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Concerto No. 1 in D Minor for Marimba (Marimba Feature). By Noah D. Taylor. Arranged by A. Dancy. 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,). Grade 5. Score and parts. Duration 30:00:00. Published by C. Alan Publications (CN.10923). 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.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Marimba, Woodwinds, Clarinet, Saxophone, Trumpet, Brass, Percussion
Genres: Classical
Monologues (Euphonium Feature). By Joseph Turrin (1947-). Arranged by Dennis Wright. For Soloist(s) with Concert Band (Solo Euphonium, Piccolo, Flute 1-2, Oboe 1-2, Bassoon 1-2, Eb Clarinet, Bb Clarinet 1-3, Bass Clarinet, Alto Saxophone 1-2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1-5, F Horn 1-4, Trombone 1-3, Euphonium, Tuba, Piano/ Harp, Timpani, Percussion 1 ). Grade 5. Score and parts. Duration 22:00. Published by C. Alan Publications (CN.17050). Monologues was commissioned by the following consortium of universities:John N. Culvahouse, UGA Wind Ensemble / University of GeorgiaDavid Waybright, UF Wind Symphony / University of FloridaJim Copenhaver, USC Symphonic Band / University of South CarolinaCody Birdwell / George Boulden, UK Wind Ensemble / University of KentuckyGary Sousa, UT Wind Ensemble / University of TennesseeJohnnie Vinson, AU Symphonic Band / Auburn UniversityDavid Willson, UM Symphonic Band / University of MississippiDwayne Sagen/Tom Verrier, VU Wind Ensemble / Vanderbilt UniversityElva Kaye Lance, MSU Symphonic Band / Mississippi State UniversityFrank Wickes, LSU Wind Ensemble / Louisiana State UniversityW. Dale Warren, UA Wind Symphony / University of ArkansasKen Ozello, UA Wind Ensemble / University of AlabamaPERFORMANCE NOTESChaconne: Although written in 4/4 the metronome marking is in two. I would like this movement to have a two feel throughout. It will probably work best conducted in a moderate two instead of a fast four. Make sure that bar 60 keeps pace and does not slow down too much. This section needs to have some breath while maintaining a forward motion. The piece that comes to mind with this movement is Ravel's Bolero.Arioso: Make sure the triplets are played musically in the ensemble. Crescendos and decrescendos should be dramatic and powerful. Intonation is important especially in the close harmonies and clusters. Bar 57 through 72 is a chamber group section with only a few instruments playing. Make sure that the solo euphonium, since he or she is out front, is balanced in the texture.Intermezzo: This movement should be light and steady. Staccatos need to be short and animated and the sixteenth note passages need to have personality and flair. Make sure that the movement keeps its tempo and does not bog down.Capriccio: Not much to know about this movement except to be careful not to cover the soloist. Pay attention to the balance. The key word here is energetic. Keep the drive and excitement throughout.
$165.60

Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Harp, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Double Image. (Saxophone Duo Feature). By David R. Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Bassoon 1, Bassoon 2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, ). Grade 5. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.17060). Double Image was commissioned by Jeff Heisler and Shawn Teichmer, two former saxophone alumni from Central Michigan University. The work is a concerto in three movements that exploits four of the common instruments of the saxophone family as performed by two players. The first movement features the tenor and baritone saxophone, the second, the alto and the tenor saxophone and the third, soprano saxophones.The movements of the concerto are starkly contrasting. The first movement, Passacaglia Lamento, is a dark, somber and mysterious set of variations on a bass line consisting of chromatic mediant relationships and angular leaps. The solo baritone saxophone begins the thematic bass line and is then joined by the solo tenor saxophone. Variation I begins with keyboard percussion accompanying the horns on the theme with the solo tenor saxophone on cascading scale passages. The solo baritone saxophone joins the tenor on the tail of the theme with added chimes. Preceded by a short transition in the wind ensemble, Variation II is abbreviated and features a dance-like interplay between the two solo saxophones in asymmetrical meter (7/16). Variation III ensues in which the solo saxophones alternate a skeletonized version of the theme in augmentation accompanied by ascending scales in the upper woodwinds. A heavy, ponderous interlude in the brass leads to Variation IV. Variation IV is perhaps the most dark and mysterious section of the movement that features a ghosted half-tone ostinato in the solo saxophones over only the harmony of the passacaglia. The tail of the variation is then played by low brass and woodwinds accompanied by piano and keyboard percussion. A brief brass fanfare leads to Variation V, which is a spirited duet by the solo saxophones alternating between 4/4 and 7/8 meter, with the wind ensemble accompanying on short articulations of the harmonic background. Horns, flutes and eventually trumpets, enter playing the tail of the theme culminating dramatically on four strongly articulated sonorities by the full ensemble with an underlying timpani solo diminishing into a coda using the head of the passacaglia and ending on an unresolved sonority.Movement II, Reveries, takes advantage of the two most expressive saxophones (in my opinion), the alto and the tenor. The movement is dreamy consisting of beautiful, lyrical melodic lines, extended tertian harmonies and an array of shifting tonality. The movement is in free form and begins with a sort of "sighing" melodic line that cascades downward and scale-wise. Both saxophones freely exchange this motive over shifting tone color. A variation of sorts follows with the solo saxophones exchanging the motive over a static F# minor tonality. An interlude follows in Bb Major, with an interplay between solo oboe and flute utilizing the motive which leads into a new section in A Major beginning with sweeping harp-like passages in the piano. The solo saxophones begin interplay amongst themselves on a contrasting motive consisting of rising and falling scale-based passages. The texture and dynamic of the section increase and rise to a dramatic moment which brings back the original descending motive in E Major. The passage diminishes in volume and segues into E Minor with the solo saxophones engaging in free development accompanied by the marimba and the piano. The development continues with a bubbly, staccato pattern in the clarinets and marimba and a return of the original motive in imitation between the solo saxophones in C Minor. A transition precipitates a change of mode into C Major and the movement concludes in dreamy fashion with the return of the descending motive and a coda beginning in A Major and coming to rest in Gb Major.Movement III, Perpetual Motion, was conceived to be an exciting "romp" from beginning to end highlighting the technical skills of the two soprano saxophones. The movement is in a free sonata-rondo form (ABACDABA) with an extended development section. The rondo theme is based on ascending and descending passages of an octatonic scale and its transpositions. Following the initial statement of the theme by both solo saxophones, a short episode follows (B) which consists of large leaps within compound duple meter, still derived from octatonic scale material. This is followed by the return of the rondo (A) after which a rather angry trumpet fanfare leads into C Major and a second episode (C) providing relief from the static harmonic nature of the octatonic scale. Shifting tonality moves the episode through a circle of fifths progression beginning on Ab Major and ending on G Major. The development section follows (D) beginning first with a textural build up utilizing fragments of the rondo theme followed by an interplay between the solo saxophones alternating between 4/4 and 6/8 meter. This is followed by a section which combines the harmonies of the C octatonic scale with that of the C# octatonic scale articulated by the piano and the woodwinds against a re-working of the rondo motive by the solo saxophones. A short section follows that features shifting major tonality with the solo saxophones recalling the material of episode C. The solo saxophones then segue into a 6/8 pattern of ghosted half tones interspersed with slap tongued notes accompanying fragments of the rondo motive in the percussion and various instruments of the wind ensemble. Low brass follow with a syncopated pattern which continues to accompany rondo motives. The percussion then begin an interplay amongst themselves which accompany motives from the rondo and the first episode (B) leading to a retransition to the rondo theme characterized by a thickening of the harmonic texture using overlapping diminished seventh chords. Following the reprise of the rondo, the second episode material is accompanied by a rather "comedic" waltz pattern in the low brass, horns, piano and tambourine. A rousing coda follows which reprises some of the rondo theme and brings the movement to an exciting conclusion.
$165.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Serenade for Band by Vincent Persichetti (1915-1987). Concert Band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Alto Clarinet (in Eb), Bass Clarinet (in Bb), Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Cornet I, Cornet II, Cornet . Contemporary. Score and Set of Parts. Standard notation. Opus 85. 36 + pages. Published by Theodore Presser Company (PR.165000420). With Standard notation. contemporary.
$165.55

Instruments: Piccolo, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Cornet, Flute, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: 20th Century, Classical
Missa S. Spiritus. (19 Stimmen). By Johann Heinrich Schmelzer (1620-1680). Mass. For SSATTB choir, 2 violins, 2 violas, 2 clarinets, 2 horns ad libitum, 4 trombones, and organ. Score. Published by Doblinger Music Publishers (DB.WE-00004).
$163.95

