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Spirit of the Shannon. (Flute Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 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, Horn in F 2, Trombone 1/2, Bass Trombone, Euph). Band Music. Maestro Band Series. Grade 3. Score and parts. Duration 4:30. Published by C. Alan Publications (CN.10080). Celtic in style, this one movement concerto for flute is in three sections: lively, lovely and really, really fast! The accompaniment is accessible by an intermediate level band.
$78.20

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: 20th Century, Classical
Concerto for Piano, Winds & Percussion. (Piano Feature). By David Gillingham. For Soloist(s) with Concert Band (Solo Piano, Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet in A 1, Clarinet in A 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in C 1, Trumpet in C 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone,). Grade 5. Score only. Duration 17:00. Published by C. Alan Publications (CN.09971). Also available for Solo Piano and Percussion Orchestra (Item #06530).
$50.00

Instruments: Flute, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Bass Trombone, Percussion, A Clarinet, C Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trombone, Trumpet
Genres: Classical
Concerto for Piano, Winds & Percussion. (Piano Feature). By David Gillingham. For Soloist(s) with Concert Band (Solo Piano, Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet in A 1, Clarinet in A 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in C 1, Trumpet in C 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone,). Grade 5. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.09970). Also available for Solo Piano and Percussion Orchestra (Item #06530).
$230.00

Instruments: Flute, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Bass Trombone, Percussion, A Clarinet, C Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trombone, Trumpet
Genres: Classical
A Symphony for Salem by D. Mark McCoy. For Concert Band (Piccolo/Alto Flute, Flute, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1-2, F Horn 3-4, Trombone 1, Trombone 2). Grade 5. Score and parts. Duration 19:50. Published by C. Alan Publications (CN.08880). "Thou shalt not suffer a witch to live..." Exodus 22:18Movement I: THE DANCEAccording to Arthur Miller's play, "THE CRUCIBLE", the entire episode began when several young girls (one the daughter of the minister) were caught dancing nude in the fields. To escape the harsh puritan punishments administered for their sins, the girls claimed Tituba, a slave woman from Barbados, had "conjured" spirits. This movement evokes the mood of that first night as each of four instruments (flute, oboe, clarinet and bassoon), portrays one of the antagonists on their journey into the forest on that dark night. The "devil's voice" is heard in euphonium as he changes the mode of the girls dance theme. As the dance builds to a feverish climax, the strains of music from the church are heard echoing in the distance. The dissonance of these themes is indicative of the inherent conflict in the young girl's actions. "The Devil's Waltz" is heard as the girls join in the seductive, ritualistic dance. The initial dance theme is heard again (with its modal alterations) as the girls return to the village and the church. The last strain of the movement corresponds to the line from the hymn "for still our ancient foe doth seek to work us woe..."Movement II: SCENES FROM THE VILLAGE (THE ACCUSED)Salem village was a contentious place full of hard-working, deeply religious people. The town had been suffering land battles for years. The New England winters were dull and hard and there was little to do as celebratory events such as Christmas or Mardi Gras were forbidden. The Village had been caught up in serious disputes with three previous ministers before it finally settled on its fourth, the Reverend Samuel Parris. The power of God and Satan was unquestioned. In this environment, hysteria could run rampant on this sleepy village. Between June and September of 1692, scores of men and women were accused of and tried for witchcraft. Themes in this movement represent two married couples and an old matron accused and executed as witches. Rebecca Nurse was a pious, nearly deaf, seventy-one year old woman. She replied to her accusers "OF this thing I am innocent as a child unborn, but surely, what sin hath God found in me unrepented of that He could lay such an affliction on me in my old age?" Martha Cory denied ever having been a witch and her husband Giles, in his humility had actually testified against her. John Procter was one of the first to speak out against the girls. "If they are let alone we should all be devils and witches." When first his wife and then he himself were accused, witnesses said that it met with much skepticism. The movement begins with Rebecca's theme, it's spinning continuo emblematic of her rocking chair. She had seen difficult times before; just when it seems her theme will stop, it finds the strength to continue. Next the "Cory theme" is heard representing the old couple trying to survive the harsh winter. As the village comes to life, their themes are turned into fugue and double fugue. As the movement nears its end, a love theme is heard representing the strong bond between the Proctors. Their theme is honest, strong and consonant, until the added Eb gives the theme an uneasy feeling of some discord lurking below the surface of this serene melody.Movement III: THE TRIALIn all, fourteen women and six men were put to death as witches. Nineteen of them were hanged. In an attempt to coerce a confession, Giles Cory was "pressed" to death by adding rocks to his chest until he was crushed. Reportedly his last words were "More Weight". Despite their high place of esteem in the community. the Proctors were given to the gallows to appease the screaming children. Even pious, God-fearing Rebecca Nurse was sent to Gallows Hill.The trials were a mockery of judicial restraint. When the accused were lead in, the girls would fall writhing on the floor, accusing the defendants of attacking, pinching, or biting them. If the judges remained unimpressed, the girls would claim the "witches" were sitting on the beams over their heads. The courtroom was a cacophonous, wicked circus with no chance of defense or search for the truth. This movement recreates the air of frustration and confusion as each of the accused are lead in, questioned and interrupted as they attempt to defend themselves. An eight-note theme is truncated again and again as if it were sand passing through an hourglass, for once in the courtroom, it was simply a matter of time until the guilty verdict was issued. The "Cory theme" is heard First and, as they state their case, the people of the village join in to claim their innocence. Their defense goes unheard. Martha is sent to the gallows and Giles is "pressed" to death. The love theme of the Proctors is heard again but it too is interrupted and ignored. They are sent to their deaths. Rebecca's theme is uttered softly to no avail; unlike before, it hasn't the power to continue. She is condemned to death as well.Movement IV: THE QUESTIONFinally, the Governor of Massachusetts forbad the use use of "spectral evidence" in the proceedings. The girls were silenced. Several months after the fury had dissipated, the "afflicted" girls were walking in a nearby town. As they passed a woman that they did not know, they fell writhing on the ground, accusing the woman of witchcraft. However, the people of this town paid the girls no attention. They had no desire to repeat the sins of Salem. The surprised girls rose and went on their way. No words were spoken, no names and deeds given, no apparitions imagined or explained.Narcissism would have us believe that that incident closed the book on witch trials in America. But history proves otherwise. The innocent people whose lives were wrecked by the McCarthy Hearings as recently as the 1950's relived the sins of Salem in a very real sense. The perrenial election-year arguments are at times eerily reminiscent of the witch hunts. "Those who do not study history are doomed to repeat it..." it would seem as true for most who do. Despite the fact that we condemn the people of Salem, we are all too capable of repeating their mistakes. The question is unfortunately not "will it happen again?" but "when......?".
$216.20

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
Chumash Dance Celebration by Emma Lou Diemer (1927-). Arranged by H. Popp. For Full Orchestra (Piccolo/Flute 1/2, Oboe 1/2, Bb Clarinet 1/2, Bassoon 1/2, F Horn 1/3, F Horn 2/4, Bb Trumpet 1, Bb Trumpet 2/3, Trombone 1/2, Trombone 3, Tuba, Timpani, Percussion 1 (snare drum), Percussion 2 (field drum), Percussion 3 (bass drum), Percussion 4 (medium ). Grade 4. Score only. Duration 4:00. Published by C. Alan Publications (CN.09221). Inspired by the Chumash Indian Tribe Pow Wows, this piece takes you to a celebration of the seasons. Hear the dance rhythms as the drums pound out the dance steps.
$16.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Trumpet
Genres: Classical, 20th Century
Chumash Dance Celebration by Emma Lou Diemer (1927-). For Full Orchestra (Piccolo/Flute 1/2, Oboe 1/2, Bb Clarinet 1/2, Bassoon 1/2, F Horn 1/3, F Horn 2/4, Bb Trumpet 1, Bb Trumpet 2/3, Trombone 1/2, Trombone 3, Tuba, Timpani, Percussion 1 (snare drum), Percussion 2 (field drum), Percussion 3 (bass drum), Percussion 4 (medium ). Grade 4. Score and parts. Duration 4:00. Published by C. Alan Publications (CN.09220). Inspired by the Chumash Indian Tribe Pow Wows, this piece takes you to a celebration of the seasons. Hear the dance rhythms as the drums pound out the dance steps.
$85.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Trumpet
Genres: Classical, 20th Century
Tu Pauperum Refugium by Josquin des Prez (1440-1521). Arranged by G. Brock. For Concert Band (flute 1/2, oboe, clarinet in Bb 1-3, bass clarinet, bassoon, alto saxophone 1/2, tenor saxophone, baritone saxophone, trumpet in Bb 1/2, horn in F 1/2, trombone 1/2, euphonium, string bass, tuba). Grade 3. Score only. Duration 4:00. Published by C. Alan Publications (CN.09141). Based on Josquin Desprez's motet Tu Pauperum Refugium, this work begins with soul-settling chords, then moves off into the complex polyphony Josquin perfected 500 years ago. A beautiful arrangement for band.
$10.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Genres: Renaissance, Classical
Pax by Catherine McMichael. For Concert Band (Flute 1/2, Oboe, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1/2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bariton). Grade 2. Score only. Duration 3:20. Published by C. Alan Publications (CN.09111). "Pax," originally in McMichael's "Rose Quartet" for piano and string trio, is melodic, moving and instantly appealing to listeners and performers alike. With a superb musical journey, it will enhance any concert. A memorable tune with a dramatic flare.
$10.00

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
Lewis and Clark by Catherine McMichael. For Concert Band (Flute 1/2, Oboe, Bassoon, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, Horn in F 1/2, Trombone 1/2, Baritone, (Baritone T.C.), Tuba, Timpani, Percussion 1 [2 players] (snare drum, bass). Grade 3. Score only. Duration 2:15. Published by C. Alan Publications (CN.09051). Using the folk songs "New Rigged Ship" and "Jefferson & Liberty," the exciting story of the Lewis and Clark expedition launches a musical journey of discovery and exploration.
$10.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical
Tu Pauperum Refugium by Josquin des Prez (1440-1521). Arranged by G. Brock. For Concert Band (flute 1/2, oboe, clarinet in Bb 1-3, bass clarinet, bassoon, alto saxophone 1/2, tenor saxophone, baritone saxophone, trumpet in Bb 1/2, horn in F 1/2, trombone 1/2, euphonium, string bass, tuba). Grade 3. Score and parts. Duration 4:00. Published by C. Alan Publications (CN.09140). Based on Josquin Desprez's motet Tu Pauperum Refugium, this work begins with soul-settling chords, then moves off into the complex polyphony Josquin perfected 500 years ago. A beautiful arrangement for band.
$64.40

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Genres: Renaissance, Classical
Pax by Catherine McMichael. For Concert Band (Flute 1/2, Oboe, Bassoon, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1/2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bariton). Grade 2. Score and parts. Duration 3:20. Published by C. Alan Publications (CN.09110). "Pax," originally in McMichael's "Rose Quartet" for piano and string trio, is melodic, moving and instantly appealing to listeners and performers alike. With a superb musical journey, it will enhance any concert. A memorable tune with a dramatic flare.
$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
Lewis and Clark by Catherine McMichael. Arranged by Stuart Johnson. For Concert Band (Flute 1/2, Oboe, Bassoon, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, Horn in F 1/2, Trombone 1/2, Baritone, (Baritone T.C.), Tuba, Timpani, Percussion 1 [2 players] (snare drum, bass). Grade 3. Score and parts. Duration 2:15. Published by C. Alan Publications (CN.09050). Using the folk songs "New Rigged Ship" and "Jefferson & Liberty," the exciting story of the Lewis and Clark expedition launches a musical journey of discovery and exploration.
$64.40

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical
The Black Sea by Gary Gackstatter. For Full Orchestra (flute 1/2, oboe 1/2, clarinet in Bb 1/2, bassoon 1/2, horn in F 1/2, trombone 1/2, tuba, percussion (suspended cymbal, tambourine, snare drum, Finger cymbals), xylophone, violin I, violin II, viola, violoncello, contrabass). Grade 3. Score only. Duration 2:15. Published by C. Alan Publications (CN.08951). This high-energy piece will have your players rising to the challenge. The unpredictable Black Sea is depicted with meter changes, col legno, pizzicato and more. It's dramatic but not overly difficult. Brief interludes in 7/8 are actually a relatively easy 3+2+2 and the dynamic changes and accents are a blast to play.
$9.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, Trombone, Percussion, Xylophone, Tuba, Woodwinds, Clarinet, Brass, Strings
Genres: Classical
The Black Sea by Gary Gackstatter. For Full Orchestra (flute 1/2, oboe 1/2, clarinet in Bb 1/2, bassoon 1/2, horn in F 1/2, trombone 1/2, tuba, percussion (suspended cymbal, tambourine, snare drum, Finger cymbals), xylophone, violin I, violin II, viola, violoncello, contrabass). Grade 3. Score and parts. Duration 2:15. Published by C. Alan Publications (CN.08950). This high-energy piece will have your players rising to the challenge. The unpredictable Black Sea is depicted with meter changes, col legno, pizzicato and more. It's dramatic but not overly difficult. Brief interludes in 7/8 are actually a relatively easy 3+2+2 and the dynamic changes and accents are a blast to play.
$60.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, Trombone, Percussion, Xylophone, Tuba, Woodwinds, Clarinet, Brass, Strings
Genres: Classical
A Symphony for Salem by D. Mark McCoy. For Concert Band (Piccolo/Alto Flute, Flute, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1-2, F Horn 3-4, Trombone 1, Trombone 2). Grade 5. Score only. Duration 19:50. Published by C. Alan Publications (CN.08881). "Thou shalt not suffer a witch to live..." Exodus 22:18Movement I: THE DANCEAccording to Arthur Miller's play, "THE CRUCIBLE", the entire episode began when several young girls (one the daughter of the minister) were caught dancing nude in the fields. To escape the harsh puritan punishments administered for their sins, the girls claimed Tituba, a slave woman from Barbados, had "conjured" spirits. This movement evokes the mood of that first night as each of four instruments (flute, oboe, clarinet and bassoon), portrays one of the antagonists on their journey into the forest on that dark night. The "devil's voice" is heard in euphonium as he changes the mode of the girls dance theme. As the dance builds to a feverish climax, the strains of music from the church are heard echoing in the distance. The dissonance of these themes is indicative of the inherent conflict in the young girl's actions. "The Devil's Waltz" is heard as the girls join in the seductive, ritualistic dance. The initial dance theme is heard again (with its modal alterations) as the girls return to the village and the church. The last strain of the movement corresponds to the line from the hymn "for still our ancient foe doth seek to work us woe..."Movement II: SCENES FROM THE VILLAGE (THE ACCUSED)Salem village was a contentious place full of hard-working, deeply religious people. The town had been suffering land battles for years. The New England winters were dull and hard and there was little to do as celebratory events such as Christmas or Mardi Gras were forbidden. The Village had been caught up in serious disputes with three previous ministers before it finally settled on its fourth, the Reverend Samuel Parris. The power of God and Satan was unquestioned. In this environment, hysteria could run rampant on this sleepy village. Between June and September of 1692, scores of men and women were accused of and tried for witchcraft. Themes in this movement represent two married couples and an old matron accused and executed as witches. Rebecca Nurse was a pious, nearly deaf, seventy-one year old woman. She replied to her accusers "OF this thing I am innocent as a child unborn, but surely, what sin hath God found in me unrepented of that He could lay such an affliction on me in my old age?" Martha Cory denied ever having been a witch and her husband Giles, in his humility had actually testified against her. John Procter was one of the first to speak out against the girls. "If they are let alone we should all be devils and witches." When first his wife and then he himself were accused, witnesses said that it met with much skepticism. The movement begins with Rebecca's theme, it's spinning continuo emblematic of her rocking chair. She had seen difficult times before; just when it seems her theme will stop, it finds the strength to continue. Next the "Cory theme" is heard representing the old couple trying to survive the harsh winter. As the village comes to life, their themes are turned into fugue and double fugue. As the movement nears its end, a love theme is heard representing the strong bond between the Proctors. Their theme is honest, strong and consonant, until the added Eb gives the theme an uneasy feeling of some discord lurking below the surface of this serene melody.Movement III: THE TRIALIn all, fourteen women and six men were put to death as witches. Nineteen of them were hanged. In an attempt to coerce a confession, Giles Cory was "pressed" to death by adding rocks to his chest until he was crushed. Reportedly his last words were "More Weight". Despite their high place of esteem in the community. the Procters were given to the gallows to appease the screaming children. Even pious, God-fearing Rebecca Nurse was sent to Gallows Hill.The trials were a mockery of judicial restraint. When the accused were lead in, the girls would fall writhing on the floor, accusing the defendants of attacking, pinching, or biting them. If the judges remained unimpressed, the girls would claim the "witches" were sitting on the beams over their heads. The courtroom was a cacophonous, wicked circus with no chance of defense or search for the truth. This movement recreates the air of frustration and confusion as each of the accused are lead in, questioned and interrupted as they attempt to defend themselves. An eight-note theme is truncated again and again as if it were sand passing through an hourglass, for once in the courtroom, it was simply a matter of time until the guilty verdict was issued. The "Cory theme" is heard First and, as they state their case, the people of the village join in to claim their innocence. Their defense goes unheard. Martha is sent to the gallows and Giles is "pressed" to death. The love theme of the Proctors is heard again but it too is interrupted and ignored. They are sent to their deaths. Rebecca's theme is uttered softly to no avail; unlike before, it hasn't the power to continue. She is condemned to death as well.Movement IV: THE QUESTIONFinally, the Governor of Massachusetts forbad the use use of "spectral evidence" in the proceedings. The girls were silenced. Several months after the fury had dissipated, the "afflicted" girls were walking in a nearby town. As they passed a woman that they did not know, they fell writhing on the ground, accusing the woman of witchcraft. However, the people of this town paid the girls no attention. They had no desire to repeat the sins of Salem. The surprised girls rose and went on their way. No words were spoken, no names and deeds given, no apparitions imagined or explained.Narcissism would have us believe that that incident closed the book on witch trials in America. But history proves otherwise. The innocent people whose lives were wrecked by the McCarthy Hearings as recently as the 1950's relived the sins of Salem in a very real sense. The perrenial election-year arguments are at times eerily reminiscent of the witch hunts. "Those who do not study history are doomed to repeat it..." it would seem as true for most who do. Despite the fact that we condemn the people of Salem, we are all too capable of repeating their mistakes. The question is unfortunately not "will it happen again?" but "when......?".
$50.00

