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Tenor Saxophone
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On the Wings of Eagles by William Steinohrt. For Concert Band (Piccolo, Flute 1, 2, 3, Oboe 1, 2, Bb Clarinet 1, 3, Bb Clarinet 2, 4, Bass Clarinet 1, 2, Contrabass Clarinet, Alto Saxophone 1, 2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 3, Bb Trumpet 2, 4, F Horn 1, 2, F Horn 3, 4, Trombone 1, 3, Trombone 2). Grade 4. Score and parts. Duration 13:45. Published by C. Alan Publications (CN.05270). Trumpet fanfare, please. Trumpets and percussion introduce the musical material in this very heart-grabbing piece. Horns play a lead role in making this dramatic piece an audience capturing masterpiece for band.
$124.20

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Horn, Double Bass, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Mansions of Glory by David Gillingham. Arranged by Geoffrey Brand. For Concert Band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/3, Horn 2/4, Trombone 1/2, Bass Trombon). Band Music. Grade 4. Score and parts. Duration 6:40. Published by C. Alan Publications (CN.12160). Mansions of Glory is a fantasy on the hymn, "My Jesus, I Love Thee", music by Adoniram J. Gordon and words by William R. Featherstone. The choice of this hymn was in keeping with the commissioning parties, The Lambda Epsilon Chapter of Kappa Kappa Psi and The Theta Beta Chapter of Tau Beta Sigma fraternities, to honor Dr. Craig Hamilton, Director of Bands at Ouachita Baptist University. This hymn is among many of his favorites. The words of the hymn are as follows:1. My Jesus, I love Thee, I know Thou art mine;For thee all the follies of sin I resign.My gracious Redeemer, my Savior art Thou;If ever I loved Thee, My Jesus, 'tis now.2. I love Thee because Thou has first loved me,And purchased my pardon on Calvary's tree.I love Thee for wearing the thorns on Thy brow;If I ever loved Thee, my Jesus, 'tis now.3. I'll love Thee in life, I will love Thee in deathAnd praise Thee as long as Thou lendest me breath;And say when the death dew lies cold on my brow,If ever I loved Thee, My Jesus, 'tis now.4. In mansions of glory and endless delight,I'll every adore Thee in heaven so bright;I'll sing with the glittering crown on my brow;If ever I loved Thee, my Jesus, 'tis now.These words reflect joy, awe, and the sacrifice of Christ. Therefore, the listener will hear a fluctuation of moods throughout the work. The title of the work is taken from the final verse of the hymn.The work begins mysteriously and quietly in Bb minor with sustained marimba and two rising harmonic sixths in the clarinets. The rising sixths begin a pattern of eighth notes in the clarinets that accompany the low brass and horns on a version of the hymn tune in Bb minor (m. 18).This modulates into F major with the brass dramatically stating the last part of the hymn (m. 43). Remaining in F major, the ensuing section features the piano, bells and vibraphone accompanying the trombones on the hymn tune (m. 51). The piano accompaniment is reminiscent of the clarinet accompaniment at the beginning of the work.An ominous and aggressive interlude follows in fast tempo giving rise to a four-part fugal exposition in D minor based on the first phrase of the hymn accompanied by high woodwinds and closed hi-hat consisting of a sixteenth note pattern (m. 70).The sixteenth note pattern continues after the fugal exposition echoing between brass and woodwinds and fluctuating between compound-duple and duple meter (m. 110) and then modulates to A Major when the hymn tune makes a glorious return in 6/8 meter (m. 120).At midpoint, the hymn modulates to Db major (m. 136) and culminates with a brass fanfare (m. 152). A solo timpani figure (m. 161) leads to a return of piano and bells accompanying statements of the first phrase of the hymn by the low brass and horns (m. 169). A modulation to F major follows (m. 177). Woodwinds and solo euphonium then state the last phrases of the hymn, respectively. A quiet coda follows consisting of accompaniment motives heard at the beginning of the work. (m. 190)- DRG.
$124.20

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Holiday Swing by Dennis Armitage. For solo instrument (flute, clarinet, alto saxophone, tenor saxophone, horn in Eb, horn in F, trumpet, bass trombone, tuba, or Eb bass) and concert band. Swiss import. Jazz / Ragtime / Dixieland. Grade 4. Score and parts. Published by Editions Marc Reift (MA.EMR-1898).
$123.86

Instruments: Flute, Clarinet, Alto Saxophone, Tenor Saxophone, Horn, B-Flat Trumpet, Bass Trombone, Tuba, Woodwinds, Saxophone, Brass, Trumpet, Trombone
Genres: Ragtime, Jazz & Blues
Chorale Prelude: Turn Not Thy Face. (For Band). By Vincent Persichetti (1915-1987). Concert Band. For C Piccolo, Flute I, Flute II, Oboe I, Oboe II, Bb Clarinet I, Bb Clarinet II, Bb Clarinet III, Eb Alto Clarinet, Bb Bass Clarinet, Bb Contrabass Clarinet, Bassoon I, Bassoon II, Eb Alto Saxophone I, Eb Alto Saxophone II, Bb Tenor Saxophone, Eb Baritone Sa. Classical. Score and Set of Parts. Standard notation. Opus 105. 20 + pages. Duration 4 minutes, 30 seconds. Published by Theodore Presser Company (PR.165000390). With Standard notation. classical.
$123.23

Instruments: Piccolo, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Tenor Saxophone, Bassoon, Double Bass, Flute, Woodwinds, Clarinet, Saxophone, Strings
Genres: Classical, 20th Century
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. Conductor's score. 92 pages. Published by Anne Fuzeau Productions - France (FZ.2857). ISBN M230628570. 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.
$122.95

Pages: 92
Instruments: Flute, Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Soprano Saxophone, Tenor Saxophone, Double Bass, B-Flat Trumpet, Trombone, Percussion, Tuba, Woodwinds, Saxophone, Strings, Trumpet, Brass
Genres: Classical
Sentimental Mood by G. Rodenhof. For solo tenor saxophone and concert band. Concert band - with solo. Concert Band. Grade 3. Score and set of parts. Published by Edition Andel (ND.CBDS41-SET).
$120.95

Instruments: Tenor Saxophone, Saxophone, Woodwinds
Shadows by R. Cardon. For solo tenor saxophone and concert band. Concert band - with solo. Concert Band. Grade 3. Score and set of parts. Published by Edition Andel (ND.CBDS40-SET).
$120.95

Instruments: Tenor Saxophone, Saxophone, Woodwinds
Quintessence. (Brass Quintet & Percussion Feature). By David Gillingham. 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, Alto Saxophone 2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4, Trombone 1, Tromb). Grade 5. Score and parts. Duration 4:55. Published by C. Alan Publications (CN.02880). Quintessence was commissioned by the Illinois State University Wind Symphony conducted by Stephen K. Steele. This short flamboyant work is designed as a concert opener featuring a brass quintet and solo percussionist. The structure of the work can be loosely compared to a rondo design with recurrences of both primary and secondary themes. The primary theme is quite athletic and angular following outlines of major seventh and ninth chords whereas the secondary theme is quite lyrical. The recurrences are altered with the episodic sections with flirt with both themes including one which reminisces a Baroque fugue, one which features the frequently used meter of eleven-sixteen and one that alludes to jazz rhythms and harmonies.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Prophecy of the Earth. (Organ Feature). By David Gillingham. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, 2, 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, 4, Trombone 1, 2, 3, Euphonium, Tuba, Organ, Harp, Timpani, Percussion 1 (chimes, v). Grade 5. Score and parts. Duration 10:50. Published by C. Alan Publications (CN.04560). Prophecy of the Earth is a symphonic poem for band and organ, which was commissioned by the J.J. Pearce High School Band, Matthew McInturf, conductor.Hear the cry of the Earth!Heed Her tale of woe!Havoc and destructionShe has to come to know.Care for and nurtureHer mighty expanse,And render eternal peaceAnd life advance.- David R. Gillingham (1993).
$119.60

Instruments: Organ, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Harp, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Concerto for Woodwind Quintet & Wind Ensemble. (Woodwind Quintet Feature). By David Gillingham. For Soloist(s) with 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, Contrabassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet in Bb 1/2, Trumpet in Bb 3/4, Horn in F 1/2, Horn in F 3/4, Tro). Grade 5. Score and parts. Duration 11:30. Published by C. Alan Publications (CN.04700). The "Concerto for Woodwind Quintet" and Wind Ensemble began as a commission in 1983 but never materialized and was never performed. Its premiere performance was in February of 1995 by the Central Michigan University Symphonic Wind Ensemble under the direction of John Williamson. The Powers Quintet of Central Michigan University was the soloing quintet.It was my intention to create a work in the concerto grosso style which flourished in the Baroque period within the confines of materials and techniques of the present century. The "Brandenburg Concerto No. 2 in F Major" by J.S. Bach served as a model for the inspiration, spirit and vitality of this work.All three movements involve the interplay of the concertino group (the woodwind quintet) and the ripieno (the full ensemble with the quintet). Therefore, the woodwind quintet plays a dual role in the work as a soloing ensemble and as a part of the larger ensemble. The first movement is the most sophisticated of the three with a primary motive consisting of running sixteenth notes alternating between duple and triple groupings. A rather pompous motive with dramatic leaps emerges about midway through the movement in the horns. Following is considerable development of the primary motive between alternations of the ripieno and concertino. Then there is a literal repetition of the opening material followed by a Coda that dramatically restates the secondary motive.Like the "Brandenburg No. 2," the second movement is dominated by the concertino group and abounds in lyrical splendor. An ascending octave followed by a descending seventh characterizes the motivic material of this movement. The motive is imitated within the woodwind quintet forming lush harmonies in the first part of the movement and becoming more poignant and dissonant as the movement progresses. The winds and percussion serve only as a backdrop to this movement with long sustained chords and pandiatonic clusters in the winds and soft articulations by bells and crotales. A dominant augmented ninth chord with an underlying timpani roll leads to the third movement.The third movement is marked "Presto" and is intended to be lighthearted and extremely upbeat in spirit. The primary motive alternates between 3/4 and 7/8 meter and features the interval of the fourth within a diatonic structure. The motive is varied and passed back and forth between the concertino and ripieno. There is a secondary motive, first heard in the solo horn, that is reminiscent of the dramatic secondary motive of the first movement. Unlike the latter, this motive never plays out in its entirety and merely teases the listener. Following a literal repetition of the opening of the movement, a rousing coda closes the work.- DRG.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Genres: Classical
And Can It Be? by David Gillingham. For Concert Band (Flute 1/Piccolo with Solo Alto Flute, Flute 2/Piccolo, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1/2, Horn 3/4). Grade 5. Score and parts. Duration 11:45. Published by C. Alan Publications (CN.04900). In 1981, I began my career as a college professor at Spring Arbor College, in Spring Arbor, Michigan. It was customary at this church-related college to begin the day, several times a week, with an all-campus chapel service. On one particular occasion, I came late to the service during the singing of the opening hymn, "And Can It Be?", a hymn deeply rooted in Methodist tradition, authored by Charles Wesley to the music of Thomas Campbell. Despite my Methodist upbringing, I had never sung or heard this hymn before. With over 700 voice sounding the strains of this hymn, I was immediately taken by its beauty and grandeur. The hymn has remained a favorite of mine and that memorable day is firmly etched in my mind.Last year, after the tragedy at Columbine, Colorado, this hymn tune immediately came to mind with its title now bearing a double meaning. Whereas Charles Wesley wrote, "And can it be that I should gain an interest in the Saviour's blood?", I asked, "How can it be that these young people should die so violently and needlessly?" One can only turn to God or a force greater than man for comfort amidst such terrible events. Hence, the inspiration for this work is taken from the affirmation of this hymn versus the escalating violence in our country, particularly in our public schools.The substance of this work is derived from the hymn, starting with a partial statement of the hymn which becomes twisted and snarled like the growing violence in our world. But, for the saving grace of God, love will always reign, and the hymn tune eventually emerges in glorious triumph.- David R. Gillingham.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Lamb of God by David Gillingham. Arranged by Michael Brand. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon, Bb Clarinet 1, 2, 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, Horn 1/2, Horn 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba, Piano, Timpani (3 drums), Percussion ). Grade 5. Score and parts. Duration 12:10. Published by C. Alan Publications (CN.05240). Lamb of God is a tone poem based on the Christian story of the passion. The work is cast in five connected sections progressing to the chronology of the story. The motivic material, which unites the work, is taken from the Easter sequence, Victimae paschali laudesi ("Praises to the Paschal Lamb"). In the Catholic Church, the "Paschal Lamb" is representative of Christ who was sacrificed on the cross to redeem the people (or "sheep") of the world.The first section, O crux, portare talentum mundi ("O Cross, to bear the treasure of the world") seeks to depict Christ's torturous walk bearing his own cross. Motives from the Easter sequence are clearly articulated under and over dissonant harmonies and a regular march-like rhythmic drive. There is even the incessant cracking of a whip throughout the section. As the site of crucifixion nears, there is a quieting of activity, taking pause at the thought of death with the xylophone continuing the intensity. The walk then resumes to the crucifixion and segues into the second section, Dux vitae mortuus ("The leader of life is slain"). Announced by timpani and snare drum rolls, Christ is nailed to the cross. Muted bass drum and brake drum make the torture vividly clear. Crying dissonance in the ensemble, which grows with each successive nail, follows each nail. Intense suffering follows. An alto saxophone solo alludes to Hans Hassler's tune, O Sacred Head Now Wounded. This intensity grows to a climax on the penultimate strain of Hassler's tune. Sever chant-like statements follow this in piccolo, bass clarinet, bells and piano representing the final words of Christ. In the ensuing section, Sepulchrum Christi viventis ("I saw the sepulchre of the living Christ"), a timpani roll followed by three loud, grieving cries of the full ensemble signifies the stormy darkness following the death of Christ on the the cross. The section ends morbidly in C# minor. The vibraphone continues to sustain a C# into the next section, Surrexit Christus spes mea ("Christ my hope has risen"), which begins with small, but bright outbursts by bells and high woodwinds. The outbursts grow and begin to cascade joyously leading to dramatic strains of Victimae pachali laudes by the low brass. The section continues to grow in rhythmic and textural activity and finally reaches an apex in the key of C major. The final section, Agnus redemit oves ("The lamb has redeemed the sheep"), is a benediction in G major consisting of harp-like passages in the piano, chant-like motives and fragments of the Victimae paschali laudes. The work closes in Eb major, a chromatic change from G major which, to my ear, suggests eternity.