Instruments: Choir, Organ, Clarinet, Horn, Violin, Viola, Trombone, Vocal, Piano and Keyboard, Woodwinds, Brass, Strings
Genres: Baroque Period, Classical
Stabat Mater (Stabat Mater) by Gioachino Rossini (1792-1868). Edited by Klaus Doge. For Soli SSTB, Choir SSTB, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horn, 2 Trumpets, 3 Trombones, Timpani, 2 Violins, Viola, Cello, Contrabass. This edition: linen cover. Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary; Use during the church year: Lent and Passiontide, Holy Week. Level 4. Score. Language: Latin. Composed 1832. 232 pages. Duration 66 min. Published by Carus Verlag (CA.7008900). ISBN M-007-08335-9. With Language: Latin. Feasts of the Blessed Virgin Mary, Hymns in praise of the Virgin Mary; Use during the church year: Lent and Passiontide, Holy Week.
$163.95

Pages: 232
Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, B-Flat Trumpet, Trombone, Percussion, Timpani, Woodwinds, Brass, Strings, Trumpet
Genres: Classical Period, Christian, Classical, Religious
Fortune by Charles Wuorinen (1938-). Contemporary Small Ensemble. For Clarinet in A, Violin, Cello. Modern. Set of parts. Duration circa 17 minutes. Published by Edition Peters (PE.P66829A). ISBN M-3007-3049-3. Modern.
$162.00

Instruments: Violin, Cello, A Clarinet, Strings, Clarinet, Woodwinds
Genres: 20th Century, Classical
Symphonie (mit Schlusschor "An die Freude"). By Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. Vocal soli, mixed choir, orchestra. For Soprano voice solo, Alto voice solo, Tenor voice solo, Bass voice solo, Mixed Choir-SATB, Piccolo, 2 flutes, 2 oboes, 2 clarinets (B Flat), 2 bassoons, Contrabassoon, 4 horns, 2 trumpets, 3 trombones, Kettledrum, Drums, Strings. This edition: Urtext edition. Score (paperbound). Text language: German/English. Opus 125, No. 9. Duration 65'. Published by Baerenreiter Verlag (BA.BA9009). ISBN 9790006499465. With Text language: German/English. 31.0 x 24.3 cm inches.
$161.95

Instruments: Choir, Piccolo, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Drums, Soprano Voice, Bass Voice, Tenor Voice, Vocal, Flute, Woodwinds, Brass, Trumpet, Voice
Genres: Classical Period, Classical
Clarinet Jam by Marcel Saurer. For clarinet section and wind band (concert band). Swiss import. Jazz / Ragtime / Dixieland. Grade 3+. Score and parts. Published by Editions Marc Reift (MA.EMR-10504).
$161.29

Instruments: Clarinet, Woodwinds
Genres: Ragtime, Jazz & Blues
The Lark by Peter King. For Clarinet Solo & Concert Band. Swiss import. Grade 5. Score and parts. Published by Editions Marc Reift (MA.EMR-11234).
$161.29

Instruments: Clarinet, Woodwinds
Intermedio by Geronimo Gimenez (1854-1923). Arranged by Eduardo Suba. For Clarinet Solo & Concert Band. Swiss import. Grade 4.5. Score and parts. Published by Editions Marc Reift (MA.EMR-11269).
$161.29

Instruments: Clarinet, Woodwinds
Give Us This Day. (Short Symphony for Wind Ensemble - Full Score and Parts). By David Maslanka. Concert Band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Contra Alto Clarinet, Bassoon, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Trumpet I, Trumpet II, Horn I, Horn II, Horn III, H. Carl Fischer Classic Band Editions. Score and Set of Parts. Standard notation. 80 pages. Published by Carl Fischer (CF.J757). ISBN 0825864933. With Standard notation.
$161.00

Pages: 80
Instruments: Piccolo, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Flute, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: 20th Century, Classical
War is Kind. (with SATB Choir). By Daniel McCarthy. For Choir with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, F Horn 1/2, F Horn 3, Trombone 1, Trombone 2/3, Euphonium, Tuba, Piano, Timpan). Grade 4. Score and parts. Duration 15:10. Published by C. Alan Publications (CN.05970). After the events of September 11, 2001, many composers and artists jumped on the 9/11 "bandwagon" to create pieces on that timely subject. So I must say immediately that "War Is Kind" is not really a piece about 9/11. But, being a child of the late sixties and early seventies, I remember the Vietnam war, although I was too young to be drafted. My generation, it seems, was very lucky to then come of age during a relatively long period of peace. But, war is once again a major concern in our country with the gulf war seemingly leading to the new war in Afghanistan.It is with this in mind that I have been thinking about my older friends and colleagues who fought in WWII and Korea. It is awesome to comprehend being the age of 18 and staring in the face of annihilation. Still, many of these people did what they must and are alive today to tell me about their lives....So, three of the four movements from "War Is Kind" are about; the awesome power unleashed in the machinery of war and the fear that there may be an end to the world as we know it (Beat!Beat!Drums! by Walt Whitman); the odd dichotomy in the text that seemingly was written to console a grieving parent, lover, or another who has lost a loved one - when one wonders how their loved one died - did they suffer? "Do not weep, War is kind." (War is Kind by Stephen Crane); and the utter despair of James Joyce's "I Hear An Army" (My love, my love, my love, why have you left me alone?)I am also aware of the battles that we must fight in our personal and professional lives. So the last movement, "Beyond the Havens" is about reconciliation and healing. It is titled partly after the last chapter of "the Return of the King" by J.R.R. Tolkien.
$161.00

Instruments: Piano Accompaniment, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Euphonium, Percussion, Tuba, Piano, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
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
Parable for Band. (Parable IX). By Vincent Persichetti (1915-1987). Concert Band. For Piccolo I, Piccolo II, Flute I, Flute II, Flute III, Flute IV, Oboe I, Oboe II, English Horn, Clarinet I, Clarinet II, Clarinet III, Clarinet IV, Alto Clarinet (in Eb), Bass Clarinet (in Bb), Contrabass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, A. Score and Set of Parts. Standard notation. Opus 121. 91 pages. Duration 16 minutes. Published by Theodore Presser Company (PR.165000660). With Standard notation.
$161.00

Pages: 91
Instruments: Piccolo, Bass Clarinet, Oboe, Alto Saxophone, Bassoon, English Horn, Double Bass, Flute, Woodwinds, Clarinet, Saxophone, Strings
Genres: 20th Century, Classical
Zion. (For Wind Ensemble - Full Score and Parts). By Dan Welcher. Concert Band. For Piccolo, Flute I, Flute II, Flute III, Oboe I, Oboe II, English Horn, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Tr. Score and Set of Parts. Standard notation. Composed OCTOBER 1998. 74 pages. Duration 10 minutes. Published by Theodore Presser Company (PR.165000920). With Standard notation.
$161.00

Pages: 74
Instruments: Piccolo, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Bassoon, English Horn, Flute, Woodwinds, Clarinet, Saxophone
Band Land by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe, Clarinet in Eb, Clarinet 1 in Bb, Clarinet 2 in Bb, Clarinet 3 in Bb, Bass Clarinet, Bassoon, Alto Saxophone 1 in Eb, Alto Saxophone 2 in Eb, Tenor Saxophone in Bb, Baritone Saxophone in Eb, Trumpet 1, Trumpet 2, Trumpet 3). Band Music. Grade 3+. Score and parts. Duration 22:00. Published by C. Alan Publications (CN.16170). "In a far country called Band Land, there lived four families of instruments. The country was divided in half by a wide river on which there was a small island. The two main families lived on opposite sides of the river. The first was the woodwind family who lived in a dense wood on a large hill on the left hand side of the river. This family were nature lovers and lived in peace and harmony ....".
$161.00

Instruments: Flute, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Genres: 20th Century, Classical
Stargazing. (For Band with Electronic Sounds (C.D.)). By Donald Erb. Concert Band. For Piccolo, Flute I, Flute II, Bb Clarinet I, 1st, Bb Clarinet I, 2nd, Bb Clarinet II, 1st, Bb Clarinet II, 2nd, Bb Clarinet III, 1st, Bb Clarinet III, 2nd, Bb Bass Clarinet, Bassoon (Optional), Eb Alto Saxophone I, Eb Alto Saxophone II, Bb Tenor Saxophone I. Contemporary. Score and Set of Parts. Standard notation. 19 + pages. Duration 3 minutes. Published by Theodore Presser Company (PR.145400090). With Standard notation. contemporary.
$160.95

Instruments: Piccolo, B-Flat Clarinet, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Bassoon, Flute, Woodwinds, Clarinet, Saxophone
Turn the Page by Daniel McCarthy. For Full Orchestra (Piccolo, Flute, Oboe, English Horn, Bb Clarinet 1-2, Bass Clarinet, Bassoon, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, Trombone, Tuba, Timpani (5), Percussion 1 (suspended cymbal, 4 tom-toms, snare drum, rain stick, claves, bongos), Percussion 2 (suspended cymb). Orchestra Music. Score and parts. Duration 7:30. Published by C. Alan Publications (CN.11300). The writing of "Turn the Page" was the result of my association with conductor and good friend Jung Ho Pak (New Haven Symphony and World Youth Symphony Orchestras). Maestro Pak and I met at The Interlochen Arts Camp where we are both faculty and we collaborate on the orchestra reading project with the student composers.Our conversations over the years have included the future of the orchestra and new orchestral music in our society. Audiences have lost a great deal of context with new music over the past 90 years, in my opinion, and new music has remained an anomaly for many listeners.So when I decided to write Jung Ho an orchestra piece, I knew it had to be music that meant something to listeners--something that would have cultural context to an audience and yet be challenging and interesting to play. And a piece that would be played more than just once.I seek a certain drama and excitement in my music. Perhaps that is why I am so attracted to composers like Mahler, Stravinky, and Daugherty. But I also have a diverse listening palate having played big band jazz as a lead trumpet player and funk as a synthesizer player.Often when I travel, especially on long driving trips, I will listen to old "art-rock" of bands such as "Yes," "Genesis," and "Led Zeppelin." One of my favorite tunes is "Heartbreaker" from the album "Led Zeppelin II." It has a very unusual guitar solo in the middle of the song--Unusual, because the band stops playing and Jimmy Page takes a motivically oriented solo, much like a cadenza in a concerto. It was the first time anything like that was ever done in that genre and was really the beginning of guitarists becoming virtuosos on their instruments. Actually, that solo had all the fire of a Tchaikovsky or Mendelssohn concerto cadenza.Hence, the idea came to be to combine the suggestion of this solo with orchestra and, later, to use an electric guitar or CD recording of the actual solo with the orchestra. It seemed to me that all the power of Led Zeppelin was certainly in good company with a full-sized symphony orchestra--Witness Stravinsky's "Rite of Spring." Could any rock band create that much excitement?-DWM.
$160.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, English Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Trumpet, Brass
Genres: Classical
Symphonie Nr. 3 "Die Tageszeiten" (1944) by Ernst Pepping (1901-1981). For 2 flutes, 2 oboes, 2 clarinets (b flat), 2 bassoons, 4 horns, 3 trumpets (c), 2 trombones, tuba, kettledrum, drums, strings. Score. Composed 1944. No. 3. 277 pages. Duration 42'. Published by Baerenreiter Verlag (BA.BA2258). ISBN 9790006498444. Print on demand (POD).
$159.95

Pages: 277
Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Drums, Tuba, Woodwinds, Brass, Trumpet
Paulus (St. Paul) (Oratorium). By Felix Bartholdy Mendelssohn (1809-1847). Edited by R. Larry Todd. For Soli SATB, SATB Choir, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horn, 2 Trumpets, 3 Trombones, Serpente, Timpani, 2 Violins, Viola, Cello, Contrabass, Organ. Score available separately - see item CA.4012900. Oratorios; Stuttgart Urtext Editions. Level 3. Set of instrumental parts (except strings). Language: German/English. Composed 1834-1836. 36. 188 pages. Duration 145 min. Published by Carus Verlag (CA.4012909). With Language: German/English. Oratorios; Stuttgart Urtext Editions.
$159.95

Pages: 188
Instruments: Choir, Organ, Flute, Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Double Bass, B-Flat Trumpet, Trombone, Percussion, Timpani, Vocal, Piano and Keyboard, Woodwinds, Brass, Strings, Trumpet
Genres: Classical
Stony Brook Jam by Sydney Hodkinson. For Flute(Piccolo), Clarinet(Bclarinet), Percussion, Piano, Violin, Cello. Score and parts. Standard notation. Duration 13 minutes. Published by Theodore Presser Company (PR.144404070). With Standard notation.
$158.95

Instruments: Piano, Piccolo, Clarinet, Violin, Cello, Percussion, Piano and Keyboard, Flute, Woodwinds, Strings
Glenn Mucks About with the Clarinet by J. Penders. For Fanfare Band. Real Big Band Sound / Original Works Light Music Repertoire. Real Big Band Sound. Grade 3. Score and Parts. Published by Molenaar Edition (ML.022431060).
$158.95

Instruments: Clarinet, Woodwinds
Concertazioni a quattro by Bruno Bartolozzi (1911-1980). For Flute, Oboe/Clarinet, Bassoon. Brass/Wind Instruments. Set of parts. 86 pages. Published by Edizioni Suvini Zerboni (M7.ESZ-7116).
$158.95

Pages: 86
Instruments: Flute, Clarinet, Oboe, Bassoon, Woodwinds