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
Woodland Serenade and Rondo. (Alto Saxophone Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score only. Duration 6:00. Published by C. Alan Publications (CN.08781). Woodland Serenade & Rondo is a 6-minute concerto, crafted to spotlight not only a fine saxophone soloist, but also to give a director the opportunity to feature other outstanding solo wind players in the ensemble. Its premiere was December 20, 2003 at the prestigious Midwest Band and Orchestra Clinic in Chicago. It was performed by The Woodlands (TX) High School Band, Brett Johnson conducting, with Mr. Lynn Klock, professor of saxophone at the University of Massachussetts at Amherst, the soloist.Although it is a short piece, the thematic material is rich and well-developed. The serenade's simple, haunting theme demands sensitive musicality and warm tone quality from soloist and band alike. Vibraphone, marimba, bells and wind chimes create a dreamy backdrop to the long-limbed melody. At times the serenade is chamber-like in texture spotlighting solo winds on lines that answer and mingle with the saxophone melodies. A short cadenza is followed by an improvisational type variation of the main theme, and the serenade comes to a peaceful close as the saxophone and solo winds call and respond with a motive from the theme. An immediate segue into the rondo follows, picking up the pace with a jazzy tune derived from the serenade theme, accompanied by brass. In classic rondo form, the second and third themes have contrasting textures and moods, and include the use of xylophone, slapstick, rimshots and other percussion colors. Sass, humor and driving intensity are all elements of this fast-paced rondo, with the ending bringing a real wail of delight from soloist, band and audience alike.- Catherine McMichael.
$25.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: 20th Century, Classical
Woodland Serenade and Rondo. (Alto Saxophone Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn in F 1/2, Horn in F 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score and parts. Duration 6:00. Published by C. Alan Publications (CN.08780). Woodland Serenade & Rondo is a 6-minute concerto, crafted to spotlight not only a fine saxophone soloist, but also to give a director the opportunity to feature other outstanding solo wind players in the ensemble. Its premiere was December 20, 2003 at the prestigious Midwest Band and Orchestra Clinic in Chicago. It was performed by The Woodlands (TX) High School Band, Brett Johnson conducting, with Mr. Lynn Klock, professor of saxophone at the University of Massachussetts at Amherst, the soloist.Although it is a short piece, the thematic material is rich and well-developed. The serenade's simple, haunting theme demands sensitive musicality and warm tone quality from soloist and band alike. Vibraphone, marimba, bells and wind chimes create a dreamy backdrop to the long-limbed melody. At times the serenade is chamber-like in texture spotlighting solo winds on lines that answer and mingle with the saxophone melodies. A short cadenza is followed by an improvisational type variation of the main theme, and the serenade comes to a peaceful close as the saxophone and solo winds call and respond with a motive from the theme. An immediate segue into the rondo follows, picking up the pace with a jazzy tune derived from the serenade theme, accompanied by brass. In classic rondo form, the second and third themes have contrasting textures and moods, and include the use of xylophone, slapstick, rimshots and other percussion colors. Sass, humor and driving intensity are all elements of this fast-paced rondo, with the ending bringing a real wail of delight from soloist, band and audience alike.- Catherine McMichael.
$110.40

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: 20th Century, Classical
Sapphire. (Alto Saxophone Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Solo Alto Saxophone, Bb Trumpet 1-4, F Horn 1-4, Trombone 1/2, Bass Trombone, Euphonium, Tub). Grade 5. Score only. Duration 11:20. Published by C. Alan Publications (CN.08611). "Sapphire" is a one-movement concerto for alto saxophone and concert band or wind ensemble, commissioned by Mr. Lynn Klock, Professor of Saxophone at the University of Massachussetts at Amherst. It consists of three connected sections: the fast opening section is full of energy and edgy intensity; the second is a meditative ballad in improvisatory style, linked by a cadenza to the third section, which is a lively salsa, giving the percussion section a real workout. The themes of all the sections are reunited in the coda of the piece, as it culminates in a long trill by the solo saxophone, with instruments gradually added for a noisy, celebratory climax. The piece was composed entirely during the month of September 2000, and the title Sapphire refers to September's birthstone.
$35.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat 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
Aegean Symphony by Gary Ziek. 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, F Horn 1, F Horn 2, F Horn 3, F Horn 4, Trombo). Grade 5. Score only. Duration 20:35. Published by C. Alan Publications (CN.08551). I. PhaetonII. SisyphusIII. PanIV. Pandora"The Aegean Symphony" is comprised of four narrative movements telling the story of four Greek mythological legends. Phaeton's ill fated chariot ride across the sky, Sisyphus' doomed eternity of frustration, the origin of the Pan flute, and Pandora's curiosity that released the ills of the world only to be comforted by Hope at the conclusion.
$50.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical
Military Music of Beethoven by Ludwig van Beethoven (1770-1827). Arranged by J. Boyd. For Concert Band (Piccolo, Flute, Oboe 1/2, Eb Clarinet, Clarinet 1-4, Bassoon 1/2, Contrabassoon, Horn 1/2, Horn 3/4, Bb Trumpet 1-6, Opt. C Trumpet 1-6, Trombone 1/2, Euphonium 1/2, Opt. T.C. Baritone 1/2, Tuba, Piano, Percussion 1 (snare drum, bass drum), Percussion 2 (). Grade 4. Score only. Duration 10:00. Published by C. Alan Publications (CN.08201). In 1807, Beethoven composed a little March (WoO 29) for two clarinets, two horns and two bassoons for Prince Esterhazy in connection with his trip to Eisenstadt in September 1807. Beginning in 1809, the Beethoven marches for band appear. The first, a March in F (WoO 18) was composed "for his Royal Highness Archduke Anton, 1809." Additional marches for band appear in 1810. The first was another March in F composed "for his Royal Highness Archduke Anton, 1810, Baden, on the 3rd Summer month." This march (WoO 19) and the March in F were performed at the tournament at Laxenburg held on August 25, 1810, in honor of the birthday of Empress Maria Ludovica. In this year, Beethoven also composed the Ecossaise in D (WoO 22); Ecossaise in G (WoO 23 - not in the collected works); Polonaise in D (WoO 21); and the March in C WoO 20); all for military band.The final known march that Beethoven composed is the March (WoO 24) of 1816. This was in response to a request from lieutenant Commander Franz Xaver Embel of the Civil Artillery Corps asking Beethoven for a "March of Turkish Music." In the final months of his life, Beethoven still hoped to compose future wind compositions. In December 1826, he spoke with Adolf Schesinger about some military marches which he intended to compose for the Royal Band of the King of Prussia. Unfortunately he did not live to compose any additional works.- John Boyd.
$25.00

