Taylor Swift. (Instrumental Play-Along for Tenor Saxophone). By Taylor Swift. For Tenor Saxophone (Tenor Sax). Instrumental Folio. Softcover with CD. 32 pages. Published by Hal Leonard (HL.842535). ISBN 1617805742. 9x12 inches. 15 favorites from this Grammy award-winning singer-songwriter, including: Back to December • Change • Fearless • Fifteen • Love Story • Mine • Our Song • Picture to Burn • Should've Said No • Sparks Fly • Speak Now • Teardrops on My Guitar • Today Was a Fairytale • White Horse • You Belong with Me.

Suite from The Star Wars Epic - Part II (IV. Princess Leia's Theme from Episode IV: A New Hope, V. Imperial March (Darth Vader's Theme)/ The Forest Battle from Episode V: The Empire Strikes Back and Episode VI: Return of the Jedi and VI. Star Wars (Main Title) from Episode I through VI). By John Williams. Arranged by Robert W. Smith. Concert Band. For concert band (1 - piccolo, 3 - 1st flute, 3 - 2nd flute, 2 - oboe, 2 - bassoon, 3 - 1st clarinet, 3 - 2nd clarinet, 3 - 3rd clarinet, 2 - bass clarinet, 1 - contrabass clarinet, 2 - 1st alto saxophone, 2 - 2nd alto saxophone, 1 - tenor saxophone, 1 - bari. Concert Band. Belwin Concert Band Series. Form: Suite. Movies. Grade 3.5. Conductor's score and set of performance parts. 284 pages. Published by Belwin Publishing (AP.24773). Playable alone or with Part 1 (24772), the "Suite from Star Wars Epic - Part II" completes the journey. John Williams' stellar film scores have received global acclaim for decades. Robert W. Smith has selected four cherished themes in three movements. May the force be with you performing this classic collection.

Choral Instrumental Pak, Sheet Music Download, Combo. Arranger: Kirby Shaw. Writer: Kirby Shaw.

Gershwin Fantasy by George Gershwin (1898-1937). Arranged by John G. Mortimer. For instrumental duet (2 alto saxophones, 2 euphoniums, 2 flutes, 2 trombones, 2 trumpets; or alto saxophone and tenor saxophone, flute and oboe, or trumpet and horn) and concert band. Swiss import. Grade 3+. Score and parts. Published by Editions Marc Reift (MA.EMR-10276).

www.winds.com by Bruce Fraser. For Concert Band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Eb Alto Clarinet, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st Bb Trumpet, 2nd Bb Trumpet, 3rd). Band Music. Grade 3. Score and parts. Duration 4:30. Published by C. Alan Publications (CN.R10224). The idea for this work came from listening to my modem while logging on to the Internet. I realize that some modems log on silently, but the opening of this work imitates the tones and burbling noises of a modem or fax. There were two musical features I picked our - the pitches of the dialing tones are subsequently used to create the melodies, and the syncopated falling octave figure is used in accompaniment figures.The opening Allegro will work at a faster tempo if desired, but make sure that clarity is maintained. The middle section should be carefully balanced and allowed to flow.

Clarinetango. (Clarinet Feature). By Bruce Fraser. For Soloist(s) with Concert Band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd Bb Clarinet, Bb Bass Clarinet*, Bassoon*, 1st Eb Alto Saxophone*, 2nd Eb Alto Saxophone*, Bb Tenor Saxophone*, Eb Baritone Saxophone*, 1st F Horn, 2nd F Horn, 1st Bb Trumpet, 2nd Bb Trumpe). Band Music. Grade 2.5. Score only. Duration 3:30. Published by C. Alan Publications (CN.S11146). Scottish composer Bruce Fraser has established himself as a successful writer at all levels, from witty easy pieces to award-winning large-scale compositions. This Clarinet feature should get your section moving - or even dancing in the aisles!

Irish Washerwoman. (Xylophone Feature). By Nathan Daughtrey. For Soloist(s) with Concert Band (flute 1/2, oboe (optional), clarinet in Bb 1/2, bass clarinet, bassoon (optional), alto saxophone 1/2, tenor saxophone, baritone saxophone, solo xylophone, trumpet in Bb 1/2, horn in F 1/2, trombone 1/2, euphonium, (baritone t.c), tuba, medium concert tom). Band Music. Grade 3. Score only. Duration 2:00. Published by C. Alan Publications (CN.11871). "Irish Washerwoman" is one of the most well-known and beloved Irish jigs. This arrangement for solo xylophone and concert band originally appeared in a collection of Irish tunes for xylophone and marimba trio, titled "The Celtic Xylophone, Book 1" (CAP 11640). It is the perfect showpiece for a percussionist wanting to display his or her two-mallet keyboard technique.

Performance Favorites, Vol. 1 - Tenor Sax. (Correlates with Book 2 of the Essential Elements 2000 Band Method). By Various. Essential Elements Band Folios. Grade 2. 20 pages. Published by Hal Leonard (HL.860191). ISBN 142345779X. 9x12 inches. by Michael Sweeney, Paul Lavender, John Higgins, John Moss and James CurnowContents: African Sketches • Barrier Reef • Do You Hear What I Hear • Elves' Dance • Firebird • Gaelic Dances • Irish Legends • On Broadway • Regimental Honor • Spinning Wheel • The Streets of Madrid • Summon the Heroes • You're a Grand Old Flag.

Symphony No. 2: Genesis by David Gillingham. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, English Horn, Bassoon 1/2, Eb Soprano Clarinet, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Contrabassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in B). Band Music. Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.14760). Like Symphony No.1 (Apocalyptic Dreams), Symphony No. 2 ("Genesis") is programmatic and based on Biblical scripture. Symphony No. 2 is inspired by the first nine chapters of Genesis and is divided into five movements: I. In the beginning; II. Eden and the forbidden fruit; III. Noah and the Ark; IV. The floodgates of heaven; and V. The sign of the covenant.Movement I. In the beginning, opens mysteriously with the whirring of flexible plastic hoses in the percussion and a pedal G in the vibraphone which signify chapter 1, verse 2, "Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters." God's presence and voice are represented by repeated notes leading to a note a half step above and then back down, (the "God motive") first heard by the horns in the thirteenth measure. Following are ascending passages in the Eb clarinet over harp-like passages in the piano indicative of chapter 1, verse 3, "And God said 'Let there be light', and God saw that the light was good, and he separated the light from the darkness." An accumulation of texture follows building into an expansive tone cluster which breaks into G major with a soaring melodic line in the horns. The section represents chapter 1, verse 6, "And God said, 'Let there be an expanse between the waters to separate water from water.'" Ensuing is the essence of chapter 1, verse 11, "Then God said, ' Let the land produce vegetation: seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds.'", and chapter 1, verse 14-15, "And God said, 'Let there be lights in the expanse of the sky to separate the day from the night, and let them serve as signs to mark seasons and days and years, and let there be lights in the expanse of the sky to give light on the earth.'" Strident articulations of chords along with the brake drum begin this section, likened to lightening, followed by rustling in the clarinets over clusters in the brass followed again by a soaring horn melody emulating the voice of God. Trills and ascending passages in the woodwinds and piano over low brass chords characterize the next section which expresses the creation of living creatures expressed by chapter 1, verse 20 and 24, "And God said, 'Let the water teem with living creatures, and let birds fly above the earth across the expanse of the sky'"; "And God said, 'Let the land produce living creatures according to their kinds: livestock, creatures that move along the ground, and wild animals, each according to its kind.'" A quiet and most reverent section ensues which expresses the voice of God (the "God motive") as He creates his most prized possession, Man, as written in chapter 1, verse 26, "Then God said, 'Let us make man in our image, in our likeness and let them rule over the fish of the sea and the birds of the air, over the livestock, over all the earth, and over all the creatures that move along the ground'". The movement ends with a sort of benediction which utilizes the "God motive" and ends quite peacefully in G major, all inspired by chapter 2, verse 2, "By the seventh day God had finished the work he had been doing; so on the seventh day He rested from all His work.'"Movement II. Eden and the Forbidden Fruit, seeks to exploit both the beauty and the wrath of God. The first part of the movement is devoted to the Garden of Eden, the creation of the woman (Eve) and The Tree of Knowledge of Good and Evil. Verses 8-9, 16-17, and 21-22, from the 2nd chapter of Genesis provide the inspiration for this part of the movement: "Now the Lord God had planted a garden in the east, in Eden; and there He put the man He had formed. And the Lord God made all kinds of trees grow out of the ground--trees that were pleasing to the eye and good for food. In the middle of the garden were the tree of life and the tree of the knowledge of good and evil." "And the Lord God commanded the man, 'You are free to eat from any tree in the garden; but you must not eat from the tree of the knowledge of good and evil, for when you eat of it you will surely die.'" "So the Lord God caused the man to fall into a deep sleep; and while he was sleeping, He took one of the man's ribs and closed up the place with flesh. Then the Lord God made a woman from the rib He had taken out of the man, and He brought her to the man." The mood begins to change when the euphonium plays the first two phrases of the hymn O God Our Help in Ages Past (Tune by William Croft 1708; "St. Anne"). Tempted by a most crafty serpent, Adam and Eve eat the forbidden fruit from the tree of knowledge of good and evil: "When the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it. She also gave some to her husband, who was with her, and he ate it" (chapter 3, vs. 6). The hymn abruptly ends articulated by stopped horns. Following, is a section filled with angry and evil motives and dissonant textures which allude to the consequences of eating the forbidden fruit: "To the woman he said, 'I will greatly increase your pains in childbearing; with pain you will give birth to children. Your desire will be for your husband, and he will rule over you'" (chapter 3, vs. 16). And to Adam he said, "Cursed is the ground because of you; through painful toil you will eat of it all the days of your life. It will produce thorns and thistles for you, and you will eat the plants of the field. By the sweat of your brow you will eat your food until you return to the ground, since from it you were taken; for dust you are and to dust you will return" (chapter 3, vs. 17-19). The movement ends in woeful reflection of the curse that God bestowed upon mankind.Movement III. Noah and the Ark, is in a scherzo-trio structure. The scherzo section is set in compound duple meter and reflects Noah's overwhelming job to build a most expansive ark as described in chapter 6 of Genesis. The trio is almost child-like in mood and quotes the hymn All Things Bright and Beautiful (Words by Cecil F. Alexander, 1848, 17th century English melody):All things bright and beautiful,All creatures great and small,All things wise and wonderful,The Lord God made them all.The hymn serves to create the image of boarding all the "creatures" on the ark: "You are to bring into the ark two of all living creatures, male and female, to keep them alive with you. Two of every kind of bird, or every kind of animal and of every kind of creature that moves along the ground will come to you to be kept alive." (Chapter 6, vs. 16-20.) The recapitulation of the trio is interrupted by a dissonant textural crescendo leading to movement IV.Movement IV. The Floodgates of Heaven, begins with falling rain (closed hi-hats) over a pedal Eb. After several strikes of lightning, tutti chords, the heavens open up and it begins to pour (cascading woodwind passages). As described in Chapter 7, vs. 11-12: "In the six hundredth year of Noah's life, on the seventeenth day of the second month--on that day all the springs of the great deep burst forth, and the floodgates of the heavens were opened. And rain fell on the earth forty days and forty nights." Under the cascading woodwinds the horns and trumpets sing a theme of destruction. The intensity grows and reaches its height in C major and becomes quiet with a repeated eighth note pedal on C in the trumpets. Then, motives from the death chant, Dies Irae, appear in the woodwinds and piano representative of Chapter 7, vs. 23: "Every living thing on the face of the earth was wiped out; men and animals and the creatures that move along the ground and the birds of the air were wiped from the earth. Only Noah was left, and those with him in the ark." The section builds to a partial statement of the chant by the full ensemble ending with a pedal on G by the timpani.Movement V. The Sign of the Covenant is the fifth and final movement of the symphony. The first part of the movement reflects the dove sent by Noah to find land. The piccolo solo aptly alludes to the bird as it flies toward land and brings back the olive branch: "He waited seven more days and again sent out the dove from the ark. When the dove returned to him in the evening, there in its beak was a freshly plucked olive leaf! Then Noah knew that the water had receded from the earth" (chapter 8, vs. 10-12). Below the continuing song of the piccolo (the dove), the horns sing a theme of celebration as Noah and the animals step off the ark onto dry land. A prayer follows with a series of overlapping cadences alluding to Noah building an altar and God vowing not to ever again destroy the living things on earth (chapter 8, vs. 20: "Then Noah built an altar to the Lord.."; Chapter 8, vs. 21-22: "Never again will I curse the ground because of man, even though every inclination of his heart is evil from childhood. And never again will I destroy all living creatures, as I have done."). The symphony ends in fanfare modulating dramatically to E major and then fading away to a single E major chord in the marimba which then fades to silence (Chapter 9, vs. 12-13: "This is the sign of the covenant I am making between men and you and every living creature with you, a covenant for all generations to come: I have set My rainbow in the clouds, and it will be the sign of the covenant between Me and the earth.").Dedicated to Dr. Mallory B. Thompson in celebration of her first decade as Director of Bands at Northwestern University.

Music From Sleepy Hollow by Danny Elfman. Arranged by Jay Bocook and Will Rapp. For 16 flutes, 16 Bb clarinets, 8 Eb alto saxophones, 4 Bb tenor saxophones, 8 Bb trumpets (1st ), 8 Bb trumpets (2nd), 8 Bb trumpets (3rd), 8 horns, 8 Bb horns (optional), 8 trombones (1st), 8 trombones (2nd), 4 baritones (B.C.), 4 baritones (T.C.), 8 tubas,. Performance/Easy Limited Edition. Movies. Difficulty: medium. Set of performance parts (includes pull out parts for all instruments) and conductor's score. 139 pages. Published by Hal Leonard (HL.3744865). Danny Elfman has made a name for himself in the area of spooky music for movies. Jay has carefully combined the most spine-tingling moments from this movie thriller into a marvelous production/closer. Delightfully devious!!

10 Easy Jazz Duets - Bb Edition (B-Flat (Trumpet, Tenor/Soprano Saxophone, Clarinet)). Edited by Thom Proctor. For Bb instrument duet (Trumpet, Tenor Saxophone, Soprano Saxophone, Clarinet). Instrumental Series. Jazz and Play Along. Difficulty: medium. Instrumental duet book and accompaniment CD. Standard notation. 28 pages. Published by Alfred Music Publishing (AP.SB296CD). ISBN 0769230253. With standard notation. Jazz and Play Along. 9x12 inches. "10 Easy Jazz Duets," written by John La Porta with Greg Nielsen, contains jazz duets in a variety of styles. This unique book is compatible for performance with all instruments and is published with a CD of hip rhythm section backgrounds. In addition, the duets can be performed with a live rhythm section using the chord symbols provided in the C and Bass Clef editions. Not only is the book great for individual jazz practice for improvisation, articulation and phrasing, but it provides interaction with another musician or group with no limitation on the instrumentation. The duets are also very useful to the educator who may find it difficult to get a full band together.

Northern Light by David Gillingham. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Clarinet in Bb 1, Clarinet in Bb 2, Clarinet in Bb 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1, Trumpet in Bb 2, Trumpet in Bb 3, Horn in F 1/2, Horn in F 3/4, Tromb). Band Music. Platinum Band Series. Grade 4. Score and parts. Duration 4:50. Published by C. Alan Publications (CN.11240). "Northern Light" was commissioned by the Walled Lake Northern High School Bands on the occasion of the first graduating class in June of 2005. The work incorporates the school's "Alma Mater" for which I was commissioned to write the music for several years ago.The work uses a sonata-like design. It begins with a slow introduction beginning in Ab major using material from the Alma Mater and modulates to Bb major. An allegro exposition follows with a fanfare-like first theme (trumpets) that is celebratory in nature. A short transition leads to the second theme (Alma Mater) in Gb Major presented in a slower and more stately tempo. A development section follows which using fugal counterpoint as its centerpiece with the subject based on the first theme. Alternating episodes develop both themes and a retransition leads the work to the recapitulation of the first theme, this time in Ab Major. A transition dramatically leads to the final presentation of theme 2 (Alma Mater) in C Major with its rhythm augmented. A coda appropriately brings the work to a rousing conclusion.--DRG.

The Winner Takes It All (from "Mamma Mia!") - Bb Tenor Sax by ABBA. By Bjorn Ulvaeus and Benny Andersson. Arranged by Michael Brown and Will Rapp. Marching band. For Bb Tenor Sax. Broadway; Pop. Individual instrument part. 1 pages. Published by Hal Leonard - Digital Sheet Music (HX.123551). This item is the replacement part to the marching band set. It is not recommended to purchase this as a solo piece. About Digital Print Sheet Music Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play! View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application. Learn more

Human Nature - Tenor Sax 2 by Michael Jackson. By John Bettis and Steve Porcaro. Arranged by Mike Tomaro. Jazz band. For Tenor Sax 2. Pop. Individual instrument part. 3 pages. Published by Hal Leonard - Digital Sheet Music (HX.143191). This item is the replacement part to the jazz band set. It is not recommended to purchase this as a solo piece. About Digital Print Sheet Music Digital Print is printable sheet music available anytime, anywhere. Just purchase, print and play! View your online sheet music at home, school, work or anywhere you have a computer connected to the Internet. With Digital Print, you can print your digital sheet music immediately after purchase, or wait until its convenient. And our software installation is easy - we'll guide you through the simple steps to make sure you have Adobe Flash Player, Adobe AIR and the Sheet Music Plus AIR application. Learn more

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 only. Duration 5:00. Published by C. Alan Publications (CN.16431). The piece is in several sections with a Latin style rhythm that occasionally gets interrupted by accented outbursts from the ensemble. As the piece develops and moves from section to section, new rhythmic and melodic ideas are introduced. The piece culminates with a bravura mallet cadenza and an optional cadenza, which calls for the additional skills of playing the timbales, bongos, tom-toms, and conga drum. 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.

By Kenny G. For Eb alto saxophone, Bb tenor saxophone (optional) and piano accompaniment. Instrumental Solo. Adult Contemporary and Pop. Difficulty: medium. Set of performance parts. Solo part, piano accompaniment and chord names. 4 pages. Published by Hal Leonard

Jesu, meine Freude by Johann Sebastian Bach (1685-1750). For tenor saxophone and piano. Swiss import. Grade 3. Score and parts. Published by Editions Marc Reift (MA.EMR-217F).

Seconds, Please! by Gregory Danner. For Concert Band (Flute, Oboe, Bassoon, Bb Clarinet 1/2, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, F Horn, Trombone, Baritone B.C., (Baritone T.C.), Tuba, Timpani, Percussion 1 (bells, xylophone), Percussion 2 (tambouri). Band Music. Grade 2. Score only. Duration 2:05. Published by C. Alan Publications (CN.10261). Seconds, Please! is a fun piece in march style that emphasizes the musical interval of the second. As musicians know, "seconds" are two notes that are next to each other in sound. When heard together, they give a little more "bite" to the harmony than more traditional chords. All melodic phrases and nearly every harmony in the piece focus on this interval.In playing Seconds, Please! don't shy away from the dissonance but play it with confidence. "Crunchy" notes are fun to play! Equal balance between the instruments that are playing the harmonic seconds will be an important consideration. Above all, let the music be lively and energetic.- Greg Danner.

Through the Horizon by Nathan Daughtrey. For Concert Band (Flute 1/2, Oboe (opt.), Bassoon (opt.), Bb Clarinet in 1/2, Bb Bass Clarinet, Eb Alto Saxophone 1/2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1/2, F Horn 1/2, Trombone 1/2, Baritone B.C., (Baritone T.C.), Tuba, Timpani, Percussion 1 (Bells, X). Band Music. Platinum Band Series. Grade 4. Score and parts. Duration 7:30. Published by C. Alan Publications (CN.14000). At a mass meeting in 1954, about 200 citizens representing all sections of Davie County, North Carolina voted unanimously to consolidate the four high schools - Cooleemee, Farmington, Mocksville, and Shady Grove - into one high school, resulting in the forming of Davie County High School in 1956. Through the Horizon was commissioned by the Davie County Band Boosters to commemorate the 50th anniversary of this historic occasion. The piece was premiered on May 31, 2007 by the Davie County High School Band, directed by Marc Schaub. The title of the piece is derived from the title of the poem, "Walking Through the Horizon" by short story writer Margaret Holley. While the horizon is something we can physically never touch or reach, I like the image of walking through it as a symbol of achieving what seemed to be an unattainable goal.Two large sections comprise the 6-minute work. The first, "Reflection," is a solemn and nostalgic look back to the convergence of the four communities. With a backdrop of sparkling mallet percussion and wind chimes, all of the wind players sing a simple four-note motive representing the four schools. Following the singing, fragments of the main "Celebration" theme are first heard in solo flute and trumpet and then by the entire ensemble building to a glorious climax.The second section, "Celebration," is a bright and joyful look at the present state and future possibilities of the school. The main theme is derived from the rhythm of the words "Sing all ye joyful, now sing all together . . . Dance all ye joyful, now dance all together," excerpted from a celebratory poem by J.R.R. Tolkien. All thematic material for the work sprang out of this original theme. Once again, the four schools that came together to form Davie High School are represented, this time by four different incarnations of the "Celebration" theme (see m. 35, 52, 62, and 86).The work keeps driving towards a conclusion, but cannot seem to reach it. Finally, the singing returns, interspersed with powerful blows in the percussion section, and leads into the final chord in E-flat major.

It Takes Four to Tango. (For Saxophone Quartet). By Daniel Dorff. Woodwind quartet. For Soprano Saxophone, Alto Saxophone, Tenor Saxophone, Baritone Saxophone. Score and part(s). Standard notation. 4 pages. Published by Theodore Presser Company (PR.114408700). With Standard notation.

My Love by Paul McCartney and Linda McCartney. Arranged by Palmino Pia. Concert band. For solo feature for tenor sax. Pop Music. Grade 4. Score and set of parts. Duration 5:30. Published by Scomegna Edizioni Musical srl (S4.ESB604).

Just a Closer Walk With Thee - Brass, Saxes and Rhythm Score and Parts by Robert Sterling. For 2 trumpets, 2 trombones, tenor saxophone, baritone saxophone and rhythm. Sacred Anthem: Easter, General, Lent. Instrumental Score & Parts. Published by Lorenz Publishing Company (LO.30-2443L). Contemporary soul radiates from Sterling's stellar arrangement of this classic 19th-century hymn. Regular syncopation and striking choral harmonies are fully supported by the stylized accompaniment. Optional brass and rhythm will enhance a truly soulful performance. It's an exceptional arrangement that will appeal to both traditional and contemporary congregations.

Movie Duets for All (Tenor Saxophone). Arranged by Michael Story and Michael Story. For Tenor Saxophone. Duet or Duo; Mixed Instruments - Flexible Instrumentation. Instrumental Ensembles for All. Movie. Book. 24 pages. Published by Alfred Music Publishing (AP.33517). ISBN 0739063065. Movie. A versatile, fun series intended for like or mixed instruments to perform in any combination of instruments, regardless of skill level. All books are in score format with each line increasing in difficulty from Grade 1 to Grade 3-4. Perfect for concerts with family and friends, recitals, auditions, and festivals. Available for brass, woodwinds, strings, and percussion. Titles: Double Trouble * In Dreams * Singin' in the Rain * The Entertainer * Twistin' the Night Away * We're Off to See the Wizard * Be Our Guest * Fame * Wonka's Welcome Song * Wizard Wheezes * Can You Read My Mind? * Star Wars * Everything I Do * I Don't Want to Miss a Thing * Living in America * Gonna Fly Now * Superman Theme.

When The Saints Go Marching In arranged by Lennie Niehaus. For saxophone quartet (2 alto saxophones, tenor saxophone, and baritone saxophone). Saxophone Quartet. Standards. Grade 4. Score and set of performance parts. 14 pages. Duration 3m50s. Published by Kendor Music Inc (KN.16425).