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Over Hill, Over Dale by Adam Gorb (1958-). For Wind Symphony or Band (32 players): 2+1, 2, 3+1, 2+1 - AATBt saxophone - 4, 3, 3+euphonium, 1 - percussion(3), double bass. Original Works. Maecenas Millenium. Grade 4. Score and set of parts. Composed c1995. Duration 6 minutes. Published by Maecenas (MT.C0039-SET).
$142.60

Instruments: Saxophone, Double Bass, Euphonium, Percussion, Woodwinds, Strings, Brass
Genres: Classical, 20th Century
Romance by Camille Saint-Saens (1835-1921). For solo instrument (flute, clarinet, oboe, tenor saxophone, trumpet, trombone, viola, violin, or violoncello) and orchestra. Swiss import. Grade 3+. Score and parts. Published by Editions Marc Reift (MA.EMR-4715).
$141.39

Instruments: Flute, Clarinet, Oboe, Tenor Saxophone, Violin, Cello, Viola, B-Flat Trumpet, Trombone, Woodwinds, Saxophone, Strings, Trumpet, Brass
Genres: Classical
Down By The Riverside (Alto & Tenor Sax Duet) by Jerome Naulais. Concert Band. Swiss import. Young Band. Grade 3. Score and parts. Published by Editions Marc Reift (MA.EMR-10783).
$140.48

Instruments: Tenor Saxophone, Saxophone, Woodwinds
Midnight Rendezvous (Alto Sax Solo) by Gunter Noris. Concert Band. For alto saxophone and wind band (concert band). Swiss import. Grade 4. Score and parts. Published by Editions Marc Reift (MA.EMR-10122).
$140.48

Instruments: Alto Saxophone, Saxophone, Woodwinds
Concerto Pour Une Voix by Saint-Preux. Arranged by Jerome Naulais. For solo instrument (flute, clarinet, bassoon, alto saxophone, trumpet, trombone, euphonium, viola, violin, or violoncello) and concert band. Swiss import. Grade 3+. Score and parts. Published by Editions Marc Reift (MA.EMR-10368).
$140.48

Instruments: Flute, Clarinet, Alto Saxophone, Bassoon, Violin, Cello, Viola, B-Flat Trumpet, Trombone, Euphonium, Woodwinds, Saxophone, Strings, Trumpet, Brass
Genres: Classical
Les Feuilles Mortes (Autumn Leaves = Herbstblatter). By Prevert / Kosma. Arranged by John G. Mortimer. For solo instrument or voice (male voice, female voice, flute, clarinet, alto saxophone, tenor saxophone, horn in F, trumpet, trombone, or euphonium) and concert band. Swiss import. Light Music / Pop. Grade 3+. Score and parts. Published by Editions Marc Reift (MA.EMR-1195).
$140.48

Instruments: Voice, Flute, Clarinet, Alto Saxophone, Tenor Saxophone, Horn, B-Flat Trumpet, Trombone, Euphonium, Vocal, Woodwinds, Saxophone, Brass, Trumpet
Genres: Pop
Gloryland by Scott Richards. For solo instrument (flute, clarinet, alto saxophone, tenor saxophone, horn in F, trumpet, trombone, or euphonium) and concert band. Swiss import. Jazz / Ragtime / Dixieland. Grade 4. Score and parts. Published by Editions Marc Reift (MA.EMR-1530).
$140.48

Instruments: Flute, Clarinet, Alto Saxophone, Tenor Saxophone, Horn, B-Flat Trumpet, Trombone, Euphonium, Woodwinds, Saxophone, Brass, Trumpet
Genres: Ragtime, Jazz & Blues
Variete - Concert Spectacle for acrobats and musicians by Mauricio Kagel (1931-). For Characters: minimum 6 Variety Performers Instruments: Clarinet (Bass clarinet, Alto saxophone), Trumpet, Percussion, Piano/Electric Organ, Accordion, Cello. Modern, Opera. Score. Composed Composed: 1976-77. Duration circa. 65 minutes. Published by Edition Peters (PE.P08407).
$140.00