Instruments: Piano, Flute, E-Flat Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Baritone Horn TC, Euphonium, Percussion, Tuba, C Trumpet, Piano and Keyboard, Woodwinds, Clarinet, Brass, Trumpet, Baritone Horn
Genres: Classical Period, Classical
Aegean Symphony by Gary Ziek. 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, F Horn 1, F Horn 2, F Horn 3, F Horn 4, Trombo). Grade 5. Score and parts. Duration 20:35. Published by C. Alan Publications (CN.08550). I. PhaetonII. SisyphusIII. PanIV. Pandora"The Aegean Symphony" is comprised of four narrative movements telling the story of four Greek mythological legends. Phaeton's ill fated chariot ride across the sky, Sisyphus' doomed eternity of frustration, the origin of the Pan flute, and Pandora's curiosity that released the ills of the world only to be comforted by Hope at the conclusion.
$161.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical
Sapphire. (Alto Saxophone Feature). By Catherine McMichael. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Solo Alto Saxophone, Bb Trumpet 1-4, F Horn 1-4, Trombone 1/2, Bass Trombone, Euphonium, Tub). Grade 5. Score and parts. Duration 11:20. Published by C. Alan Publications (CN.08610). "Sapphire" is a one-movement concerto for alto saxophone and concert band or wind ensemble, commissioned by Mr. Lynn Klock, Professor of Saxophone at the University of Massachussetts at Amherst. It consists of three connected sections: the fast opening section is full of energy and edgy intensity; the second is a meditative ballad in improvisatory style, linked by a cadenza to the third section, which is a lively salsa, giving the percussion section a real workout. The themes of all the sections are reunited in the coda of the piece, as it culminates in a long trill by the solo saxophone, with instruments gradually added for a noisy, celebratory climax. The piece was composed entirely during the month of September 2000, and the title Sapphire refers to September's birthstone.
$170.20

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat 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
Chamber Symphony No. 3 for Clarinet. (Clarinet Feature). By Daniel McCarthy. For Solo Bb Clarinet & Chamber Ensemble (Solo Bb Clarinet, Flute, Oboe, Bb Clarinet, Bass Clarinet, Bassoon, F Horn, Bb Trumpet, Trombone, Tuba, Percussion 1-2 (crotales, suspended cymbal, low tom, timbales, bongos, temple blocks, finger cymbals, maracas, timpani, shaker), Piano, Violin I, Violi). Medium difficult. Score only. Published by C. Alan Publications (CN.08601). Chamber Symphony No. 3 was written for the Cleveland Chamber Symphony and clarinetist Kristina Belisle. This is the third work by McCarthy titled "Chamber Symphony" written for a soloist and chamber group. The term is used instead of "concerto" due to a more virtuosic approach to the ensemble writing so that ensemble and soloist are intimately involved. Chamber Symphony No. 1 for Marimba and Winds and Chamber Symphony No. 2for Bassoon and Winds are recorded on Klavier Records by the North Texas Wind Symphony conducted by Eugene Corporon. The six movements were written during a dark period of the composer's life involving several family deaths and deep personal struggle. The second movement, Holy Ghost, is a remembrance of McCarthy's mother, a strong woman of faith who died in the summer of 2002. A Voice in the Dark depicts the reality of living with the specter of those who have passed. TanzMusik, a lively dance movement, is perhaps a bit sarcastic. It is about trying to dance the lively dance in the midst of profound doubt and struggle.
$20.00

Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, Violin, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Brass, Strings, Trumpet
Genres: Classical
Chamber Symphony No. 3 for Clarinet. (Clarinet Feature). By Daniel McCarthy. For Solo Bb Clarinet & Chamber Ensemble (Solo Bb Clarinet, Flute, Oboe, Bb Clarinet, Bass Clarinet, Bassoon, F Horn, Bb Trumpet, Trombone, Tuba, Percussion 1-2 (crotales, suspended cymbal, low tom, timbales, bongos, temple blocks, finger cymbals, maracas, timpani, shaker), Piano, Violin I, Violi). Medium difficult. Score and parts. Published by C. Alan Publications (CN.08600). Chamber Symphony No. 3 was written for the Cleveland Chamber Symphony and clarinetist Kristina Belisle. This is the third work by McCarthy titled "Chamber Symphony" written for a soloist and chamber group. The term is used instead of "concerto" due to a more virtuosic approach to the ensemble writing so that ensemble and soloist are intimately involved. Chamber Symphony No. 1 for Marimba and Winds and Chamber Symphony No. 2for Bassoon and Winds are recorded on Klavier Records by the North Texas Wind Symphony conducted by Eugene Corporon. The six movements were written during a dark period of the composer's life involving several family deaths and deep personal struggle. The second movement, Holy Ghost, is a remembrance of McCarthy's mother, a strong woman of faith who died in the summer of 2002. A Voice in the Dark depicts the reality of living with the specter of those who have passed. TanzMusik, a lively dance movement, is perhaps a bit sarcastic. It is about trying to dance the lively dance in the midst of profound doubt and struggle.
$90.00

Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, Violin, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Brass, Strings, Trumpet
Genres: Classical
And Make A Joyous Sound by Roger Cichy. For Full Orchestra (Piccolo, Flute 1-2, Oboe 1-2, Bb Clarinet 1-2, Bassoon 1-2, Contra Bassoon, F Horn 1-4, C Trumpet 1-2, Trombone 1-2, Bass Trombone, Tuba, Timpani, Percussion 1 (snare drum, bass drum, suspended cymbal, triangle--small and large), Percussion 2 (chimes, cra). Score only. Duration 2:05. Published by C. Alan Publications (CN.06631). Commissioned by the Des Moines SymphonyJoseph Giunta, Music Director and ConductorIn celebration of the orchestra's 60th anniversary through the generosity of Tom and Linda Koehn.
$25.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Bass Trombone, Percussion, Timpani, Tuba, C Trumpet, Woodwinds, Clarinet, Brass, Trombone, Trumpet
Genres: Classical
Five Songs from the Summit by Daniel McCarthy. For Full Orchestra with CD (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Bassoon 1, Bassoon 2, Horn in F 1-2, Horn in F 3-4, Trumpet in Bb 1, Trumpet in Bb 2-3, Tuba, Timpani, Percussion 1 (drum set, bongos, claves), Percussion 2 (sha). Grade 5. Score only. Duration 10:00. Published by C. Alan Publications (CN.06621). Commissioned by the Akron Symphony Orchestra for the 75th anniversary celebration. The piece is for youth orchestra with an accompanying cd of songs written by middle school children from Akron middle schools.
$20.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Percussion, Timpani, Drum Set, Tuba, Woodwinds, Clarinet, Brass, Trumpet, Drums
Genres: Classical
Artemis Rising by Jeffrey Bishop. For Full or String Orchestra (Flute 1, Flute 2, Oboe 1, Oboe 2, Bb Clarinet 1, Bb Clarinet 2, Bassoon 1, Bassoon 2, F Horn 1/3, F Horn 2/4, Bb Trumpet 1, Bb Trumpet 2, Trombone 1/2, Tuba, Violin 1, Violin 2, Viola, Cello, Double Bass, Timpani, Percussion [2 players] (snare drum, bass ). String Music. Grade 3. Score only. Duration 2:50. Published by C. Alan Publications (CN.06611). This powerful work inspired by the Greek goddess Artemis uses syncopation and accents to build tension and captivate the audience. The main moods in the work are marked "Allegro con fuoco" and "giocoso" as the music moves from a serious minor mode to a major key ending.
$18.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Strings, Trumpet
Genres: Classical
Orpheus in the Underworld by Jacques Offenbach (1819-1880). Arranged by J. Bishop. For Full or String Orchestra (flute, oboe, Bb clarinet 1, Bb clarinet 2, bass clarinet, bassoon, F horn 1, F horn 2, Bb trumpet 1, Bb trumpet 2, trombone, tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (3, players) (snare drum, bass drum, crash cymbals)). String Music. Grade 3. Score only. Duration 2:50. Published by C. Alan Publications (CN.06601). Here is a strong arrangement at the medium-easy level that offers you all the excitement of the original! With cues given to cover all the wind parts, this really can be done with strings only or as a full orchestra. From the mysterious opening, to the "Can-Can" dance, to the big finish, this one has it all.
$20.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Strings, Trumpet
Genres: Classical
Over the Hills by Jeffrey Bishop. For Full or String Orchestra (flute 1, flute 2, oboe 1, oboe 2, Bb clarinet 1, Bb clarinet 2, bassoon 1, bassoon 2, F horn 1/3, F horn 2/4, Bb trumpet 1, Bb trumpet 2, trombone 1/2, bass trombone/tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (bells, suspended). String Music. Grade 2. Score only. Duration 2:40. Published by C. Alan Publications (CN.06591). An Irish Folk Song Setting for Full or String Orchestra.
$10.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Strings, Trumpet, Trombone
Genres: Classical
From This Time Forth by David Gillingham. For Full Orchestra with SATB Choir (Flute/Piccolo 1/2, Oboe 1/2, Bb Clarinet 1/2, Bassoon 1/2, F Horn 1/2, F Horn 3/4, C Trumpet 1, C Trumpet 2/3, Trombone 1/2, Bass Trombone, Tuba, Timpani, Percussion 1 (crotales, 3 brake drums, 4 toms, bass drum, hi hat), Percussion 2 (bells, chimes, temp). Score only. Duration 12:30. Published by C. Alan Publications (CN.06541). Psalm 121I lift up my eyes to the hillsfrom whence does my help come?My help comes from the Lord,who made heaven and earth.He will not let your foot be moved,he who keeps you will not slumber.Behold, he who keeps Israelwill neither slumber nor sleepThe Lord is your keeper;the Lord is your shadeon your right hand.The sun shall not smite you by day,nor the moon by night.The Lord will keep you from all evil;He will keep your life.The Lord will keepyour going out and your coming infrom this time forth and for evermore.
$75.00

Instruments: Choir, Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Bass Trombone, Percussion, Timpani, Drums, Tuba, C Trumpet, Vocal, Woodwinds, Clarinet, Brass, Trombone, Trumpet
Genres: Classical
And Make A Joyous Sound by Roger Cichy. For Full Orchestra (Piccolo, Flute 1-2, Oboe 1-2, Bb Clarinet 1-2, Bassoon 1-2, Contra Bassoon, F Horn 1-4, C Trumpet 1-2, Trombone 1-2, Bass Trombone, Tuba, Timpani, Percussion 1 (snare drum, bass drum, suspended cymbal, triangle--small and large), Percussion 2 (chimes, cra). Score and parts. Duration 2:05. Published by C. Alan Publications (CN.06630). Commissioned by the Des Moines SymphonyJoseph Giunta, Music Director and ConductorIn celebration of the orchestra's 60th anniversary through the generosity of Tom and Linda Koehn.
$90.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Bass Trombone, Percussion, Timpani, Tuba, C Trumpet, Woodwinds, Clarinet, Brass, Trombone, Trumpet
Genres: Classical
Five Songs from the Summit by Daniel McCarthy. For Full Orchestra with CD (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Clarinet in Bb 1, Clarinet in Bb 2, Bass Clarinet, Bassoon 1, Bassoon 2, Horn in F 1-2, Horn in F 3-4, Trumpet in Bb 1, Trumpet in Bb 2-3, Tuba, Timpani, Percussion 1 (drum set, bongos, claves), Percussion 2 (sha). Grade 5. Score and parts. Duration 10:00. Published by C. Alan Publications (CN.06620). Commissioned by the Akron Symphony Orchestra for the 75th anniversary celebration. The piece is for youth orchestra with an accompanying cd of songs written by middle school children from Akron middle schools.
$89.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Percussion, Timpani, Drum Set, Tuba, Woodwinds, Clarinet, Brass, Trumpet, Drums
Genres: Classical
Artemis Rising by Jeffrey Bishop. For Full or String Orchestra (Flute 1, Flute 2, Oboe 1, Oboe 2, Bb Clarinet 1, Bb Clarinet 2, Bassoon 1, Bassoon 2, F Horn 1/3, F Horn 2/4, Bb Trumpet 1, Bb Trumpet 2, Trombone 1/2, Tuba, Violin 1, Violin 2, Viola, Cello, Double Bass, Timpani, Percussion [2 players] (snare drum, bass ). String Music. Grade 3. Score and parts. Duration 2:50. Published by C. Alan Publications (CN.06610). This powerful work inspired by the Greek goddess Artemis uses syncopation and accents to build tension and captivate the audience. The main moods in the work are marked "Allegro con fuoco" and "giocoso" as the music moves from a serious minor mode to a major key ending.
$65.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Strings, Trumpet
Genres: Classical
Orpheus in the Underworld by Jacques Offenbach (1819-1880). Arranged by J. Bishop. For Full or String Orchestra (flute, oboe, Bb clarinet 1, Bb clarinet 2, bass clarinet, bassoon, F horn 1, F horn 2, Bb trumpet 1, Bb trumpet 2, trombone, tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (3, players) (snare drum, bass drum, crash cymbals)). String Music. Grade 3. Score and parts. Duration 2:50. Published by C. Alan Publications (CN.06600). Here is a strong arrangement at the medium-easy level that offers you all the excitement of the original! With cues given to cover all the wind parts, this really can be done with strings only or as a full orchestra. From the mysterious opening, to the "Can-Can" dance, to the big finish, this one has it all.
$70.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Strings, Trumpet
Genres: Classical
Over the Hills by Jeffrey Bishop. For Full or String Orchestra (flute 1, flute 2, oboe 1, oboe 2, Bb clarinet 1, Bb clarinet 2, bassoon 1, bassoon 2, F horn 1/3, F horn 2/4, Bb trumpet 1, Bb trumpet 2, trombone 1/2, bass trombone/tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (bells, suspended). String Music. Grade 2. Score and parts. Duration 2:40. Published by C. Alan Publications (CN.06590). An Irish Folk Song Setting for Full or String Orchestra.
$65.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Strings, Trumpet, Trombone
Genres: Classical
American Dance Music. (Concerto for Brass Quintet & 1 Percussion). By Daniel McCarthy. For Soloist(s) & Full Orchestra (Flute 1/2 (Piccolo), Oboe 1/2, Bb Clarinet 1/2, Bassoon 1/2, F Horn 1-3, Bb Trumpet 1/2, Trombone, Bass Trombone, Percussion 1 (congas/bongos, maracas, snare drum, suspended cymbals, vibraslap, woodblock), Percussion 2 (bass drum, claves, hi-hat, suspende). Medium difficult. Score only. Duration 10:00. Published by C. Alan Publications (CN.06201). AMERICAN DANCE MUSIC was commissioned by RHYTHM & BRASS in 1995. McCarthy was asked to compose a piece that would be musically challenging for the group and appealing to audiences. Thus, such a work was written by McCarthy that celebrates uniquely American music popularized by American dance crazes. The Unsquare Dance pairs the tuba and xylophone in a sophisticated "hoe-down" with frequent meter changes creating music that is "un-square." Latina is patterned after the "Lambada," the dance made famous in the film "Dirty Dancing." Latin rhythms combine with a Baroque style canon. Serenade recalls the ~40,s style slow dance with a Tommy Dorsey-like trombone solo and a musical language of modem jazz. J~ borrows from the 1950s be bop era and the like of Dizzy Gillespie, Gerry Mulligan and Stan Kenton with another tuba and xylophone duet. ROKlT is unabashedly dedicated to the composer's favorite rock/funk group, Tower of Power. With the all important drum solo, this movement combines the elements of jazz, rock and funk so prevalent in the 70,s styles of groups such as Tower of Power, Blood, Sweat and Tears, and Chicago.
$75.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Percussion, Woodwinds, Clarinet, Brass, Trumpet, Trombone
Genres: Classical, Americana, Folk
Interplay for Piano 4-Hands & Orchestra by David Gillingham. Arranged by Dennis Wright. Piano, 4-hands and Orchestra. For Soloist(s) with Full Orchestra (Solo Piano Primo, Solo Piano Secondo, Piccolo, Flute 1/2, Oboe 1/2, A Clarinet 1/2, Bassoon 1/2, F Horn 1/2, F Horn 3/4, C Trumpet 1-3, Trombone 1-2, Bass Trombone, Tuba, Violin I, Violin 2, Viola, Cello, Double Bass, Timpani, Percussion 1 (xylophone, bel). Score only. Duration 10:15. Published by C. Alan Publications (CN.06191). Interplay for Piano Four Hands and Orchestra was written with the intent of increasing the repertoire for the unique combination of piano four hands and orchestra. The motivation for the creation of this work came as the result of an invitation to become part of the Master Musicians Collective orchestral recording project in 1994. Having written extensively for winds and percussion, I was intrigued by the thought of writing my first orchestra work. After committing to the project, my decision to use the piano as a solo instrument with the orchestra came from the inspiration of Central Michigan University duo pianists Ruth Neville and Daniel Koppelman, who comprise duo rudenako.Interplay is cast in one movement in a rather free sonata design with part of the development section being in a slow tempo and in a quasi-rhapsodic style. As the title implies, the work is an exchange or "interplay" between the pianists and the orchestra in a flashy, concertato style. The work begins in a fast tempo with the piano primo playing a six-note ostinato pattern which is the foundation of all thematic and motivic material found in the work. Accompanying the piano are strongly accented pitch-dense chords in the orchestra. This culminates with a cadenza-like passage by both pianists that is followed by the first theme. The first theme is spirited and rhythmically alive and is based on the opening ostinato. A short episode follows after which there is a return of the first theme. In direct contrast to the first theme, the ensuing second theme is lyrical and based on the first three notes of the six-note ostinato and is presented by piano primo accompanied by harp-like passages in the piano secondo. A codetta in the low brass closes the exposition.The development begins with a jazz-like episode in both piano parts complete with a "walking" contra bass and drum set line. A short piano cadenza bridges to another episode, somewhat similar to the first, but more strident and intense and accompanied by bongos, toms, and bass drum. This segues into an ostinato pattern above which remnants of the first theme return in the horns and trumpets, bring the fast section to a dramatic conclusion.A slow and mysterious section follows. Piano primo dominates in this section, beginning with quick figurations based on motivic material accompanied by rolled marimba chords and "swishing" vibraphone. This develops into a presentation of first theme material in augmentation accompanied by a pandiatonic ostinato in the piano primo and cascading woodwinds. A brass fanfare announces a cadenza passage by the primo piano and secondo which accelerates, but quickly returns to the slow tempo with short solo passages by the oboe, flute, and clarinet. A retransition by piano primo and secondo at tempo primo follows, reminiscent of the jazz episode at the development's beginning. The return of the first theme is literal but is now followed by a new bridge which links to the second theme, now played by the violins. An extended coda brings the work to a rousing close.--DRG.
$75.00

Instruments: Flute, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, Bass Trombone, Percussion, Timpani, Xylophone, Tuba, A Clarinet, C Trumpet, Woodwinds, Brass, Strings, Trombone, Clarinet, Trumpet
Genres: Classical
Forward Motion by David Gillingham. For Full Orchestra (Piccolo/Flute 1/2, Oboe 1/2, A Clarinet 1/2, Bass Clarinet, Bassoon 1/2, F Horn 1/2, F Horn 3/4, C Trumpet 1-3, Trombone 1-2, Bass Trombone, Tuba, Timpani, Percussion 1 (bells, large bass drum), Percussion 2 (crotales, chimes, brake drums, crash cymbal), ). Score only. Published by C. Alan Publications (CN.06181). Time possesses continual forward motion. As human beings, we have the unique ability to experience the present, reflect on the past, and contemplate the future. One can liken the experience of time to the jogger who can look over his/her shoulder to see behind, look to the side to see what is passing him/her at the moment, and look ahead to things not quite visible on the horizon. It is from this particular perspective of time that I have derived my inspiration for this orchestra overture. Since music is a "time art," the spirt of the work seems more apropos. Forward Motion is quite blatantly a work about the motion of time, tremendously rhythmic and constantly moving forward. It celebrates the coming of the millenium and has moments of reflection, attention to the present and speculation about the future. Based on a motivic cell of five notes on three pitches, the work opens with mysterious anticipation of the future. This segues into a rousing brass fanfare, signifying a positive outlook for the new millenium. The ensuing rigorous and ferocious rhythmic section is very much reflective of the turmoil of the past twentieth century and the "busy-ness" and technological saturation of the present. The middle section with a lyrical cello line accompanied by harp and keyboard percussion is much calmer and a reassuring reminder that nothing is to be feared in the new millenium, that we are doing well, and that we have accomplished much in the past. Following this are some of the beginning ideas of reflection and future perspective, the mood changing from turmoil to mysteriousness. All of this reaches a boiling point and breaks into a final and glorious rendition of the cello theme from the middle section, this time stated by the brass. A driving and rhythmic coda brings the work to a rousing close.--DRG.
$40.00

Instruments: Flute, Bass Clarinet, Oboe, Bassoon, Horn, Bass Trombone, Percussion, Timpani, Drums, Tuba, A Clarinet, C Trumpet, Woodwinds, Clarinet, Brass, Trombone, Trumpet
Genres: Classical
An American Girl by Daniel McCarthy. For Full Orchestra (Flute 1, 2 (Piccolo), Oboe 1, 2, Bb Clarinet 1, 2, Bassoon 1, 2, F Horn 1, 2, 3, 4, Bb Trumpet 1, 2, 3, Trombone 1, 2, Bass Trombone, Tuba, Timpani, Percussion 1 (Maracas, Snare Drum, Castanets, Crash Cymbals, Triangle), Percussion 2 (Suspended Cymbal, Sl). Score only. Published by C. Alan Publications (CN.06161). An American Girl, written for the composer's two Daughters, Alannah and Siobhan McCarthy, was premiered by The Interlochen Philharmonic, Timothy Russell, conducting, August, 1999. Like many other young ladies throughout the United States, Alannah and Siobhan became interested in the "American Girls" dolls and magazine. The movements, I. "Alannah: Drawings, Paintings, and stories" and II. "Siobhan in Colonial Williamsburg" are about each girl's personality and the doll that they selected. Alannah, being interested in Victorian history, selected the Victorian period doll, Samantha. Siobhan selected the Colonial period doll, Felicity.Each doll is an imaginary American Girl from a specific period in American history. The doll is dressed in typical fashion of the period such as the colonial "Felicity" doll or the Victorian "Samantha" doll. The American Girl magazine, which accompanies each doll, teaches young women about every day life and American history from the corresponding period.This piece is filled with the rhythm of young girls-- Girls who are filled with imagination and consumed with passion for the knowledge of the kind of people who made our country what it is.-DWM.
$60.00

Instruments: Flute, B-Flat Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Brass, Trumpet, Trombone
Genres: Classical, Americana, Folk
Light Up the Sky by Daniel McCarthy. Arranged by J. Bishop. For Full Orchestra (Piccolo, Flute 1-2, Oboe 1-2, English Horn, Bb Clarinet 1-2, Bass Clarinet, Bassoon 1-2, F Horn 1-4, Bb Trumpet 1-3, Trombone 1-2, Bass Trombone, Tuba, Timpani, Percussion 1 (chimes, finger cymbals, snare drum, temple blocks, 2 tom toms, xylophone), Percu). Score only. Duration 9:00. Published by C. Alan Publications (CN.06131). A celebration piece for fireworks. This composition is derived from McCarthy's "Towers: The Ascent of OroDruin".
$35.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, English Horn, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Xylophone, Tuba, Woodwinds, Clarinet, Trumpet, Brass, Trombone
Genres: Classical
Towers by Daniel McCarthy. For Full Orchestra (Piccolo, Flute 1/2, Oboe 1/2, English Horn, Bb Clarinet 1/2, Bass Clarinet, Bassoon 1/2, F Horn 1-4, Bb Trumpet 1, Bb Trumpet 2/3, Trombone 1/2, Bass Trombone, Tuba, Timpani (5 drums), Percussion 1 (xylophone, snare drum, temple blocks, triangle, chimes, ). Grade 5. Score only. Duration 8:50. Published by C. Alan Publications (CN.06121). Towers, based upon a theme from the first movement of McCarthy's Chamber Symphony for Marimba and Winds, was inspired by J.R.R. Tolkien's The Two Towers from the epic tome The Lord of the Rings. Driving rhythms, dense harmonic sonorities, and melodic Romanticism in this piece reflect the excitement, drama, and sheer power of the Tolkien Trilogy. This music is also about the seemingly insurmountable power of darkness and evil on earth. But it is also about the power of the human spirit, the power of light and hope that can emerge, unexpected, during our bleakest hours.
$50.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, English Horn, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Snare Drum, Xylophone, Tuba, Woodwinds, Clarinet, Trumpet, Brass, Trombone, Drums
Genres: Classical
Light Up the Sky by Daniel McCarthy. Arranged by J. Bishop. For Full Orchestra (Piccolo, Flute 1-2, Oboe 1-2, English Horn, Bb Clarinet 1-2, Bass Clarinet, Bassoon 1-2, F Horn 1-4, Bb Trumpet 1-3, Trombone 1-2, Bass Trombone, Tuba, Timpani, Percussion 1 (chimes, finger cymbals, snare drum, temple blocks, 2 tom toms, xylophone), Percu). Score and parts. Duration 9:00. Published by C. Alan Publications (CN.06130). A celebration piece for fireworks. This composition is derived from McCarthy's "Towers: The Ascent of OroDruin".
$89.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, English Horn, B-Flat Trumpet, Bass Trombone, Percussion, Timpani, Xylophone, Tuba, Woodwinds, Clarinet, Trumpet, Brass, Trombone
Genres: Classical
The Arthurian Symphony by Jeffrey Bishop. For Concert Band (Piccolo, Flute 1/2, 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, Cornet 1/2, Horn 1/2, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score only. Duration 17:00. Published by C. Alan Publications (CN.06061). Enter a world of knights, kings and castles as you experience the brass fanfares and urgent chimes of the knights on patrol. Heavy scoring in the brass and fun themes in the woodwinds permeate this wonderful work all the way to its dramatic conclusion.
$45.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Cornet, Bass Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: Classical
The Arthurian Symphony by Jeffrey Bishop. For Concert Band (Piccolo, Flute 1/2, 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, Cornet 1/2, Horn 1/2, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.06060). Enter a world of knights, kings and castles as you experience the brass fanfares and urgent chimes of the knights on patrol. Heavy scoring in the brass and fun themes in the woodwinds permeate this wonderful work all the way to its dramatic conclusion.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Cornet, Bass Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: Classical
Chamber Symphony No. 2 for Bassoon (Bassoon Feature). By Daniel McCarthy. Arranged by A. Dancy. Chamber Ensemble. For Solo Bassoon, Chamber Winds & Percussion (solo bassoon, flute, oboe, soprano saxophone, clarinet in Bb, bass clarinet, bassoon, horn in F, percussion (maracas, temple blocks, suspended cymbal, tam tam, bongos, castanets, triangle), marimba (4.5-octave), double bass). Medium difficult. Score only. Duration 16:00. Published by C. Alan Publications (CN.05861). Chamber Symphony No. 2 for Bassoon and Winds was commissioned for Barrick Stees by the Michigan State University Bands, John Whitwell, Conductor. This piece follows the format of McCarthy's Chamber Symphony (No. 1) for Marimba and Winds, a virtuosic composition for solo instrument and chamber ensemble that has more musically involved accompaniment than implied by the term "concerto."Daniel McCarthy met Barrick Stees as a colleague at the Interlochen Summer Arts Festival (Interlochen Arts Camp, Interlochen, Michigan) in the summer of 1995. Since that time, McCarthy and Stees have worked together on numerous recording and performance projects - most recently, the recording of another commissioned work of McCarthy's by Stees, All the West Was Moving (Centaur Records: Barrick Stees and The Arianna String Quartet).For Chamber Symphony No. 2, McCarthy prefers the multi-movement format, six movements of varying lengths. Similar to some of Beethoven's late string quartets, McCarthy uses two shorter movements as introductions to others, namely the two "Interludes." The outer two movements are programmatic, whereas the interior movements are much more classically conceived.Movement 1: "Stomp and Buc Dance"Having grown up in Northern Michigan, McCarthy has a special affinity for the autumn season. Several of his teachers from the Interlochen Academy (where McCarthy graduated in 1974) are avid hunters. The deer-hunting season for many in northern Michigan is sacred. One hears of the so-called "deer camps" where hunters have wild parties (far enough from their hunting sites as to not "spook" the animals).McCarthy imagines Deer, Buck, and Elk parties at the end of hunting season, when the animals, after another season of successfully avoiding the hunters' bullets and arrows, dance wildly around their own camp fires, drinking deer-beer and mocking the hunters in the dim fire light.Movement 2: "Interlude""Interlude" introduces a softer, darker, less humorous music than the first movement. It offers a transition to a much less programmatic third movement in comparison to the first.Movement 3: "Mechanique""Mechanique" is a study in angular intervals for the solo bassoon. The rhythmic animation in the solo with the motoric doublebass and marimba accompaniments give the music a mechanical sound that is (perhaps) associated with an etude.Movement 4: "Interlude: Creep"The second "Interlude," this time with the subtitle: "Creep" is inspired by the second movement of J. S. Bach's Suite No. 3 in D Major (Air on the G String). The inspiration for this interlude is textural: a long, sustained melody in the treble above a punctuated, quasi-jazz pizzicato bass and marimba bass line that "creeps" and crawls its way beneath the ensemble. It is the only movement without the bassoon solo.Movement 5: "Static"A somewhat improvisational, rhapsodic sounding piece, "Static" is a study in repeated notes and fast tonguing for the wind instruments. The "static" repetition of pitches creates a percussive effect that is juxtaposed with a mosaic of wide-interval motives.Movement 6: "Fire, Dance, and Wahbekanetta"This movement, like the first, is about wild-eyed, nocturnal parties in Michigan's northern wood. In 1969, the composer attended the National Music Camp as a trumpet player and later, the Interlochen Arts Academy from 1970-1974. He later joined the faculty of Interlochen Arts Camp in 1995. McCarthy was born very near Interlochen, in a small village of Onekoma on Portage Lake. The summer is the time for the composer to return to the land of his youth, a chance to escape the rigors of academe, to be with friends. Memories.
$20.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Soprano Saxophone, Horn, Double Bass, Percussion, Marimba, Woodwinds, Clarinet, Saxophone, Brass, Strings
Genres: Classical
Chamber Symphony No. 2 for Bassoon. (Bassoon Feature). By Daniel McCarthy. Chamber Ensemble. For Solo Bassoon, Chamber Winds & Percussion (solo bassoon, flute, oboe, soprano saxophone, clarinet in Bb, bass clarinet, bassoon, horn in F, percussion (maracas, temple blocks, suspended cymbal, tam tam, bongos, castanets, triangle), marimba (4.5-octave), double bass). Medium difficult. Score and parts. Duration 16:00. Published by C. Alan Publications (CN.05860). Chamber Symphony No. 2 for Bassoon and Winds was commissioned for Barrick Stees by the Michigan State University Bands, John Whitwell, Conductor. This piece follows the format of McCarthy's Chamber Symphony (No. 1) for Marimba and Winds, a virtuosic composition for solo instrument and chamber ensemble that has more musically involved accompaniment than implied by the term "concerto."Daniel McCarthy met Barrick Stees as a colleague at the Interlochen Summer Arts Festival (Interlochen Arts Camp, Interlochen, Michigan) in the summer of 1995. Since that time, McCarthy and Stees have worked together on numerous recording and performance projects - most recently, the recording of another commissioned work of McCarthy's by Stees, All the West Was Moving (Centaur Records: Barrick Stees and The Arianna String Quartet).For Chamber Symphony No. 2, McCarthy prefers the multi-movement format, six movements of varying lengths. Similar to some of Beethoven's late string quartets, McCarthy uses two shorter movements as introductions to others, namely the two "Interludes." The outer two movements are programmatic, whereas the interior movements are much more classically conceived.Movement 1: "Stomp and Buc Dance"Having grown up in Northern Michigan, McCarthy has a special affinity for the autumn season. Several of his teachers from the Interlochen Academy (where McCarthy graduated in 1974) are avid hunters. The deer-hunting season for many in northern Michigan is sacred. One hears of the so-called "deer camps" where hunters have wild parties (far enough from their hunting sites as to not "spook" the animals).McCarthy imagines Deer, Buck, and Elk parties at the end of hunting season, when the animals, after another season of successfully avoiding the hunters' bullets and arrows, dance wildly around their own camp fires, drinking deer-beer and mocking the hunters in the dim fire light.Movement 2: "Interlude""Interlude" introduces a softer, darker, less humorous music than the first movement. It offers a transition to a much less programmatic third movement in comparison to the first.Movement 3: "Mechanique""Mechanique" is a study in angular intervals for the solo bassoon. The rhythmic animation in the solo with the motoric doublebass and marimba accompaniments give the music a mechanical sound that is (perhaps) associated with an etude.Movement 4: "Interlude: Creep"The second "Interlude," this time with the subtitle: "Creep" is inspired by the second movement of J. S. Bach's Suite No. 3 in D Major (Air on the G String). The inspiration for this interlude is textural: a long, sustained melody in the treble above a punctuated, quasi-jazz pizzicato bass and marimba bass line that "creeps" and crawls its way beneath the ensemble. It is the only movement without the bassoon solo.Movement 5: "Static"A somewhat improvisational, rhapsodic sounding piece, "Static" is a study in repeated notes and fast tonguing for the wind instruments. The "static" repetition of pitches creates a percussive effect that is juxtaposed with a mosaic of wide-interval motives.Movement 6: "Fire, Dance, and Wahbekanetta"This movement, like the first, is about wild-eyed, nocturnal parties in Michigan's northern wood. In 1969, the composer attended the National Music Camp as a trumpet player and later, the Interlochen Arts Academy from 1970-1974. He later joined the faculty of Interlochen Arts Camp in 1995. McCarthy was born very near Interlochen, in a small village of Onekoma on Portage Lake. The summer is the time for the composer to return to the land of his youth, a chance to escape the rigors of academe, to be with friends. Memories are made around the dancing light of the "fire-pit," by the moonlight that illuminates Lake Wahekanetta.
$80.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Soprano Saxophone, Horn, Double Bass, Percussion, Marimba, Woodwinds, Clarinet, Saxophone, Brass, Strings
Genres: Classical
Concerto for Marimba & Wind Ensemble. (Marimba Feature). By David J. Long. For Soloist(s) with Concert Band (Solo Marimba, Flute 1/2, Oboe 1/2, English Horn, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3 , Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1, Horn in F 2, Trom). Ensemble: grade 4 / Solo: grade 6. Score only. Duration 30:00:00. Published by C. Alan Publications (CN.02841). You can hear a recording of this version on Nathan Daughtrey's CD, "Spiral Passages" (also available from C. Alan). Also available with wind ensemble or orchestra.
$60.00

Instruments: Flute, B-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, English Horn, B-Flat Trumpet, Marimba, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Percussion
Genres: Classical
Chamber Symphony No. 1. (for Marimba, Winds & Percussion). By Daniel McCarthy. Chamber Ensemble. For Solo Marimba & Chamber Winds (solo marimba (5-octave), flute, oboe, Bb clarinet, bass clarinet, soprano saxophone, bassoon, Bb trumpet, F horn, trombone, tuba, percussion (snare drum, low tom, woodblock, low temple block, claves, afuche, bongos, suspended cymbal, gong, castanets)). Medium difficult. Score only. Duration 14:30. Published by C. Alan Publications (CN.01661). This piece was commissioned by Cort McClaren, president of C. Alan Publications and the School of Music at the University of North Carolina, Greensboro. The piece was premiered at the Southeast chapter of the Music Educators National Conference in Raleigh, North Carolina in the fall of 1994 with the American Marimba soloist Michael Burritt, professor of percussion studies at Northwestern University in Evanston, IL. The lush outdoors of northwestern Michigan's lower peninsula directly inspired the first and third movements, respectively "Deer Hunting in Michigan" and "The Stuff of Adventure." McCarthy developed a strong attachment to this region, being born in Onekoma, Michigan, growing up in Bay City, Michigan, and attending the Interlochen Art Academy during his High School years. While at the Interlochen Arts Academy he studied trumpet and piano for four years. McCarthy dedicated this composition to his trumpet teacher at Interlochen, John Lindenau. Recorded by The University of North Texas Wind Symphony, Eugene Corporon, conductor, Mark Ford, marimba soloist.
$24.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Soprano Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Marimba, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical
Four Maryland Songs. (Mezzo Soprano Feature). By Jack Stamp. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, English Horn, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/4, Trombone 1/2, Tromb). Grade 4. Score only. Duration 9:40. Published by C. Alan Publications (CN.04721). "Four Maryland Songs" was commissioned by the University of Maryland chapters of Kappa Kappa Psi and Tau Beta Sigma (the honorary band service fraternity and sorority). The commission was to honor Director of Bands, John Wakefield's thirty years on the College Park campus. After discussions with Professor Wakefield, I decided to write a work based on poetry about Maryland and feature a soprano soloist with wind ensemble. The poetry, a majority of which was found in the collection Maryland in Prose and Poetry, is diverse as is the music which accompanies it.'At the Edge of the Choptank River,' by J.P. Gelletly, is very rhythmic to accentuate the consistent, pounding shore. However, Gelletly brings religious symbolism into the text and the music adjusts accordingly.'A Maryland Road,' by W.C. Thurston, is somewhat pastoral, and is reminiscent of the music of Aaron Copland or, at least, has a distinct "American" flavor.'On Chesapeake Shores: A Fisherman's Sonnet,' by Albert Dawling, is a humorous look at the "after-life" with or without fishing. The music is rhythmic, earthy, polytonal, and folk-like. There is a brief "tongue-in-cheek" quote of the state song in the translation.'The Sires of Seventy-Six,' by John N. McJuton, is the most serious of the four movements. The text deals with our forefathers and their strife for independence. Between verses there is a serious quote of "Maryland, My Maryland" (which I learned as a fourth grader and can still remember the words).- Jack Stamp.
$40.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, English Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: Classical
Four Maryland Songs. (Mezzo Soprano Feature). By Jack Stamp. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, English Horn, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/4, Trombone 1/2, Tromb). Grade 4. Score and parts. Duration 9:40. Published by C. Alan Publications (CN.04720). "Four Maryland Songs" was commissioned by the University of Maryland chapters of Kappa Kappa Psi and Tau Beta Sigma (the honorary band service fraternity and sorority). The commission was to honor Director of Bands, John Wakefield's thirty years on the College Park campus. After discussions with Professor Wakefield, I decided to write a work based on poetry about Maryland and feature a soprano soloist with wind ensemble. The poetry, a majority of which was found in the collection Maryland in Prose and Poetry, is diverse as is the music which accompanies it.'At the Edge of the Choptank River,' by J.P. Gelletly, is very rhythmic to accentuate the consistent, pounding shore. However, Gelletly brings religious symbolism into the text and the music adjusts accordingly.'A Maryland Road,' by W.C. Thurston, is somewhat pastoral, and is reminiscent of the music of Aaron Copland or, at least, has a distinct "American" flavor.'On Chesapeake Shores: A Fisherman's Sonnet,' by Albert Dawling, is a humorous look at the "after-life" with or without fishing. The music is rhythmic, earthy, polytonal, and folk-like. There is a brief "tongue-in-cheek" quote of the state song in the translation.'The Sires of Seventy-Six,' by John N. McJuton, is the most serious of the four movements. The text deals with our forefathers and their strife for independence. Between verses there is a serious quote of "Maryland, My Maryland" (which I learned as a fourth grader and can still remember the words).- Jack Stamp.
$110.40

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