Cantos Ceremoniales by Angelo Sormani. Concert band. For solo feature for saxophone quartet. A challenging piece. Original Work. Grade 5. Score and set of parts. Duration 12:50. Published by Scomegna Edizioni Musical srl (S4.ESB935). The composition was written for wind orchestra and saxophone quartet. The initial relentless lament by the saxophones, seeming almost a ceremonial canto, is followed by a series of plays on rhythm involving both soloists and the various sections of the band. The nature of these fragments and the alternating moments of suspension and tension give the listener the sensation that events are flowing in distinct separate phases yet part of a common whole. The finale features a constant solemn recurring restrain, symbolically in "stretto", to end the piece on a note of enduring hope in the future.

Aqua by Alain Huteau. Harmony. For 7 percussion (1 piano solo, 1 drum, timpani and 4 percussion) and wind orchestra (flutes, oboe, 2 clarinets (Bb), sax alto Eb, sax tenor (Bb), baritone sax, 2 trumpets (Bb), 1 trombone (C), euphonium (Bb), tuba in C). Level 3. Published by Alfonce Production (AF.A73-001-P).

Caricatures III by Jere Hutcheson. For Concert Band (Piccolo, Flute 1, Flute 2, Flute 3 (doubling piccolo), Oboe 1, Oboe 2, English Horn, Soprano Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Contrabass Clarinet, Bassoon 1, Bassoon 2, Contrabassoon, Soprano Saxophone, Alto Saxopho). Band Music. Grade 5. Score and parts. Duration 32:10:00. Published by C. Alan Publications (CN.11620). 1 Salvador Dali - The Persistence of MemoryWith surfaces as smooth as shellac and images set down with photographic clarity, Dali brought a sense of reality to his bizarre and irrational dreamscapes. One of the best known of these, The Persistence of Memory, displays several limp timepieces in the foreground with a desert and lake in the background.2 Sammy Davis, Jr. - ShowTimeThe diminutive Sammy was a giant in the world of show business. Of his many talents, the one that delighted me the most was his tap dancing.3 Gertrude Stein - Pigeons on the grass alasGertrude was a master of nonsensical verse and stream of consciousness word sculptures. She could turn a phrase like no one else.4 Stephen King - All work and no play make Jack a dull boyAs Stanley Kubrick's film version of Stephen King's novel The Shining approaches its spine tingling climax, Wendy Torrance discovers that her demented writer husband, Jack, has filled hundreds of sheets of typing paper with the maxim All work and no play make Jack a dull boy.5 Marcel Duchamp - ReadymadeMarcel Duchamp anticipated pop art with his readymade sculptures. Two of my favorites are Rotary Demisphere and Bicycle Wheel.6 Felix Mendelssohn - Scherzo"Music that dances on its tiptoes," that's how I describe Mendelssohn's scherzo music.7 Kurt Vonnegut - Breakfast of ChampionsListen: It was the imaginary waitress at the imaginary cocktail lounge at the imaginary Holiday Inn who joked, "Breakfast of Champions" every time she served a martini.8 Alexander Calder - Forms in MotionAlexander Calder created ingenious and fanciful sculptures. Most famous perhaps are his floating airy mobiles. The artist also produced large immobile sculptures for parks, gardens, and public buildings called stabiles. My musical tribute to Calder is a sequence of five sound sculptures titled Forms in Motion.9 Nicolai Rimsky-Korsakov - BumblebeeRimsky-Korsakov, composer of operas, ballets, and tone poems, is best remembered today for a handful of colorful works, each characterized by brilliant orchestration. Among these is the diminutive Flight of the Bumblebee. My tribute to Rimsky is simply titled Bumblebee.

Wind Symphony No. 1 by Nancy Galbraith (1951-). For Concert Band (2 flutes, 2 oboes, Eb clarinet, 3 clarinets*, bass clarinet, 2 bassoons; 2 alto saxophones, tenor saxophone, baritone saxophone; 4 horns, 4 trumpets, 3 trombones, euphonium, 2 tubas; timpani, 4 percussion, piano/synthesizer, string-bass (*at least 2 per p). Set of Parts. Composed 1996. Duration 17'. Published by Subito Music Corporation (SU.90810051). 1. Allegro; 2. Andante; 3. Vivace Former title: If Rachael in a Yellow Rose "fantastic landscapes... -Records International "Galbraith's music for wind ensemble gives her a chance to show off her considerable skills as an orchestrator of winds and percussion. Her Wind Symphony I is a gaudy creation, imposing in its martial and celebratory granduer. It mixes lush harmonies and minimalist pulsings with gamelan-style superimpositions of long, slow lines over faster ostinatos..." -American Record Guide.

Sinfonia No. 3 (La Salsa) by Roberto Sierra. For Concert Band (2,1 2,1 4,bass clarinet 2,1; soprano sax, alto sax, tenor sax, baritone sax; 4331 euphonium; timpani, percussion, harp, piano). Score & Part(s). Composed 2005/2009. Duration 23'. Published by Subito Music Corporation (SU.92070296). Score: available for sale (#92070295).

(For Symphonic Band - Full Score and Parts). By David Maslanka. Concert Band. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet (in Eb), Clarinet I, Clarinet II, Clarinet III, Bass Clarinet, Contrabass Clarinet, Bassoon I, Bassoon II, Alto Saxophone I, Alto Saxophone II, Tenor Saxophone, Baritone Saxophone, Horn I, Horn II, Hor. Carl Fischer Classic Band Editions. Score and Set of Parts. Standard notation. 78 pages. Duration 8 minutes, 30 seconds. Published by Carl Fischer

Performed by: Ricky Fante: Shine - instrumental Pak Music Book, scoring: Ensemble;Choral Ensemble, instruments: Trombone;Trumpet 1;Trumpet 2;Baritone Saxophone;Tenor Saxophone;Drums;Bass;Choir;Synthesizer

Lead Me Back to Bethlehem - Instrumental Score and Parts (Rediscovering the Joy, Peace, and Love of Christmas). By Pepper Choplin. Arranged by Michael Lawrence. Cantatas. Christmas, Sacred. Instrumental score and parts. Published by Lorenz Publishing Company (LO.30-2697L). The instrumental score and parts for "Lead Me Back to Bethlehem" include a Conductor's Score and parts for Flute, Oboe (sub Clarinet), Clarinet, optional Bassoon (sub Bass Clarinet), Horn (sub Alto Saxophone), Percussion, Timpani, Piano, 2 Violins, Viola, Cello, Bass (String Reduction included).

Concert Pour Hautbois (Ou Clarinet) by Vincenzo Bellini (1801-1835). Arranged by O. Zurmuhle. For Concert Band. Arrangements of Classical Pieces / Oboe/Bassoon Solo and Wind band / Clarinet Solo and Wind Band / Saxophone Solo and Wind Band. Solo and Band Series. Grade 4. Score and Parts. Published by Molenaar Edition (ML.011103080). This splendid Oboe Concerto in this fine arrangement by Otto Zurmuhle has been in our catalogue for many years. The release of the Twente Conservatory Band compact disc allows us to spotlight this beautiful oboe piece once more.

Contraste. (Alto Saxophone and Concert Band). By Serge Lancen. For Concert Band. Solo Concerts / Saxophone Solo and Wind Band. Solo and Band Series. Grade 4. Score and Parts. Published by Molenaar Edition (ML.012212080). Contraste for alto saxophone (1992) is a second composition written as a tribute to Adolphe Sax. It was commissioned by and is also dedicated to the excellent Swiss amateur saxophonist Dante-Charles Luini. The contrasting themes are at the origin of the title. Tenor and baritone saxophones of the band accompany the soloist. The work was brilliantly premiered for this CD recording session by Jean Pennings.

Flash!. (For Piccolo and Band). By Daniel Dorff. Concert band. For Solo Piccolo, 2 Flutes, 2 Oboes, Eb Clarinet, 2 Bb Clarinets, Bb Bass Clarinet, 2 Bassoons, Contrabassoon, 2 Eb Alto Saxophones, Bb Tenor Saxophone, Eb Baritone Saxophone, 3 Bb Trumpets, 4 F Horns, 2 Trombones, Bass Trombone, Euphonium, Tuba, 3 Percussion. This edition: Band. Walfrid Kujala piccolo, Mitchell Fennell conducting the California State University - Fullerton wind ensemble, at 2010 NFA convention. Contemporary. Score and part(s). Standard notation. Composed OCTOBER 2008. Duration 6 minutes, 30 seconds. Published by Theodore Presser Company (PR.115402040). With Standard notation. contemporary. Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.

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).

Tails aus dem Vood Viennoise by Connor, Bill (B. 1949). For Wind Symphony or Band (49 players): 6+2, 2+1, 6+2+Eb, 2 - AATTBt saxophone - 2, 7, 3+euphonium, 4 - timpani, percussion(4). Tone Poems; Original Works. Maecenas Millenium. Grade 5. Score and set of parts. Composed 1992. Duration 23 minutes. Published by Maecenas (MT.C0016-SET).

Danse Funambulesque by Jules Strens. For Concert Band (Piccolo, Flute 1 & 2, Oboe 1, Oboe 2, English Horn, Bassoon 1 & 2, Contrabassoon*, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Contrabass Clarinet*, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bass Saxophone*, Bb Corn). Band Music. Grade 6. Score and parts. Duration 21:00. Published by C. Alan Publications (CN.16120). Written in 1929, this diptych, originally conceived as an accompaniment to a choreographic impression, consists of a rather tragic first part and an exuberant second part leading to a frantic finale. The most original aspect of this composition is undoubtedly its polyrhthmic character, whereas the beautiful flute solo part should also be mentioned.

Sinfonietta by Gerard Gastinel. Woodwind orchestra. For 4 Flutes, 12 Clarinets in Bb (1-4, 5-8, 9-12), 1 oboe (or soprano saxophone), 2 alto saxophones, 1 baritone saxophone, Trumpets 1 and 2, Trumpets 3 and 4, 2 Trombones and/or 2 tenor saxophones, 1 Tuba, 2 double basses, Percussion : 2 suspended cymbals, 1 . This edition: Instrumental. Orchestra music. Instrumental parts. 12 pages. Published by Anne Fuzeau Productions - France (FZ.3063). ISBN M230630634. 21 x 29.7 cm inches. This editorial collection depends to a great extent on the creativity of young composers. This music score was composed by Gerard Gastinel for wind orchestra. 4 Flutes12 Clarinets in Bb (1-4, 5-8, 9-12)1 oboe (or soprano saxophone)2 alto saxophones1 baritone saxophoneTrumpets 1 and 2Trumpets 3 and 42 Trombones and/or 2 tenor saxophones1 Tuba 2 double bassesPercussion : 2 suspended cymbals, 1 hit-hat, 2 bongos, 3 toms, 1 snare-drum, 1 bass drum.

Three Japanese Dances by Bernard Rogers. Concert Band. For C Piccolo, Flute I, Flute II, Oboe I, Oboe II, English Horn, Eb Clarinet, Bb Clarinet I, Bb Clarinet II, Bb Clarinet III, Eb Alto Clarinet, Bb Bass Clarinet, Bbb Contrabass Clarinet, Bassoon I, Bassoon II, Contra Bassoon, Eb Alto Saxophone, Eb Baritone Sa. First performed by the Rochester Philharmonic Orchestra under the direction of Howard Hanson. Contemporary. Score and Set of Parts. Standard notation. 40 + pages. Duration 10 minutes, 40 seconds. Published by Theodore Presser Company (PR.115400390). With Standard notation. contemporary.

Tableaux de Provence (Suite for Alto Saxophone and Orchestra). By Paule Maurice. Arranged by Maarten Jense. For Alto Saxophone and Concert Band. Grade 4. Full score and set of parts. Duration 14:00. Published by Baton Music (BF.BM274-SET). Paule Maurice composed Tableaux de Provence for saxophone and orchestra between the years 1954 to 1959 and dedicated the piece to her friend Marcel Mule. It is a standard among the classical literature for the instrument. With tricky passages, interesting harmonies, and tough accidentals every soloist is sure to be challenged by this great work. Tableaux de Provence is a programmatic work and the piece has five movements.

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......?".

Symphony for William by Derek Bourgeois (1941-). For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, Clarinet in Eb, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Bassoon 1, Bassoon 2, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Trumpet 1, Trumpet 2, Trumpet 3,). Band Music. Grade 6. Score and parts. Duration 21:00. Published by C. Alan Publications (CN.16230). This dramatic three-movement work is Derek Bourgeois at his best. Angular melodies and masterful scoring characterize this 20-minute symphony.

Symphonies de Noel by Clark Mcalister (1946-). For Wind Symphony or Band (36 players): 3d1, 2d1, 3+1+Eb, 2 - A(dS)ATBt saxophone - 4, 3+2 flugelhorns, 3+euphonium, 1 - timpani, percussion(4), double bass. Symphony; Original Works; Carols; Suites. Maecenas Millenium. Grade 5. Score and set of parts. Composed 1997. Duration 11.5 minutes. Published by Maecenas (MT.C0042-SET).

Suite by Gabriel Grovlez (1879-1944). For alto saxophone in Eb solo, string quintet (violin 1 and 2, viola, cello and double bass), horn in F, flute and harp. This edition: Instrumental. Small ensemble music. Grade 3. Instrumental parts. 9 pages. Duration 16 minutes. Published by Anne Fuzeau Productions - France (FZ.3390). ISBN M230633901. 21 x 29.7 cm inches. For alto solo saxophone in Eb, strings' quintet (violin 1 and 2, alto, cello and double bass), horn in F, flute and harp.

Symphony AD 78 by Gordon Jacob (1895-1986). For Concert Band (Piccolo, 1st Flute, 2nd Flute, Oboe 1/2, Bassoon 1/2, Eb Clarinet, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet, Bb Bass Clarinet, Eb Alto Saxophone 1/2, Bb Tenor Saxophone, Eb Baritone Saxophone, 1st Bb Cornet, 2nd/3rd Bb Cornet, 1). Band Music. Grade 5. Score and parts. Duration 15:30. Published by C. Alan Publications (CN.R10158). With this Symphony, Gordon Jacob proclaims his absolute mastery of idiom and instrumentation with a triumphant rejoicing. Written in 1978 as a commission from Arthur Doyle (hence the "AD" in the title, a typical piece of Jacob wit), it lay virtually unplayed save for the efforts of his Estate, Troy Peterson and Geoffrey Brand and CBDNA (College Band Directors Association, USA), who between them ensured that it was professionally recorded in 1994 and published in 1995.There is little point in indulging in semantics as to whether the piece is a Symphony. It is Jacob's approach to his tuneful, folk-based material which is symphonic: weighty in exposition and development, sonorous and expressive in the slow movement, with a scherzo-like last movement and a giocoso coda.After a brilliant opening fanfare, the quick triple-meter first theme (Allegro Risoluto) is introduced on clarinets, punctuated with brass. It is soon followed by a contrasting melody for saxophone. In all this material the interval of a 4th is prominent, and throughout the work the 4th and 7th are important. Perhaps it is the frequent use of the 7th which gives a feeling of restlessness without resolution which pervades this movement as the themes are dissected and developed.The second movement follows directly after a horn bridge. Still the melody outlines the 7th and the ear is not satisfied until the full band (with organ), comes to rest in Bb major. This point of repose and the magic pianissimo which follows shortly after when the slow theme is re-stated, are the apex of the Symphony's construction.Soon, however, we are transported, via a fanfare, into a helter-skelter 9/8 romp: rustic, English, and almost vulgar, this theme is thrown around the group before exploding into a boisterous 2/4 coda.

Trombone Concerto. (Trombone Feature). By Derek Bourgeois (1941-). For Soloist(s) with Concert Band (Solo Trombone, Piccolo, 1st Flute, 2nd Flute, Oboes, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone*, 1st/2nd F Horn, 3rd/4th F Horn, 1st B). Band Music. Platinum Band Series. Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.R10024). The first movement of Derek Bourgeois' Trombone Concerto is constructed Classically: the solo trombone immediately launches into the opening theme in F minor, conceived harmonically in a sequence of descending thirds and it is the solo trombone too that introduces the lyrical second idea, in A flat, presented over chords which are given mobility by dark-toned alto and bass clarinets.These contrasting subjects give the composer ample opportunity to let loose his fertile imagination, whether expanding on the Baroque qualities of the opening material in a fugato section for woodwinds, or boldly stating the romantic second theme on brass leading to cascading sextuplets, or with the soloist presenting the first theme in augmentation against a ripple of semi-quavers.After this development, there is virtually a formal recapitulations in the woodwinds and the soloist repeats the second theme in tonic (F) major. The movement closes with pianissimo chords - no great bravura here, but leading us in mood to the second movement which opens a tone lower in E-flat.Here, the rich tone of the soloist is matched by three accompanying trombones - with the writing equaling the expressiveness of a cello quartet. Gradually, the rest of the low brass join as the solo trombone weaves a seamless, almost Wagnerian theme, extending phrases sequentially. This movement has two separate thoughts and a solo clarinet answers the trombone with a new theme accompanied only by three horns, euphonium, and pizzicato string bass.Whilst most of the slow movement is contemplative, Bourgeois allows the band to unleash the full fortissimo passion implied in the second, clarinet theme, before the movement closes as it began - but this time only two trombones accompany the soloist, and all three are muted.After the passion of the slow movement, Bourgeois adopts a Classical rondo form as a 6/8 Scherzo, marked Presto, which gives the release we need. It is fun, to be thrown off lightly as we enjoy the semitone shifts with a wry smile. Towards the end of the movement is a cadenza which alludes to the thematic content of the first movement, but aurally the hard work has been done. For the soloist however, the music requires a virtuoso combination of slide and tongue.Derek Bourgeois' Trombone Concerto was commissioned by the British Trombone Society for the International Trombone Workshop at Eton, England, July 1989 with gratefully acknowledged assistance from Southern Arts. The world premiere was given by Christian Lindberg.

Variations on a Bass Theme by Geoffrey Brand. Arranged by Geoffrey Brand. For Concert Band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe, Eb Clarinet*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet*, Bb Bass Clarinet, 1st Bassoon, 2nd Bassoon, 1st Eb Alto Saxophone, 2nd Eb Alto Saxophone, Bb Tenor Saxophone, Eb Bariton). Band Music. Grade 5. Score and parts. Duration 10:00. Published by C. Alan Publications (CN.R10254). "Variations on a Bass Theme" was written in 1986 for brass band and the original version was titled "Diversions on a Bass Theme." The composer himself wrote:"This piece is a set of variations. Traditionally variations were what they said they were, i.e. a given tune was treated in a variety of ways. The pattern of this work is made the other way round: a number of tunes grow out of the first bar, played by the tubas, which provide the motif for the whole work.Arranger's Note:The suggestion to arrange the work for symphonic wind band came from George Lloyd: he felt the piece lent itself to such transcription and asked if I would be interested in undertaking it. Interestingly, he always referred to the piece as his Variations on a Bass Theme and I have reflected this in the title of this concert band version. In all other respects the work is exactly as George Lloyd wrote it.