Instruments: Piano, Organ, Bass Clarinet, Alto Saxophone, Cello, B-Flat Trumpet, Percussion, Accordion, Piano and Keyboard, Clarinet, Woodwinds, Saxophone, Strings, Trumpet, Brass, Folk
Genres: 20th Century, Argentinian, Opera, Classical, Latin, Miscellaneous
Divertimento for 11 Wind Instruments by Gary Ziek. Arranged by David Farnon. Chamber Ensemble. For Chamber Winds (flute, oboe, clarinet in Bb, alto saxophone, bassoon, trumpet 1 in Bb, trumpet 2 in Bb, horn in F, trombone, euphonium, tuba). Grade 4. Score and parts. Duration 19:30. Published by C. Alan Publications (CN.09150). The Harvard Dictionary of Music defines a divertimento as "an instrumental composition written primarily for entertainment, and hence in a rather light vein. These works are generally written for small ensembles, and consist of a number (three to ten) of relatively short movements." The Divertimento for Eleven Wind Instruments (flute, oboe, clarinet, alto saxophone, bassoon, 2 trumpets, horn, trombone, euphonium, and tuba) consists of six movements in varying styles. The suite begins with a stately Intrada, written in a festive, march-like style. The cantilena is a lyrical work, tinged with a sense of melancholy. The Capriccio is light-hearted in nature and is played at a fast tempo throughout. Prelude & Tarantella begins with a plaintive chant-like melody, which transforms into a furious "dance of the spider." The Siciliano is in a flowing, lyrical style. The finale utilizes a five-part rondo form. It is virtuosic in nature and is brimming with high energy and good spirits.
$140.00

Instruments: Flute, B-Flat Clarinet, Oboe, Alto Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Apollo by Brian Balmages. For soprano saxophone. Canzonique Music. Full set (score and parts). Score only also available: CM7004S. Grade 6. Score and set of parts. Composed 2008. Published by The FJH Music Company Inc (FJ.CM7004). This concerto for soprano saxophone and wind ensemble is based on the tragedy of the Apollo 1 mission, in which a fire swept through the command module during a preflight test on January 27, 1967. All three astronauts onboard were killed, including Gus Grissom, the commander. This work makes extensive use of contemporary sounds and effects, seeking to portray the events of that day as experienced by Grissom himself (the work is dedicated to the memory of Grissom). Absolutely stunning writing for both soloist and ensemble, this work is a wonderful addition to the repertoire.
$140.00

Instruments: Soprano Saxophone, Saxophone, Woodwinds
Cuico. (Percussion Trio Feature). By Gregory Danner. For Soloist(s) with Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/). Band Music. Grade 4. Score and parts. Duration 14:50. Published by C. Alan Publications (CN.15790). Cuico - Concerto for Three Percussion & Wind Ensemble was written for the Caixa Trio (Julie Davila, Julie Hill, and Amy Smith) and the Tullahoma (TN) High School band, Stephen and Marion Coleman, directors. The composition dramatically portrays an Aztec creation myth on the origin of music. As a practical concern, it should be noted that the standard concert band percussion instruments have been divided between the percussion soloists and ensemble, so no additional equipment will normally be required. In the Aztec Nahuatl language the word "Cuico" means "to sing." A 16th century Nahua poem describes the myth in great detail. Below is a summary of that poem, taken from Irene Nicholson's book "Mexican and Central American Mythology."Tezcatlipoca--god of heaven and of the four quarters of the heavens came to earth and was sad. He cried from the uttermost depths of the four quarters: "Come, O wind!"The wind rose higher than all things made, whipping the waters of the oceans and the manes of the trees, and arrived at the feet of the god of heaven. Then spoke Tezcatlipoca:"Wind, the earth is sick from silence. Though we possess light and color and fruit, yet we have no music. We must bestow music on all creation. Go then through the boundless sadness to the high House of the Sun. There the father Sun is surrounded by makers of music. Go, bring back to earth a cluster--the most flowering--of those musicians."Wind traveled the silent earth until he reached the sun, where all melodies lived in a nest of light. When the Sun saw the wind approaching he told his musicians: "Here comes that bothersome wind of earth: Stay your music! Cease your singing! Answer him not!" Wind with his dark voice shouted: "Come, O musicians!"None replied.The clawing wind raised his voice and cried:"Musicians, singers! The supreme Lord of the World is calling you!"Now the musicians were silent colors; they were a circling dance held fast in the blinding flame of the Sun. Then the wind waxed his wrath. Flocks of cloud, stabbed and torn by lightning assembled to besiege the House of the Sun. His bottomless throat let loose the thunder's roar. A great battle ensued. Spurred on by fear, the musicians ran for shelter to the wind's lap. Bearing them gently, the wind set out on his downward journey. Below, Earth raised its wide dark eyes to heaven and its great face shone, and it smiled. When all that flutter of happiness landed on earth, the Suns musicians spread to the four quarters. Thus did all things learn to sing: the awakening dawn, the dreaming man, the waiting mother, the passing water and the flying bird. Life was all music from that time on.The music interprets this story in five sections:Part 1. . . . and Tezcatlipoca saw the earth was void of song. The music for this section is fairly abstract and fragmented, with a mixture of tonal and atonal ideas exchanged between soloists and ensemble. Part 2. Wind traveled the silent earth in search of music until he reached the Sun.Here the solo percussion (marimbas and vibraphone) present a layered ostinato, increasing in complexity in counterpoint to a simple melodic theme developing in the ensemble.Part 3. The Suns' musicians were a circling dance, held fast in his blinding flame. This section is a furious dance, featuring each individual percussionist (timpani, congas, toms) in an extended solo.Part 4. The Sun refuses the Wind--a great battle ensues.Here the solo percussion and the ensemble percussion join in a hard-driving rhythmic ostinato, while the winds present two powerful themes in counterpoint.Part 5. Wind prevails and music spreads to the four quarters of the earth. Thus did all things learn to sing: the awakening dawn, the dreaming man, the waiting mother, the passing water and the flying bird.This final section is a joyous conclusion, beginning with a simple melody in the solo xylophone and developing throughout with solo percussion and full ensemble statements to an exciting and jubilant ending.
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Westward Sentinal. (Euphonium Feature). By Kimberly Archer. For Soloist(s) with Concert Band (Solo Euphonium, 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, C Trumpet 1, C Trumpet 2, ). Band Music. Grade 5. Score and parts. Duration 14:45. Published by C. Alan Publications (CN.15750). From the very first time I saw it with my own eyes, driving through St. Louis in 2000, I have been enthralled by the Gateway Arch: its almost incomprehensible size, its timeless simplicity. When asked to write a piece of music celebrating the Arch and its 40th anniversary, I was overwhelmed. There's simply too much to express, from its connections to Thomas Jefferson and the Lewis and Clark expedition through the amazing architectural, engineering, and construction work that brought it to life. How is it possible, in only one musical work, to capture all of that, much less the majesty of the Arch on a perfect fall day, or backlit by July fireworks, or gently illuminated, silent in the snow?Finally, I realized that rather than try to merely describe the Arch or comment on its history, I would need to explore my personal relationship with it, as a resident of the St. Louis metro area. Therefore, although Westward Sentinel is not exactly programmatic, there are a few images that stayed in my mind as I composed:The first section of the piece speaks to my relationship with the Midwest. I am a native of northern Illinois, where I grew up surrounded by cornfields. This is a significant personal image, of which I have only recently become aware: to stand alone and at peace in the center of a July cornfield under an endless blue sky, breathing the warm summer air, where the only sounds are the subtle hum of insects and the wind rustling the leaves. Now, in my southern Illinois home, there is still corn, but I can also actually see the Arch on the western horizon. Obviously, that changes the feel of my home: with the presence of the Arch, however distant, comes the promise of bustling, urban St. Louis. It is a stark contrast to what I feel as my roots and my place in the world, and yet the Arch definitely calls to me.I love to drive into St. Louis on I-64. The second section of the piece speaks to this journey. Along that stretch of highway between Edwardsville and downtown St. Louis, the Arch teasingly ducks behind hills and buildings, only to burst back into sight, sparkling in the sun. Then, where I-64 crosses the Mississippi River, the first sight of the Arch in its entirety - steadfast at its post on the western bank, looming over the highway - is nothing short of glorious!Finally, there is the first breathless moment of standing at the base of the Arch, trying to take in its enormity. That's impossible - it's so big! I will always remember the first time I did this, though; all I could think was, "Wow . . .."And then the trip home, with the Arch at my back: a reassuring guardian, a westward sentinel.
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Euphonium, C Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Zarabanda. (Xylophone/Marimba Feature). By Joseph Turrin (1947-). For Soloist(s) with Concert Band (Solo Percussion, Piccolo, Flute 1-2, Oboe 1-2, Bassoon 1-2, Clarinet in Eb, Clarinet in Bb 1-3, Bass Clarinet, Alto Saxophone 1-2, Tenor Saxophone, Baritone Saxophone, Horn in F 1-4, Trumpet in Bb 1-5, Trombone 1-3, Euphonium, Tuba, Contrabass, Percussion). Grade 4. Score and parts. Duration 5:00. Published by C. Alan Publications (CN.16430). I composed Zarabanda for a Latin American recording project with RCA Records and percussionist Evelyn Glennie. Although the recording project was never realized by RCA, I decided that the work would make a wonderful vehicle for Ms. Glennie along with wind ensemble accompaniment.The piece is in several sections with a Latin style rhythm that occasionally gets interrupted by accented outbursts from the ensemble. The soloist alternates between the xylophone, for the more accented staccato passages and scales, and the marimba, for the more melodic material. As the piece develops and moves from section to section, new rhythmic and melodic ideas are introduced. The piece culminates with a bravura cadenza - the soloist performing rapid-fire staccatos and scales on the xylophone. There is also an optional cadenza, which calls for the additional skills of playing the timbales, bongos, tom-toms, and conga drum. The piece concludes with a quick coda as the solo xylophone and ensemble build a fiery rhythmic syncopation. There are more rapidly accented staccatos, a quick scale, and the final bar.The zarabanda is a late 16th and 17th century Spanish dance in a lively alternating 6/8 and 3/4 time. Some evidence suggests that the zarabanda originated in the Spanish colonies in America, making it the first popular Latin American dance. Other evidence seems to suggest an African origin. A possible scenario might be that the zarabanda was brought to Spain by the Moors during the 12th Century, but was heavily modified by American influences during the early 16th Century.The zarabanda and its French descendant, the sarabande, were very different dances. While the French dance was a slow dance in 3/4 time, the Spanish original was very lively, alternating between 6/8 and 3/4 time. In the beginning, the zarabanda was considered very indecent. Cervantes writes about the "diabolic zarabanda" in one of his short stories, and in 1583, a law was passed against singing the zarabanda. The penalties for breaking it were banishment for women and 200 whiplashes and 6 years of galley service for men.
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Trombone, Euphonium, Percussion, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Illuminations. (Trombone Feature). By Joseph Turrin (1947-). For Soloist(s) with Concert Band (Solo Trombone, Piccolo, Flute 1-2, Oboe 1-2, English Horn, Eb Clarinet, Bb Clarinet 1-3, Bass Clarinet, Contrabass Clarinet, Bassoon 1-2, Alto Saxophone 1-2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1-5, F Horn 1-4, Trombone 1-2, Euphonium, Tuba, D). Grade 5. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.17010). Illuminations was written for trombonist Joseph Alessi and commissioned by the following consortium:University of New Mexico Wind Symphony: Eric Rombach-Kendall, ConductorArizona State University Bands: Gary W. Hill, ConductorHope College Wind Symphony: Steven Ward, ConductorMichigan State University: John Whitwell, Director of BandsUniversity of Missouri-Kansas City: Dr. Sarah McKoin, ConductorUniversity of Oregon Wind Ensemble & the Robert Vagner Memorial Fund: Robert Ponto, Director of BandsUniversity of Toledo Wind Ensemble: Brant Karrick, ConductorYale Concert Band: Thomas C. Duffy, Music Director.
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, English Horn, Double Bass, B-Flat Trumpet, Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Strings, Trumpet, Brass
Bolero by Maurice Ravel (1875-1937). Arranged by Geoffrey Brand. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2/English Horn, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/Bb Soprano Saxophone, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone). Grade 5. Score and parts. Duration 16:00. Published by C. Alan Publications (CN.R10294). During the time I was working on this arrangement of 'Bolero' for wind orchestra I was given a copy of the book 'Musicophilia - Tales of Music and the Brain' by Oliver Sacks. Within its pages I was confronted with the information the "Maurice Ravel, the composer, suffered in the last years of his life from a condition...which would probably now be diagnosed as a form of frontotemporal dementia." Later, Professor Sacks "wonders, indeed, whether Ravel was on the cusp of dementia when he wrote his 'Bolero,' a work characterized by the relentless repetition of a single musical phrase dozens of times, waxing in loudness and orchestration but with no development."My curiosity was roused, and remains so, as to how different 'Bolero' might have been had it been written earlier in Ravel's life?
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Bassoon, English Horn, Woodwinds, Clarinet, Saxophone
Genres: Impressionism, 20th Century, Classical
Sea Dreams by Derek Bourgeois (1941-). Arranged by Mikkelson. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 1, Bb Bass Clarinet, Bassoon 1, Bassoon 2, Contra Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone,). Grade 5.5. Score and parts. Duration 15:00. Published by C. Alan Publications (CN.R10307). Sea Dreams was originally a commission, in 2007, from an American University who wanted me to write a piece in memory of my first wife, Jean, who died in 2006. I set about writing the music and quickly completed the score early in 2008, but, unfortunately, because of the sudden collapse in the worldwide financial markets the commission itself fell through.The music draws on three of the pieces that I had written for Jean in the early days before we were married, namely two violin sonatas (she was a violinist) and the 'Serenade' Opus 22 one of my most popular pieces. However the bulk of the music is new, and the quotes from these early pieces are subtle and merely passing references, not at all like the originals.After an introduction, which is not heard again until the end of the piece, the music becomes a rondo allegro, and gradually builds to a big climax. At the very end there is an oblique reference to the Liebestod of Wagner's Tristan and Isolde.Sea Dreams was premiered by Birmingham Symphonic Winds, conducted by Keith Allen, on Saturday March 20th 2010 at the CBSO Centre, Birmingham, England.
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, English Horn, Woodwinds, Clarinet, Saxophone
Genres: 20th Century, Classical
Concertino for 4 Percussion (Percussion Quartet Feature). By David Gillingham. Arranged by Stuart Johnson. For Soloist(s) with 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, Alto Saxophone 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 ). Grade 5. Score and parts. Duration 9:30. Published by C. Alan Publications (CN.02870). Two thematic motives are used as a point of departure for this work. Both appear in the slow and mysterious introduction. The first, played by the marimbas, is dramatic and the second, played by vibraphone and bells, is haunting. The following Allegro is structured similar to a rondo with recurrences of both themes interspersed by episodic sections. The first theme, however, is transformed into a very lively arpeggiated tune played by the xylophone and marimba. The coda is marked by a relentless rhythmic competition of two sets of bass drums which accompany the primary thematic material as first heard in the slow introduction. The work draws to a resounding conclusion when the second haunting theme is stated dramatically in tour de force by the accompaniment.-David R. Gillingham.
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Percussion, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Internal Combustion by David Gillingham. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Eb Contrabass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1/2, F Horn 3/4, Tromb). Grade 5. Score and parts. Duration 11:30. Published by C. Alan Publications (CN.04440). Although the internal combustion engine was in existence since the early 19th century, its successful use in the United States began around 1900 and thus marked the beginning of one of the most important industrial sagas of the 20th century, that of the American automobile. Adjacent to the invention of this new "horseless carriage" was the advent of early jazz, that of "ragtime" and New Orleans "Dixieland" jazz. Also marking the occasion was General Motors' introduction of the Oldsmobile and the Gus Edwards/Vincent Bryan song, "In My Merry Oldsmobile." The conglomeration of these events are the basis for the inspiration behind "Internal Combustion."The work is centered around two main thematic ideas - motives from "In My Merry Oldsmobile" and what the composer calls the "Song of Invention" which is related to "Merry Oldsmobile" by the obvious interval of a major sixth. Added to this thematic material is a multitude of references to the mechanistic nature of the internal combustion engine, the automobile and automobile horns )the old time "oogah" and the American luxury car variety using the interval of the third).The work starts with the anticipation of invention with some obvious allusions to the "Merry Oldsmobile" tune. The introductory material leads to the "Song of Invention," expressively stated by solo alto saxophone. Then, the crank is turned (ratchet) and we're off for a ride! One should easily hear tha "putt-putt" of the engine, the whistle of the wind and the steam from the radiator. The automobile gathers speed and begins to cruise along joyously... hence a dixieland rendition of "Merry Oldsmobile." The frolic is interrupted by gathering speed and further development and refinement of the automobile and its internal combustion engine. Along the way, one will hear more references to "Merry Oldsmobile," car horns (traffic congestion!) and even a "revving" engine. Unfortunately, in America, "speed is the thing," and the music comes to a screeching halt with a crash and jammed car horn segues into a melancholy lament. This section culminates with a simplistic and child-like presentation of "Merry Oldsmobile" in the percussion (bells/vibraphone). An engine "rev" (trombone flutter tongue) gives way to new and better things on the horizon and perhaps of the "hay days" of the automobile, the 1950s. Within this section can be heard the triplet rhythm of a stereotypical 50s ballad. The 50s give way to the final decades of the 20th century beginning with a reference to modern jazz. The music begins to develop and becomes more sinister in nature perhaps indicative of the mixed blessing the automobile has bestowed upon us. Finally, however, the music leads to a dramatic presentation of the "Song of Invention." Despite its mixed blessing, the automobile is an invention to be celebrated; it has undisputedly changed the world! The music changes into a moment of reflection with a reprise of the "Song of Invention" by solo alto saxophone giving way to an intense, fast and spirited finale.
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Cantus Laetus. (Concerto for Winds and Percussion). By David Gillingham. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Contrabassoon, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Tro). Maestro Band Series. Grade 6. Score and parts. Duration 15:45. Published by C. Alan Publications (CN.05250). My affection for composing for bands, winds, and percussion over the past twenty years has, in part, been a source of inspiration for Cantus Laetus. Another source has been the encouragement I have received from colleagues and friends who have thought that I should write a definitive work exploiting the attributes of this large group of winds and percussion that we call the "band." And, finally, I have been inspired by the University of Georgia Band program under the superb leadership of Dwight Satterwhite. This work is my fourth commission for the University of Georgia Band program and I hope will not be my last.Virtually all the melodic material for this concerto is based on one of the most famous Gregorian Hymns, "Veni Creator Spiritus" for the Second Vespers of Whitsunday. This chant, as well as the Easter sequence, "Victimae Paschal Laudes," are two of my favortie melodies of all time. "Veni Creator Spiritus" is tuneful and lends itself to a variety of harmonic settings. The title, Cantus Laetus, translates to "Joyful Noise," with "noise in this case being "music." There is obvious and intended reference in the title to Psalm 100 ("Make a joyful noise to the Lord, all the lands!"). In fact, wind and percussion instruments are mentioned throughout the entire book of Psalms as instruments of praise. Therefore, Cantus Laetus is a statement of praise and affirmation of life which exploits every corner of emotion through the coloristic and dramatic capabilities of the symphonic band. The work is cast in three major sections which are framed by an introduction, Initium, and a coda, Finis. The three middle sections feature the three families of the ensemble, Calamus (reeds/woodwinds), Aes (brass), and Ictus (percussion). In addition to its own feature, the percussion section is involved in all the other sections along with the piano and harp.- David R. Gillingham.
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Essays for Trumpet & Wind Ensemble. (Trumpet Feature). By Gary Ziek. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet Solo, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1, Trombon). Grade 4. Score and parts. Duration 12:10. Published by C. Alan Publications (CN.05560). "Essays for Trumpet" is a four-movement suite for trumpet and wind ensemble. Each movement is written in a contrasting style, featuring a wide array of trumpet techniques. The first movement, Fanfare, begins with the solo trumpet playing lyrical lines over the ensemble. The character quickly changes, with the trumpet and ensemble trading short clarion calls. The movement ends with a flurry of activity between solo and ensemble, culminating in the final chord. Movement two, Gallop, begins with a flash, with the soloist, negotiating numerous double-tonguing hurdles. The movement races off at a presto tempo, with both soloist and ensemble trading the melody. A short interlude with a jazz flavor features the soloist before the movement races to the finish. Movement three, Ballad, showcases the lyrical side of both soloist and ensemble. The final movement, Dance, utilizes a five-part rondo form. It is highly spirited in nature, featuring lively melodies and rhythms.
$138.00

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
Proud and Immortal by David Gillingham. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, English Horn, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1, Trombon). Grade 4. Score and parts. Duration 8:50. Published by C. Alan Publications (CN.05960). Proud and Immortal is a musical memorial for the members of the Oklahoma State University Basketball Program killed in the plane crash of January 27, 2001. The work is based almost exclusively on the Oklahoma State University Alma Mater Hymn (Robert McCulloh, 1949). The work opens in an elegaic mood which is punctuated by repeated groups of five articulations of open fifths in the piano. Underscoring these sorrowful articulations are motives in the low woodwinds and horns alluding to the first four notes of the Alma Mater Hymn. A distant muted trumpet enters with a reflective theme and the work segues into a rather dignified and dark march utilizing, again, the first four notes of the Alma Mater Hymn, the muted trumpet motive, and articulations by the timpani, tom-toms and bass drum. All of this, of course, acknowledges the deep loss and sadness felt by the Oklahoma State University community, the country, and the world. The march grows in intensity and the piano again is heard with its characteristic five articulations, but this time in more hopeful surroundings. Under a soft timpani roll, the muted trumpet again enters with a motive suggesting a prayerful reflection. As the trumpet statement continues, the saxophones expressively render the Lama Mater Hymn in stately augmentation. The texture thickens for the final eight bars of the hymn, with the flute playing a lyrical obligato. The English horn echoes the muted trumpet at the end of the hymn and the euphonium engaged in dramatic countermelody. There is yet another modulation into Bb major with the oboe on the melody and the flute and euphonium on countermelodies. Through these statements of the hymn in various keys and orchestral colors, I have humbly and respectfully tried to reflect upon the precious lives of the young athletes and how they have touched the Oklahoma State University community. The mood becomes celebratory with another modulation, this time in D major. The brass toss around fanfare motives derived from the original elegaic articulations in the piano. The fanfare moves to the key of Bb major and the Alma Mater is now majestically stated by the horns and trumpets and the section modulates back to G major, with a fermata in the middle of the last line of the hymn. Following a grand pause, the last three notes of the hymn are stated by the horns and low brass.- David R. GIllingham.
$138.00

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
Heritage of Faith. (with SATB Choir). By David Gillingham. For Choir with Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon 1/2, Clarinet 1, Clarinet 2/3, Bass Clarinet, Eb Contrabass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet 1, Trumpet 2/3, Horn 1/2, Horn 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba, SATB). Grade 4. Score and parts. Duration 9:05. Published by C. Alan Publications (CN.06500). Quoting three hymns from the Heritage of Faith:When in Our Music God is Glorified(Engleberg)All Creatures of Our God and King(Lasst Uns Erfreuen)Lift High the Cross(Crucifer)Commissioned byMeyer MusicTo Honor the Grand Rapids Christian School AssociationAt the Dedication of the Center for Arts and WorshipFebruary 23, 2003Grand Rapids Christian High School Combined Choirs and Wind EnsembleJohn K. Blakemore, ConductorGrand Rapids, Michigan.
$138.00

Instruments: Choir, Flute, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Bass Trombone, Euphonium, Tuba, Vocal, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet, Trombone
Double Star. (Clarinet & Piano Feature). By David Gillingham. For Soloist(s) with Concert Band (Flute 1/Piccolo, Flutes 2, Oboe, Bassoon, Solo Bb Clarinet, Bb Clarinets 1/2, Bass Clarinet, Alto Saxophone, Horn in F 1/2, Horn in F 3/4, Bb Trumpets 1/2, Trombone, Bass Trombone, Euphonium, Tuba, String Bass, Solo Piano, Timpani, Percussion 1 (crotales,). Grade 6. Score and parts. Duration 18:50. Published by C. Alan Publications (CN.06520). Double Star was commissioned by Gary Green and the University of Miami Wind Ensemble to celebrate his friendship with Ellen Rowe (pianist), Maggie Donaghue and myself. The work, therefore, celebrates humanity, especially in the goodness we achieve and the friendship we acquire through the art of music. The title of the work comes from the astronomical phenomenon by the same name, "two stars that are gravitationally bound and hence move in an elliptical orbit around the common center of mass." www.skywatch.com Certainly we can count Ellen Rowe and Maggie Donaghue as two "stars" who are gravitationally bound to the world of music.Each movement paints a musical picture of the type of light that I have imagined would be radiated by these stars. The first movement, Bright Light, is cast in sonata form preceded by a slow introduction. Two moods are fluctuated in the movement corresponding to two interpretations of "bright, " one being somewhat inhibiting, and the other being joyful. The first theme group represents the former and second theme group represents the latter. The second movement, Warm Light, is set in simple song form featuring the alto saxophone. All that is good with the world and humanity is reflected in this movement through lyrical line and rich harmony. The final movement, Heavenly Light, is the most celebratory in that it radiates joy and elation. I imagine the light in this movement to be akin to what those with near-death experiences have seen and felt. The movement is cast in a sonata-rondo design with the first theme group featuring modal and chromatic mediant progressions. Motivic material from the second movement is used in the second theme group and makes a dramatic reprise in the coda.- DRG.
$138.00

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Bass Trombone, Euphonium, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet, Trombone
Dance Toccata by Frederick Speck. Arranged by Geoffrey Brand. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Contrabass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1/2, F Horn 3/4, Trombone 1/2, Trombone 3, Euphonium, Tuba, Timpani,). Grade 5. Score and parts. Duration 10:10. Published by C. Alan Publications (CN.07940). Commissioned by, and dedicated to, Garwood Whaley and the Bishop Ireton Wind Ensemble, Dance Toccata combines continuous rhythmic motion, varied textures and colors, and motives imbued with strong dance-like features in a work that is energetic and bold. Though the underlying current of pulsation is hardly ever interrupted, there are also layers of relaxed, undulating melodic materials suspended above the pulsation to create a contrasting lyricism in the work. The first example of such lyricism is heard in a series of canonic entries featuring solo statements by the oboe, clarinet and alto saxophones.The structure of the work resembles a broad arch with a coda. Just past the midpoint of the work, the lyrical statement returns in the woodwind and brass instruments, providing a brief sense of relaxation, as if the music is winding down from the rhythmic persistence with which it so strongly identifies. Throughout the course of the work, there is a dialogue and an intentional ambiguity between major and minor sonorities, which ultimately becomes more strongly major near the conclusion. As the music presses forward into the coda, layers that remind the listener of all the prominent materials of the work are present. Past this point, the music becomes increasingly extroverted, spirited and joyful as it surges toward release.- Frederick Speck.
$138.00

Instruments: Flute, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet