimba & Orchestra by David J. Long. For Soloist(s) with Full Orchestra (flute 1/2, oboe 1/2, clarinet in Bb 1/2, bassoon 1/2, horn in F 1/2, horn in F 3/4, trumpet in Bb 1/2, percussion (timpani, suspended cymbal, tam-tam, chimes), solo marimba, violin I, violin II, viola, violoncello, contrabass). Medium. Score only. Duration 8:20. Published by C. Alan Publications (CN.01171). Concert Piece requires 2-mallet technique only. Three pairs of yarn mallets are requested: medium soft, medium, and hard. Directions are given for rolling and generally remain in effect until a new direction is given.
$45.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, B-Flat Trumpet, Percussion, Timpani, Marimba, Woodwinds, Clarinet, Brass, Strings, Trumpet
Genres: Classical
Concertino for 4 Percussion & Orchestra by Gillingham. Arranged by Nathan Daughtrey. For Soloist(s) with Full Orchestra (Piccolo, Flute 1/2, Oboe 1/2, Clarinet 1/2 in Bb, Bassoon 1/2, Trumpet 1/2 in C, Trumpet 3 in C, Horn 1/3, Horn 2/4, Trombone 1/2, Trombone 3, Bass Trombone, Tuba, Harp, Solo Percussion 1 (timpani, bells, crash cymbal, suspended cymbal, bass drums, tam-ta). Grade 5. Score only. Duration 9:30. Published by C. Alan Publications (CN.02875). The original conception of this work, "Concertino for Four Percussion and Wind Ensemble," was commissioned by the Oklahoma State University Wind Ensemble, Joseph Missal, conductor and Wayne Bovenschen, Professor of Percussion studies.The Concertino or "small concerto" seeks to exploit keyboard, membrane, and auxiliary percussion instruments with the marimbas, xylophone, timpani, vibraphone, and bass drums as the featured instruments, assisted by crash cymbals, suspended cymbal, tam-tam, bells, chimes, triangle, and hi-hat to enhance both the ensemble and the solo instruments.Two thematic motives are used as a point of departure for this work. Both appear in the slow and mysterious introduction. The first, played by the marimbas, is dramatic and the second is haunting and played by the vibraphone and bells. The following Allegro is structured similar to a rondo with recurrences of both themes interspersed by episodic sections. The first theme, however, is transformed into a very lively arpeggiated tune played by the xylophone and marimba. The coda is marked by a relentless rhythmic competition of two sets of bass drums which accompany the primary thematic material as first heard in the slow introduction. The work draws to a resounding conclusion when the second haunting theme is stated dramatically in tour de force by the brass.Concertino for Four Percussion is also available for performance with Wind Ensemble (Item #02870) and Piano (Item #02872).
$50.00

Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Harp, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Drums, Tuba, Woodwinds, Brass, Strings, Trumpet, Trombone
Genres: Classical
A Little Tango Music by Adam Gorb (1958-). For Concert Band (1st Flute, 2nd Flute, Oboe, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet, Bassoon, 1st/2nd Eb Alto Saxophone, Tenor Saxophone, Baritone Saxophone, 1st/2nd Bb Trumpet, 1st/2nd F Horn, 1st/2nd Trombone, Euphonium, TC Baritone, Tuba, P). Band Music. Grade 3. Score only. Duration 4:30. Published by C. Alan Publications (CN.S11282). This is a short sequence of melodies inspired by the curvaceous, melancholic and dangerous dance from Argentina that is the tango. The three brief movements can be played in any order, continuously, or separately.
$20.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Tango, Classical, Latin
Chanson de Matin (Flute Feature). By Edward Elgar (1857-1934). Arranged by Michael Brand. For Soloist(s) with Concert Band (Flute 1, Flute 2, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, F Horn 1, F Horn 2, Trombone 1, Trombone 2, Eu). Band Music. Grade 2.5. Score only. Duration 3:00. Published by C. Alan Publications (CN.S11283).
$12.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical
Chanson de Matin (Flute Feature). By Edward Elgar (1857-1934). Arranged by Michael Brand. For Soloist(s) with Concert Band (Flute 1, Flute 2, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, F Horn 1, F Horn 2, Trombone 1, Trombone 2, Eu). Band Music. Grade 2.5. Score and parts. Duration 3:00. Published by C. Alan Publications (CN.R10283).
$50.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical
Fantasy Triptych by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2/3, Bb Trumpet 1/2, Horn in F ). Band Music. Grade 5.5. Score only. Duration 17:40. Published by C. Alan Publications (CN.S11193). In 1972, I wrote a Sonata for Two Pianos for two friends who were piano teachers at Wellington College. When in 1995 I was asked to write a work for wind band, I returned to this Sonata and have re-arranged and in the new version renamed it "Fantasy Triptych."There are three movements:1. Le Tombeau d'Arthur BenjaminRavel wrote 'Le Tombeau de Couperin,' Arthur Benjamin wrote 'Le Tombeau de Ravel' and so the temptation to write 'Le Tombeau d'Arthur Benjamin' was overwhelming. At the end of the movement there is an oblique reference to Benjamin's own 'Jamaican Rumba' which accompanies a quote from an old Spanish folk song 'Loro, enciende el hervidor de agua.'2. Mr. Bolt goes for a ride in his motor car, and Monsieur Ravel turns in his grave.The movement is dedicated to an old friend, Geoffrey Bolt, who adores the music of Ravel. but at the time of writing was learning to drive. He always described his vehicle as a motor car. To describe him as an impatient motorist would be a gross understatement. The refined suavity of Ravel's music was in complete contrast to these early manifestations of road rage, hence the central angry outburst.3. The War March of the OstrichesThe music of Charles Ives was fascinating me at the time of writing this movement and some of the influence has rubbed off in this rondo-like march. At the end there is a quote from the very beginning of the first movement. The title was inspired by the amusing antics of a group of ostriches during a visit to Bristol Zoo.
$60.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Cornet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical
Fantasy Triptych by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2/3, Bb Trumpet 1/2, Horn in F ). Band Music. Grade 5.5. Score and parts. Duration 17:40. Published by C. Alan Publications (CN.R10193). In 1972, I wrote a Sonata for Two Pianos for two friends who were piano teachers at Wellington College. When in 1995 I was asked to write a work for wind band, I returned to this Sonata and have re-arranged and in the new version renamed it "Fantasy Triptych."There are three movements:1. Le Tombeau d'Arthur BenjaminRavel wrote 'Le Tombeau de Couperin,' Arthur Benjamin wrote 'Le Tombeau de Ravel' and so the temptation to write 'Le Tombeau d'Arthur Benjamin' was overwhelming. At the end of the movement there is an oblique reference to Benjamin's own 'Jamaican Rumba' which accompanies a quote from an old Spanish folk song 'Loro, enciende el hervidor de agua.'2. Mr. Bolt goes for a ride in his motor car, and Monsieur Ravel turns in his grave.The movement is dedicated to an old friend, Geoffrey Bolt, who adores the music of Ravel. but at the time of writing was learning to drive. He always described his vehicle as a motor car. To describe him as an impatient motorist would be a gross understatement. The refined suavity of Ravel's music was in complete contrast to these early manifestations of road rage, hence the central angry outburst.3. The War March of the OstrichesThe music of Charles Ives was fascinating me at the time of writing this movement and some of the influence has rubbed off in this rondo-like march. At the end there is a quote from the very beginning of the first movement. The title was inspired by the amusing antics of a group of ostriches during a visit to Bristol Zoo.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Cornet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical
Concerto for Saxophone & Wind Symphony. (Saxophone Feature). By Jere Hutcheson. For Soloist(s) with Concert Band (Piccolo, Flute 1/2/3, Oboe 1/2, English Horn, Soprano Clarinet in Eb, Clarinet in Bb 1/2/3, Bass Clarinet in Bb, Bassoon 1/2, SOLO ALTO SAXOPHONE (doubling Soprano Saxophone in 2nd mvt), Trumpet in Bb, Horn in F 1/2, Trombone 1, Bass Trombone, Euphonium, ). Band Music. Grade 5. Score only. Duration 18:00. Published by C. Alan Publications (CN.14141). Concerto for Saxophone is dedicated to Joseph Lulloff, saxophonnist, and The Michigan State University Wind Symphony, John Whitwell, conductor.
$50.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Soprano Saxophone, Bassoon, English Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Trombone
Genres: Classical
Concerto for Saxophone & Wind Symphony. (Saxophone Feature). By Jere Hutcheson. For Soloist(s) with Concert Band (Piccolo, Flute 1/2/3, Oboe 1/2, English Horn, Soprano Clarinet in Eb, Clarinet in Bb 1/2/3, Bass Clarinet in Bb, Bassoon 1/2, SOLO ALTO SAXOPHONE (doubling Soprano Saxophone in 2nd mvt), Trumpet in Bb, Horn in F 1/2, Trombone 1, Bass Trombone, Euphonium, ). Band Music. Grade 5. Score and parts. Duration 18:00. Published by C. Alan Publications (CN.14140). Concerto for Saxophone is dedicated to Joseph Lulloff, saxophonnist, and The Michigan State University Wind Symphony, John Whitwell, conductor.
$207.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Soprano Saxophone, Bassoon, English Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Trombone
Genres: Classical
Sinfonia Caroliniana by Walter Hartley (1927-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1/2, Trombone 3, ). Band Music. Grade 5. Score only. Duration 8:00. Published by C. Alan Publications (CN.14101). Sinfonia Caroliniana is the sixteenth of Hartley's works to use "sinfonia" in its title and the sixth of these for symphonic wind ensemble (including Sinfonia I, IV, IX, and XIV). The second word refers to the excellent musicians of the University of North Carolina at Charlotte Symphonic Wind Ensemble, and their director, Dr. Laurence L. Marks, for whom the work was written, to whom it is dedicated, and who premiered it on February 25, 2006 at the Southern Division Conference of the College Band Directors National Association. The title also reflects the composer's delight "in the welcoming spirit my wife and I have encountered since moving to North Carolina in 2004." Some of the melodic material in the piece is based on the pentatonic scale typically found in Southern hymnody, which has inspired some of his other recent compositions. "As with most of my other Sinfonias, this one is a short and compact symphony structured in three movements, fast-slow-fast, as were the early 18th-century Italian opera overtures called "sinfonias." Like them, this piece is tonally centered (E-flat - C - E-flat) but uses current harmonic spectrums.
$30.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical, Christmas, Miscellaneous
Sinfonia Caroliniana by Walter Hartley (1927-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1/2, Trombone 3, ). Band Music. Grade 5. Score and parts. Duration 8:00. Published by C. Alan Publications (CN.14100). Sinfonia Caroliniana is the sixteenth of Hartley's works to use "sinfonia" in its title and the sixth of these for symphonic wind ensemble (including Sinfonia I, IV, IX, and XIV). The second word refers to the excellent musicians of the University of North Carolina at Charlotte Symphonic Wind Ensemble, and their director, Dr. Laurence L. Marks, for whom the work was written, to whom it is dedicated, and who premiered it on February 25, 2006 at the Southern Division Conference of the College Band Directors National Association. The title also reflects the composer's delight "in the welcoming spirit my wife and I have encountered since moving to North Carolina in 2004." Some of the melodic material in the piece is based on the pentatonic scale typically found in Southern hymnody, which has inspired some of his other recent compositions. "As with most of my other Sinfonias, this one is a short and compact symphony structured in three movements, fast-slow-fast, as were the early 18th-century Italian opera overtures called "sinfonias." Like them, this piece is tonally centered (E-flat - C - E-flat) but uses current harmonic spectrums.
$115.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical, Christmas, Miscellaneous
Redemption of a Fallen Angel by David Gillingham. For Full Orchestra (Piccolo, Flute 1,2, Oboe 1,2, Bb Clarinet 1,2, Bass Clarinet, Bassoon 1,2, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Tuba, Piano, Timpani, Percussion 1 (bells, xylophone, suspended cymbal, tam-tam), Percussion 2 (hi-hat, snare d). Orchestra Music. Score only. Published by C. Alan Publications (CN.13091). Redemption of a Fallen Angel was commissioned by the Metropolitan Youth Symphony (Detroit, Michigan) conducted by Alan MacNair.The work is cast as a tone poem in which "good" ultimately triumphs over "evil". My lifelong interest in heavenly beings and life after death peeked my imagination and has rendered a rather sinister story about a angel who has succumbed to the Devil and has decided to reek havoc on the whole world. The work opens with this so-called "fallen angel" involved in sinister and wicked mischief represented by some angular and angry melodic lines stated by horns and trumpets with the strings playing a turbulent ostinato. His destruction, however, is interrupted by a choir of angels (oboe accompanied by strings) who pray for forgiveness and redemption. But the fallen angel is not to be swayed and leaves to continue his plight upon the world. More choirs of angels are then brought in to form a circle around the wicked angel. They sing their prayers and plead to God to forgive and redeem the fallen angel. The music of this section reflects angelic singing and prayerful melodic lines. The calmness is interrupted by the angry music of the beginning as the fallen angel tries, once again, to escape. But the redeeming power of God is not to be avoided and the choir of angels enfold the fallen angel and carry him upward to the heavens. The angelic theme returns in full splendor and the work drives to a glorious conclusion.-DRG.
$40.00

Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Xylophone, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Brass, Trumpet, Trombone
Genres: Classical
The Love of the Lord - Full Score/parts by Joseph Gelineau, S.J.. For Small orchestra: Flute, Trumpet, Horn in F, String Quintet (2 Violins, Viola, Cello, Bass). Bible Reference: Psalm 107. Sacred. Score & Parts. Published by GIA Publications (GI.G-3343FS).
$40.00

Instruments: Flute, Horn, Violin, Cello, Viola, B-Flat Trumpet, Woodwinds, Brass, Strings, Trumpet
Genres: Classical
Concerto No. 1 in D Minor for Marimba. (Marimba Feature). By Noah D. Taylor. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon 1, Bassoon 2, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3,). Percussion Music. Grade 5. Score only. Duration 30:00:00. Published by C. Alan Publications (CN.10924). The Marimba Concerto No. 1 in D Minor was completed in August 2003. This concerto was composed for marimbist Brenton Dunnington and was Taylor's first work for a solo mallet-percussion instrument. Taylor's Concerto displays confident youth as the composer ambitiously recalls the Romanticism of the past. The work is a large-scale undertaking for the soloist and the orchestra. Taylor has truly constructed a solo part of transcendental technique and virtuosity. The Concerto is tangible and tuneful, visually captivating and memorable from the first encounter.The first movement employs late 19th century harmony blended with Taylor's personal aesthetics. The full and rich orchestration is most evident here. The movement also displays the endurance and facility of the soloist. The opening fanfare and romantic theme form the basis for shaping the movement. Taylor thoroughly develops the theme in a romantically expanded sonata form. The solo cadenza (with improvisational intent) emerges from the end of the development and drives on to explore the theme. It demands intricate, complete command of the marimba and fearless composure from the soloist to accomplish the aggressively fluctuating tempi, the broad dynamic spectrum, and perilous octave descents. After a brief adagio, the first movement reaches an exhilarating orchestral conclusion.The slow second movement, still rooted in romanticism, slips in and out of 20th century harmonies. The movement is a tale of love and passion. Titled Adagio, the movement, opening in C major, is monothematic, but for a brief recapitulation of the first movement's main theme. The movement's poignant melody is carried by each of the oboe, clarinet, and flute solos with marimba. There is a tender, recurring duo between solo marimba and harp followed by a dramatic, climactic chorale where the soloist employs six-mallet technique. The movement culminates in a vivid new statement of the movement's main melody and fades off into the distance.A thematic transformation develops several stages further in the third movement. The Finale is a hero's tale of battle, danger, love, and triumph. Each section evokes a different account on the journey. Taylor reemphasizes the D minor tonality of the opening movement. The third movement bursts into the exhilarating and vigorous first subject, which features a thrilling rhythmic motif and interchange between the soloist and orchestra. The tale moves through a central, lyrical episode in place of a development section. Again, earlier material is recalled. As the final Vivace builds to a climax, the soloist unleashes fiery virtuosity with the orchestra. The majestic recapitulation, now in D major, surveys all of the Finale's opening material concluded by the coda in a brilliant presto and fortissimo.
$60.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Percussion, Marimba, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: Classical
Concerto No. 2 for Marimba & Wind Ensemble. (Marimba Feature). By David Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2 , Bassoon 1/2, Clarinet in Bb 1/2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphon). Band Music. Grade 4. Score only. Duration 23:00. Published by C. Alan Publications (CN.11851). The Concerto No. 2 for Marimba is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa.The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage.The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close.The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine (reminiscent of Mvt. I). The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns/trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto (coda) follows, ending the movement in D major.- David R. Gillingham.
$45.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Marimba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone, Percussion
Genres: Classical
Concerto No. 2 for Marimba & Wind Ensemble. (Marimba Feature). By David Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2 , Bassoon 1/2, Clarinet in Bb 1/2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphon). Band Music. Grade 5. Score and parts. Duration 23:00. Published by C. Alan Publications (CN.11850). The Concerto No. 2 for Marimba is a commission by a consortium of schools and performers headed by Professor Marc Wooldridge of Northwestern College, Orange City, Iowa.The work exploits the full range of the technical and expressive ability of the five-octave concert grand marimba. It is cast in the standard three-movement format. The first movement uses sonata-rondo form and begins with a slow introduction and quasi-cadenza by the marimba. An animated first theme follows in G-minor accompanied by clarinets and tambourine. A contrasting second theme area follows featuring chromatic mediant progressions and descending chromatic lines. The return of the first theme utilizes a slightly different accompaniment. The development section reworks all the thematic material in different guises. The recapitulation presents the first theme, verbatim, as it was in the exposition. The second theme, however, changes the mode to major. The return alternates the marimba on the theme with the winds playing the theme in augmentation. The marimba quietly ends the movement with an ascending and descending arpeggiated passage.The second movement is a chaconne with eight variations. The marimba states a rather haunting chorale-like melody in Bb minor. The first variation features the low brass on the chaconne theme with the marimba on the variation. Variation II uses marimba, clarinet, bells, and vibraphone and Variation III uses marimba, oboe, and horns. Cascading muted brass against the augmented chaconne theme in the flutes and clarinets are indicative of Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani, and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme accompanied by piano and bells. Variation VII features the low brass on the chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight Variation VIII along with a solo alto saxophone on the second half of the variation. A somber coda brings the movement to a close.The third movement, like the first, is in sonata-rondo design and is cyclic, bringing back and combining the thematic material of the first and second movements. The first theme, in D-minor, is angular and spirited, accompanied by clarinets and tambourine (reminiscent of Mvt. I). The second theme brings back the second theme of the first movement followed by the return of the first theme, now accompanied by saxophones and tambourine. The development combines and works thematic material from all three movements of the concerto. The recapitulation begins with the bassoons on the first theme, followed by the horns/trumpets and finally, the marimba. The second theme brings back the chaconne of the second movement, this time in major with the marimba accompanying using rhythmic material taken from the first theme of the third movement. There is no formal return of the first theme. Instead, the marimba plays a cadenza in which the first theme material and the second movement chaconne are developed. A galloping presto (coda) follows, ending the movement in D major.- David R. Gillingham.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Marimba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone, Percussion
Genres: Classical
The Persia by Catherine McMichael. Arranged by Michael Brand. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphonium, ). Band Music. Grade 3. Score only. Duration 5:00. Published by C. Alan Publications (CN.11511). from Great Lakes VoyageGreat Lakes Voyage was commissioned to celebrate the memory of Andy Anderson, a charter member of the Bay Concert Band. The charge was to create a piece that would have special meaning for the band, and one that Andy would have enjoyed playing. Great Lakes folk song themes seemed a natural topic. The tunes chosen include:I. Bigler's CrewII. Low Bridge, Everybody Down (commonly known as The Erie Canal, written by Gov. Thomas Allen of NY in 1913)III. Nearer, My God, To Thee (Sarah F. Adams, 1841), The Persia Crew, also known as Lake Huron's Rockbound ShoreIV. The Huron Carol (French Canadian Tune), Hoot Owl Song (Chippewa/Objiwa, collected by Gertrude Prokosch Kurath), What Do You Do With a Drunken Sailor and Once More A-Lumbering Go (collected by Earl Clifton Beck)The PersiaNearer, My God, To TheeNearer, my God, to Thee, nearer to Thee! E'en though it be a cross that raiseth me.Still all my song shall be, 'Nearer, my God, to Thee'.Nearer, my God, to Thee, nearer to Thee.Lake Huron's Rockbound ShoreOh, sad and dismal is the tale that I'll now relate to you,That of the schooner, 'Persia,' her officers and crew;They sank beneath the deep blue lake in life to rise no more,Where wind and desolation sweep on Huron's rockbound shore.In celebration of Andy Anderson, a charter member of the Bay Concert Band, Bay City, MI.
$15.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: 20th Century, Classical
The Persia by Catherine McMichael. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphonium, ). Band Music. Grade 3. Score and parts. Duration 5:00. Published by C. Alan Publications (CN.11510). from Great Lakes VoyageGreat Lakes Voyage was commissioned to celebrate the memory of Andy Anderson, a charter member of the Bay Concert Band. The charge was to create a piece that would have special meaning for the band, and one that Andy would have enjoyed playing. Great Lakes folk song themes seemed a natural topic. The tunes chosen include:I. Bigler's CrewII. Low Bridge, Everybody Down (commonly known as The Erie Canal, written by Gov. Thomas Allen of NY in 1913)III. Nearer, My God, To Thee (Sarah F. Adams, 1841), The Persia Crew, also known as Lake Huron's Rockbound ShoreIV. The Huron Carol (French Canadian Tune), Hoot Owl Song (Chippewa/Objiwa, collected by Gertrude Prokosch Kurath), What Do You Do With a Drunken Sailor and Once More A-Lumbering Go (collected by Earl Clifton Beck)The PersiaNearer, My God, To TheeNearer, my God, to Thee, nearer to Thee! E'en though it be a cross that raiseth me.Still all my song shall be, 'Nearer, my God, to Thee'.Nearer, my God, to Thee, nearer to Thee.Lake Huron's Rockbound ShoreOh, sad and dismal is the tale that I'll now relate to you,That of the schooner, 'Persia,' her officers and crew;They sank beneath the deep blue lake in life to rise no more,Where wind and desolation sweep on Huron's rockbound shore.In celebration of Andy Anderson, a charter member of the Bay Concert Band, Bay City, MI.
$59.80

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: 20th Century, Classical
Low Bridge, Everybody Down by Catherine McMichael. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphonium, ). Band Music. Grade 3. Score only. Duration 2:30. Published by C. Alan Publications (CN.11501). from Great Lakes VoyageGreat Lakes Voyage was commissioned to celebrate the memory of Andy Anderson, a charter member of the Bay Concert Band. The charge was to create a piece that would have special meaning for the band, and one that Andy would have enjoyed playing. Great Lakes folk song themes seemed a natural topic. The tunes chosen include:I. Bigler's CrewII. Low Bridge, Everybody Down (commonly known as The Erie Canal, written by Gov. Thomas Allen of NY in 1913)III. Nearer, My God, To Thee (Sarah F. Adams, 1841), The Persia Crew, also known as Lake Huron's Rockbound ShoreIV. The Huron Carol (French Canadian Tune), Hoot Owl Song (Chippewa/Objiwa, collected by Gertrude Prokosch Kurath), What Do You Do With a Drunken Sailor and Once More A-Lumbering Go (collected by Earl Clifton Beck)Low Bridge, Everybody Down(The Erie Canal)I got a mule, her name is Sal; fifteen years on the Erie Canal.She's a good ol' pal; fifteen years on the Erie Canal.We've hauled some barges in our day, filled with lumber, coal and hay,And we know every step of the way from Albany to Buffalo.Low bridge, everybody down! Low bridge, 'cause we're coming to a town;And you'll always know your neighbor, you'll always know your pal,If you ever navigated on the Erie Canal.In celebration of Andy Anderson, a charter member of the Bay Concert Band, Bay City, MI.
$15.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: 20th Century, Classical
Low Bridge, Everybody Down by Catherine McMichael. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2/3, Horn in F 1/3, Horn in F 2/4, Trombone 1/2, Bass Trombone, Euphonium, ). Band Music. Grade 3. Score and parts. Duration 2:30. Published by C. Alan Publications (CN.11500). from Great Lakes VoyageGreat Lakes Voyage was commissioned to celebrate the memory of Andy Anderson, a charter member of the Bay Concert Band. The charge was to create a piece that would have special meaning for the band, and one that Andy would have enjoyed playing. Great Lakes folk song themes seemed a natural topic. The tunes chosen include:I. Bigler's CrewII. Low Bridge, Everybody Down (commonly known as The Erie Canal, written by Gov. Thomas Allen of NY in 1913)III. Nearer, My God, To Thee (Sarah F. Adams, 1841), The Persia Crew, also known as Lake Huron's Rockbound ShoreIV. The Huron Carol (French Canadian Tune), Hoot Owl Song (Chippewa/Objiwa, collected by Gertrude Prokosch Kurath), What Do You Do With a Drunken Sailor and Once More A-Lumbering Go (collected by Earl Clifton Beck)Low Bridge, Everybody Down(The Erie Canal)I got a mule, her name is Sal; fifteen years on the Erie Canal.She's a good ol' pal; fifteen years on the Erie Canal.We've hauled some barges in our day, filled with lumber, coal and hay,And we know every step of the way from Albany to Buffalo.Low bridge, everybody down! Low bridge, 'cause we're coming to a town;And you'll always know your neighbor, you'll always know your pal,If you ever navigated on the Erie Canal.In celebration of Andy Anderson, a charter member of the Bay Concert Band, Bay City, MI.
$59.80

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: 20th Century, Classical
Serenade, Op. 22 by Antonin Dvorak (1841-1904). Arranged by Mikkelson. For Concert Band (flute 1, flute 2, oboe 1, oboe 2, clarinet in Bb 1, clarinet in Bb 2, bassoon 1, bassoon 2, horn in F 1, horn in F 2, violoncello, contrabass). Band Music. Grade 4. Score only. Duration 26:00:00. Published by C. Alan Publications (CN.11451). The Serenade in E, Opus 22, for String Orchestra was written at a pivotal time in Dvorak's career. He had composed symphonies, operas, and chamber music for more than 12 years prior, but had met with little success. In 1874 he was awarded the Austrian State Prize for the first time on the the recommendation of Johannes Brahms, critic Eduard Hanslick and Johann von Herbeck. Brahms was so taken with the young composer that he introduced him to his publisher Simrock. Dvorak went on to become one of the most successful composers of his time.The Serenade in E, Opus 2, for String Orchestra was written in May of 1875, less than three years prior to the Serenade in D minor, Opus 44 for chamber winds, cello and bass. It was the Opus 44 Serenade that inspired this wind setting of the Opus 22 Serenade. Similar to Opus 44, Mikkelson has set the Opus 22 Serenade for pairs of flutes, oboes, clarinets, bassoons, and horns, cello, and bass. Study of Dvorak's wind serenade and orchestral writing revealed aspects of the composer's scoring practices for winds, which were implemented in the current setting of the Opus 22.
$40.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Cello, Double Bass, Woodwinds, Clarinet, Brass, Strings
Genres: Romantic Period, Classical
Serenade, Op. 22 by Antonin Dvorak (1841-1904). Arranged by Mikkelson. For Concert Band (flute 1, flute 2, oboe 1, oboe 2, clarinet in Bb 1, clarinet in Bb 2, bassoon 1, bassoon 2, horn in F 1, horn in F 2, violoncello, contrabass). Band Music. Grade 4. Score and parts. Duration 26:00:00. Published by C. Alan Publications (CN.11450). The Serenade in E, Opus 22, for String Orchestra was written at a pivotal time in Dvorak's career. He had composed symphonies, operas, and chamber music for more than 12 years prior, but had met with little success. In 1874 he was awarded the Austrian State Prize for the first time on the the recommendation of Johannes Brahms, critic Eduard Hanslick and Johann von Herbeck. Brahms was so taken with the young composer that he introduced him to his publisher Simrock. Dvorak went on to become one of the most successful composers of his time.The Serenade in E, Opus 2, for String Orchestra was written in May of 1875, less than three years prior to the Serenade in D minor, Opus 44 for chamber winds, cello and bass. It was the Opus 44 Serenade that inspired this wind setting of the Opus 22 Serenade. Similar to Opus 44, Mikkelson has set the Opus 22 Serenade for pairs of flutes, oboes, clarinets, bassoons, and horns, cello, and bass. Study of Dvorak's wind serenade and orchestral writing revealed aspects of the composer's scoring practices for winds, which were implemented in the current setting of the Opus 22.
$138.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Cello, Double Bass, Woodwinds, Clarinet, Brass, Strings
Genres: Romantic Period, Classical
Symphony on Death & Dying by Karl Blench. For Concert Band (Piccolo, Flute 1, 2 (Piccolo 2, 3), Alto Flute (Flute 3), Oboe 1, 2, English Horn, Bassoon 1, 2 (Contrabassoon), Clarinet in Bb 1, 2, 3, 4, Bass Clarinet, Alto Saxophone 1, 2, Baritone Saxophone, Horn in F 1, 2, 3, 4, Trumpet in C 1, 2, 3, 4, Tenor Trombo). Band Music. Grade 5. Score only. Duration 17:40. Published by C. Alan Publications (CN.11421). Symphony on Death and Dying was written after taking a course at the University of New Hampshire of the same name. This piece explores the emotions a person may feel after the loss of someone close. The Symphony is cast in four movements played without pause. The pitch material is based on a seven note theme (E, F, G, F#, D#, [E], C, B) and all motives are derived from the intervals contained within this set. The work was written for the University of New Hampshire Wind Ensemble (Durham, NH) and dedicated to the ensemble's director, Dr. Andrew Boysen.Out of Confusion and Anger begins as a funeral march and is centered around the pitch E. The theme is stated from a solo trombone and then picked up by various groups of the ensemble. After the theme is presented an ostinato figure and melodic bass line build to the first outburst of anger followed by a return to the opening material.Of Remembrance is a solemn movement in contrast to the first. The solo clarinet has the melody at the beginning accompanied by soft harmonies in the low brass until it is interrupted by the theme from the first movement. Ghosts then can be heard as singing voices building to a brief climax and then a return to the opening melody this time in the solo bassoon.Of Rage begins with an outburst from the entire ensemble. The movement is filled with violent brass, screeching woodwinds, and is accented by barbaric percussion. After a brief return to the material of the first and second movements the material builds to the symphony's climax where violent screaming and shouting can be heard. The movement then slowly returns to the funeral march theme from the first movement.In Of Why? the solo soprano acts as the griever asking and wondering why their loved one has left them. The movement is brief and recalls material from the three previous movements. After one last desperate cry from the soprano and the ensemble the work comes to its quiet close.--Karl Blench.
$60.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Bassoon, English Horn, C Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: Classical
Symphony on Death & Dying by Karl Blench. For Concert Band (Piccolo, Flute 1, 2 (Piccolo 2, 3), Alto Flute (Flute 3), Oboe 1, 2, English Horn, Bassoon 1, 2 (Contrabassoon), Clarinet in Bb 1, 2, 3, 4, Bass Clarinet, Alto Saxophone 1, 2, Baritone Saxophone, Horn in F 1, 2, 3, 4, Trumpet in C 1, 2, 3, 4, Tenor Trombo). Band Music. Grade 5. Score and parts. Duration 17:40. Published by C. Alan Publications (CN.11420). Symphony on Death and Dying was written after taking a course at the University of New Hampshire of the same name. This piece explores the emotions a person may feel after the loss of someone close. The Symphony is cast in four movements played without pause. The pitch material is based on a seven note theme (E, F, G, F#, D#, [E], C, B) and all motives are derived from the intervals contained within this set. The work was written for the University of New Hampshire Wind Ensemble (Durham, NH) and dedicated to the ensemble's director, Dr. Andrew Boysen.Out of Confusion and Anger begins as a funeral march and is centered around the pitch E. The theme is stated from a solo trombone and then picked up by various groups of the ensemble. After the theme is presented an ostinato figure and melodic bass line build to the first outburst of anger followed by a return to the opening material.Of Remembrance is a solemn movement in contrast to the first. The solo clarinet has the melody at the beginning accompanied by soft harmonies in the low brass until it is interrupted by the theme from the first movement. Ghosts then can be heard as singing voices building to a brief climax and then a return to the opening melody this time in the solo bassoon.Of Rage begins with an outburst from the entire ensemble. The movement is filled with violent brass, screeching woodwinds, and is accented by barbaric percussion. After a brief return to the material of the first and second movements the material builds to the symphony's climax where violent screaming and shouting can be heard. The movement then slowly returns to the funeral march theme from the first movement.In Of Why? the solo soprano acts as the griever asking and wondering why their loved one has left them. The movement is brief and recalls material from the three previous movements. After one last desperate cry from the soprano and the ensemble the work comes to its quiet close.--Karl Blench.
$184.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Bassoon, English Horn, C Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: Classical