$119.60

Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Percussion, Timpani, Drums, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: Christian, Religious
Council Oak by David Gillingham. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bass Clarinet, Eb Contrabass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn 1/2, Horn 3/4, Trombone 1/2, Bass Trombone, Eupho). Grade 5. Score and parts. Duration 9:20. Published by C. Alan Publications (CN.05770). On the Seminole Hollywood Reservation in Florida, on the corner of U.S. 441 and Stirling Road, stands the "Council Oak" tree. During the long history of the struggle of the Seminole tribe in Florida, this oak tree was of special significance. When the Seminole tribe was faced with termination by the United States government, leaders of the tribe began meeting regularly underneath this great oak tree which helped to breathe new life back into the Seminole tribe. In 1957, the U.S. Congress officially recognized the Seminole Tribe of Florida.Council Oak was inspired by the significance of this tree and by the poetry of Moses Jumper Jr., who wrote a poem by the same name which chronicles the history of the Seminoles as told by the oak tree. The thematic material is taken from four songs of the Seminoles as officially recorded by Frances Dunsmore in his book, Seminole Music and archived in the Bureau of American Ethnology of the Smithsonian Institution. Additionally, I have composed a new theme, which I call the "Song of the Council Oak" which is indicative of Seminole and Native American melodic/rhythmic style.- David R. Gillingham.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Bass Trombone, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet, Trombone
AuSable River Festival by David Gillingham. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Contrabassoon, Bb Clarinet 1, Bb Clarinet 2/3, Bass Clarinet, Eb Contralto Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, Horn 1/2, Horn 3/4, Trombone 1/2, Bass T). Grade 4. Score and parts. Duration 8:20. Published by C. Alan Publications (CN.06000). AuSable River Festival seeks to musically depict the events and the excitement of the annual Festival by the same name held in Grayling, Michigan. The Festival is also inclusive of the famous Canoe Marathon, which begins in Grayling on the AuSable River and goes eastward, ending in Osada.The work begins with the excitement of the festival and parade. The "festival theme" is constructed on an Eb pentatonic scale, which seems to reflect the "open air" ambience of northern Michigan. The duple meter changes to compound duple, suggesting a parade and then returns to the activity of the festival. All of this excitement concludes and segues into a much more calm Ab major and the "river theme" emerges. Again using the resource of the pentatonic scale, the river theme reflects the grandeur of this river and suggests festival participants enjoying relaxing boat rides down its graceful and flowing currents. Following, the river theme is interrupted by the preparation for the great Canoe Marathon by continuous sixteenths in the xylophone and trumpets. The fuse of the cannon is lit ("sss" sound) and the subsequent explosion (bass drum) signals the beginning of the race. The "race theme" is a derivative of the festival theme, but is much more agitated suggesting the excitement and commotion of the event. Underneath the agitation, the river theme emerges. Interrupting the race is a chromatic motive heard in the tuba and low woodwinds, which is an attempt to emulate the so-called "feeders" who bring food and water out to the racers at selected points of the race route. The race concludes with three disctinct articulations of a Bb major chord. A slow, grandioso fanfare in the brass ensues to suggest the ceremony for the winners. A rousing coda follows alluding to celebration and festivity.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
The Arthurian Symphony by Jeffrey Bishop. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Cornet 1/2, Horn 1/2, Trombone 1/2, Bass Trombone, Euphonium, Tuba,). Grade 4. Score and parts. Duration 17:00. Published by C. Alan Publications (CN.06060). Enter a world of knights, kings and castles as you experience the brass fanfares and urgent chimes of the knights on patrol. Heavy scoring in the brass and fun themes in the woodwinds permeate this wonderful work all the way to its dramatic conclusion.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Cornet, Bass Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Genres: Classical
Festival! by Roger Cichy. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet 1, Trumpet 2/3, Horn 1/2, Trombone 1/2, Trombone 3, Euphonium, Tuba, String Bass, Timpani (4 drums),). Grade 4. Score and parts. Duration 9:30. Published by C. Alan Publications (CN.06580). Commissioned by the Scituate High School Band in Schituate, Rhode Island, where composer Roger Cichy now lives, FESTIVAL! represents a suite of movements all relating to the atmosphere and flavor of a typical town festival. The idea for the work began from a long list of suggestions that the students of the Scituate High School Band created and discussed as possible themes of their new work to be commissioned. Out of that list came the theme "Festival" particularly because of the Scituate Arts Festival, an annual community event which occurs in the fall. The Scituate Arts Festival, which typically attracts around fifty thousand people to the little townof North Scituate, is typical of most fetivals, in which people who attend find tasty food, pulsating music, plenty to see and do, and just good old American fun. FESTIVAL! was premiered on the 8th of March, 2001 by the Scituate High School Band with the composer in attendance.
$119.60

Instruments: Flute, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Drums, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Quadrille (Trombone Trio Feature). By Joseph Turrin (1947-). Arranged by Geoffrey Brand. For Soloist(s) with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Eb Clarinet, Clarinet 1, Clarinet 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet 1, Trumpet 2/3, Trumpet 4/5 Horn 1/2, Horn 3/4, Trombone 1, Trombone 2/3, Baritone 1/2, Tuba,). Grade 4. Score and parts. Duration 9:20. Published by C. Alan Publications (CN.06840). Commissioned by:The US Military Band at West Point, LTC Deitrick, conductorIn Honor of the 200th Anniversary of the United States Military Academy.
$119.60

Instruments: Flute, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Vestida de Luto by Aldo Rafael Forte. For Concert Band (Piccolo, Flute 1/2, Oboe 1, Oboe 2, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Bassoon 1/2, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Bb Tru). Grade 5. Score and parts. Duration 14:30. Published by C. Alan Publications (CN.07930). The Spanish title of the work translates roughly into "draped in mourning black" since the composition is inspired by the image of the black clad "old world widows" donning black veils indefinitely after the passing of their spouse.The entire tone poem depicts various aspects of death and dying in the tradition of such works as Tod and Verklarung by Richard Strauss. The main thematic, rhythmic, and harmonic ideas for the work are revealed in the first 34 measures of the piece. There is a dichotomy between Cb Major and Bb minor on and off throughout the work. Furthermore, major and minor thirds as well as the melodic seconds which outline the thirds are the primary building blocks of the composition.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, B-Flat Trumpet, Woodwinds, Clarinet, Saxophone, Trumpet, Brass
Circus Ring by Paul Hart. 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 9:30. Published by C. Alan Publications (CN.R10176). This circus has frequently provided inspiration for composers; from Fucik's "Entry of the Gladiators" to Stravinnky's Circus Polka. The tension, the big top, and in the old days, the band, all add to the atmosphere.This colourful scene is brilliantly captured in Paul Hart's tour de force, as the jugglers, cyclists, acrobats, and clowns make their appearance, dressed up in an astonishing variety of musical colours from bicycle bells to ratchets and a precarious pair of alto saxophones.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Tenor Saxophone, Bassoon, Woodwinds, Clarinet, Saxophone
Comedy Overture by John Ireland (1879-1962). For Concert Band (Piccolo, 1st Flute, 2nd Flute, 1st Oboe, 2nd Oboe*, 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 Baritone Saxophone*). Band Music. Grade 5. Score and parts. Duration 10:30. Published by C. Alan Publications (CN.R10004). Originally composed for Brass Band in 1934 "Comedy Overture" is, despite its name, a serious piece of writing. The term Overture does not imply that there is anything else to follow; it is used in the 19th century sense of Concert Overture (like Mendelssohn's "Fingal's Cave" - in other words, a miniature Tone Poem).The 1930's was a period of Ireland's mature writing - yielding the Piano Concerto (1930), the Legend for piano and orchestra (1933), and the choral work "These Things Shall Be" (1936-1937). We are fortunate therefore to have both "Comedy Overture" and "A Downland Suite" (1932) written for band medium at this time.As with "Maritime Overture" (written in 1944 for military band) Ireland approaches his material symphonically. The opening three notes state immediately the two seminal intervals of a semitone and a third. These are brooding and dark in Bb minor. It is these intervals which make up much of the thematic content of "Comedy," sometimes appearing in inverted form, and sometimes in major forms as well.The concept that some musical intervals are consonant , some dissonant, and some perfect is perhaps useful in understanding the nature of the tension and resolution of this work. The third is inherently unstable, and by bar 4, the interval is expanded to a fourth - with an ascending sem-quaver triplet - and then expanded to a fifth. The instability of the third pushes it towards a "perfect" resolution in the fourth or the fifth.The slow introduction is built entirely around these intervals in Bb minor and leads through an oboe cadenza, to an Allegro moderato brillante in Bb major.Once again, the semi-tone (inverted) and a third (major) comprise the main, chirpy, theme-inspired by a London bus-conductor's cry of "Piccadilly." (Much of the material in "Comedy" was re-conceived by Ireland for orchestra and published two years later under the title "A London Overture.")The expansion of the interval of a third through a fourth, fifth, sixth, and seventh now takes place quickly before our very ears at the outset of this quicker section.Immediately the theme is developed, inverted, and accents displaced across the bar line to give a 3/2 feel against the written meter. But this restlessness leads to a tranquillo built around an arpeggio figure and presented by flute and clarinet. Ireland weaves his flowing counterpoint around this melody until the original slow introduction returns leading to a stretto effect as the rising bass motifs become more urgent, requesting a resolution of the tension of that original semitone and minor third.Yet resolution is withheld at this point as the music becomes almost becalmed in a further, unrelated tranquillo section marked pianissimo. It is almost as if another side of Ireland's nature is briefly allowed to shine through the stern counterpoint and disciplined structure.This leads to virtually a full recapitulation of the chirpy "brilliante," with small additional touches of counterpoint, followed by the first tranquillo section-this time in the tonic of Bb major. But the instability of the third re-asserts itself, this time demanding a resolution. And a triumphant resolution it receives, for it finally becomes fully fledged and reiterates the octave in a closing vivace. The opening tension has at last resolved itself into the most perfect interval of all.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Woodwinds, Clarinet, Saxophone
Genres: 20th Century, Comedy, Classical, Miscellaneous
Concerto for Timpani & Band. (Timpani Feature). By Gordon Jacob (1895-1986). For Soloist(s) with 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, 1st F Hor). Band Music. Grade 4.5. Score and parts. Duration 12:30. Published by C. Alan Publications (CN.R10005). Gordan Jacob wrote his Concerto for Timpani in 1984 and it was to be the last major work that he wrote before he died. It was written for a professional wind group in Konstanz (West Germany) and the first performance was given there in June 1984 with the soloist Klaus Huber (to whom it is dedicated) conducted by Douglas Bostock.In the first movement, a broad theme is announced by the timpani themselves based on a rising succession of thirds, and immediately echoed and modified by the full wind band. After a bridge, when the material is embroidered by woodwinds, the theme is presented in an inverted and varied form by the soloist before being developed. Unlike a Classical development in which tonality provides the tension, the nature of the timpani means that the development is rhythmic rather than tonal. To modulate extensively would obviously present problems even with pedal timpani. A recapitulation follows and a quasi cadenza leads to a strong close.The second movement (Adagio) is virtually an aria. The timpani carry the melody throughout, embellished and them embroidered by small groups of instruments presented in choirs. Jacob, the masterful orchestrator, allows only four bars of full band. By the end of only 47 bars, we are left with an expressive mood conjured from the timpani themselves.The last movement is a romp - displaying Jacob's English roots: his characteristic use of quasi-folk material is well suited to the band and the rhythmic characteristics of the timpani are highlighted.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Tenor Saxophone, Bassoon, Percussion, Timpani, Woodwinds, Clarinet, Saxophone
Genres: Classical, 20th Century
A Downland Suite by John Ireland (1879-1962). 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 Barit). Band Music. Grade 5. Score and parts. Duration 16:30. Published by C. Alan Publications (CN.R10006). "A Downland Suite" is one of a pair of works Ireland wrote for brass band (the other being "Comedy Overture") in the 1930s. Both were commissioned by the National Brass Band Championships of Great Britain, and this piece was completed in 1932. Ray Steadman-Allen's skillful arrangement was published in 1985.Interestingly, the composer himself "freely adapted" the Elegy and Minuet for String Orchestra and the adaptation of the outer movements for strings was undertaken some years later by Geoffrey Bush, one of Ireland's many eminent composer pupils."A Downland Suite" is structured classically, revealing itself in the loose "sonata form" of the Prelude, the song-like Elegy, the Minuet with formal repeats and full Trio, and a last movement which utilizes the Rondo framework of a recurring theme reappearing in different keys. But within this classical form are unsettling elements.The tonal relationships between movements of the suite becomes more remote as the work progresses. The first movement is in C Minor, the second in Eb Major, the third in Bb Major (with a Trio in Bb Minor) and the last opens in G Minor and ends with blazing fanfares in G Major, a long way from the sombre mood of the opening.The phrase structure of the Minuet is sometimes unexpected: an 8-bar phrase opens, but Ireland mirrors it with a 9-bar phrase! In fact, throughout the work, the music reaches over bar-lines, phrases are extended, and strong beats displaced.Tight thematic unity between movements gives the work its cohesion. The Elegy melody provides the kernel and the rising fourth interval is seminal. Ireland gives us our clue by repeating the Elegy theme in the last movement. In fact, the opening Rondo theme is virtually the Elegy (but played four times as fast) and the Minuet is the Elegy theme in inversion.The interval of the fourth (sometimes manifested as a falling fifth) is emphasized throughout the first movement. Add to this the octave leaps, the pillars around which the Prelude is constructed, which find their way into the Rondo as the opening accompaniment, and the mature composer's high art of achieving unity within diversity of structure and style is revealed.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Tenor Saxophone, Bassoon, Woodwinds, Clarinet, Saxophone
Genres: 20th Century, Classical
Dreams and Fancies by Michael 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 Barit). Band Music. Grade 5. Score and parts. Duration 10:00. Published by C. Alan Publications (CN.R10194). This is a story of a sleepless night: "fancy" is the old English word for a musical fantasy.There are musical episodes, some of which are associated with definite pictures: the three accented pulses of the main theme signifying a kind of fate, a demented waltz which breaks down, a love theme in the middle, then a wild jazz party.The themes all come together as the music becomes more exciting towards the end with thematic interjections appearing as flashbacks.The end is a huge climax - a grand ceremony in which the lovers marry, but haunted by the three accented pulses of the first theme, representing a dark fate.Musically the piece is unifying in two ways.Firstly, all the themes are built from the opening 15 bars.Secondly, the pulse of the music remains virtually constant with each beat around 76 per minute. This means that the tempi need to relate to each other: a difficult task for the conductor!
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Tenor Saxophone, Bassoon, Woodwinds, Clarinet, Saxophone
Four Temperaments for Tuba. (Tuba Feature). By Michael Brand. For Soloist(s) with Concert Band (Flute 1, Flute 2/Piccolo, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet, Bb Bass Clarinet, Bassoon, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Solo Tuba, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn in F 1/2, Horn in ). Band Music. Maestro Band Series. Band: grade 4.5 / Solo: grade 6. Score and parts. Duration 10:30. Published by C. Alan Publications (CN.R10216). I wrote this piece at the request of the British tuba virtuoso Stephen Sykes to help fill a gap in the repertoire. We agreed that whilst there should be display elements within the piece, it should be accessible to good tuba players and tuneful at the same time.The first few bars contain the theme of the whole piece which is developed as four variations.The first variation (or Temperament) is neo-classical: conventionally written and structured. The swing variation (No. 2) is backed by a big band line-up plus horns and gives that soloist some opportunity to be flexible. Some improvisation could replace the written lines.Variation 3 is scored mostly for woodwinds (apart from a trombone chorale) and is contemplative. It could stand alone. The last variation is a scherzo, which leads to a coda (so that the soloist can show off some double-tonguing!).The cadenza was composed by Stephen Sykes and played by him with the composer's approval. However, soloists should feel free to compose their own cadenza if they wish, but ending with bars 162 and 163 either as written or down an octave.
$119.60

Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet