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2 Flutes, Oboe, 2 Clarinets, Bassoon, 2 F Horns, 3 Trumpets, 2 Trombones, Tuba, Timpani, 2 Percussion, Piano, Harp, Violin 1 & 2, Viola, Cello, Bass.
Instruments: Piano, Flute, Clarinet, Oboe, Bassoon, Horn, Violin, Cello, Viola, Harp, Trumpet, Trombone, Bass Guitar, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Brass, Strings, Guitar
924 (1984-85) by Martin Derungs. For piano, clarinet, horn, 2 percurssion and 6 wind instruments (alto saxophophone, bass clarinet, contrabassoon, trumpet, tenor trombone and tuba). Published by Hug Musikverlage (HG.GH-11395).
Instruments: Piano, Bass Clarinet, Bassoon, Horn, B-Flat Trumpet, Trombone, Tuba, Piano and Keyboard, Clarinet, Woodwinds, Brass, Trumpet
Fat & Crazy by Dennis Armitage. Brass Ensemble. For trumpet (cornet), tuba (bass trombone) & concert band. Swiss import. Original Composition. Grade 4+. Score and parts. Published by Editions Marc Reift (MA.EMR-1388).
Instruments: B-Flat Trumpet, Cornet, Bass Trombone, Tuba, Trumpet, Brass, Trombone
Flash!. (For Piccolo and Band). By Daniel Dorff. Concert band. For Solo Piccolo, 2 Flutes, 2 Oboes, Eb Clarinet, 2 Bb Clarinets, Bb Bass Clarinet, 2 Bassoons, Contrabassoon, 2 Eb Alto Saxophones, Bb Tenor Saxophone, Eb Baritone Saxophone, 3 Bb Trumpets, 4 F Horns, 2 Trombones, Bass Trombone, Euphonium, Tuba, 3 Percussion. This edition: Band. Contemporary. Set of parts. Standard notation. Composed OCTOBER 2008. Duration 6 minutes, 30 seconds. Published by Theodore Presser Company (PR.11540204M). With Standard notation. contemporary. Already a popular recital work for piccolo and piano, and winner of the 2009 International Piccolo Symposium biennial composition competition, Flash! is now available for solo piccolo with band accompaniment - fresh from the NFA premiere, featuring piccolo legend Walfrid Kujala. The East Coast premiere is scheduled for 11/18/10, featuring Boston Symphony piccoloist Linda Toote with the Boston University wind ensemble.
Instruments: Piccolo, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Percussion, Tuba, Flute, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Concerto for Tuba and Wind Band by Kenneth Amis. Concert Band. For solo tuba, concert band. As recorded by Kenneth Amis of the Empire Brass. Full score and set of parts. Duration 30:00. Published by Amis Musical Circle (AI.AMC-BR-047).
Instruments: Tuba, Brass
Concerto for Tuba and Orchestra by Kenneth Amis. Orchestra. For solo tuba, orchestra. Full score and set of parts. Duration 30:00. Published by Amis Musical Circle (AI.AMC-BR-049).
Instruments: Tuba, Brass
Sequences pour L'Apocalypse. (Quintette Cuivres et Orgue Partition). By Charles Chaynes. For brass quintet and organ. Score. Published by Alphonse Leduc (AH.AL25195). ISBN 9790046251955.
Instruments: Organ, Horn, B-Flat Trumpet, Trombone, Tuba, Piano and Keyboard, Brass, Trumpet
Der feurige Engel by Juraj Filas. For wind orchestra (piccolo, 2 flutes, 1 oboe, 3 clarinet (Bb), bass clarinet, 1 bassoon, 2 alto saxophones, 1 tenor saxophone, 1 baritone saxophone, 3 trumpets, 3 horns, 3 tubas, 2 baritone, 2 tubas, timpani, gran cassa, piatti a due, contrabass a 5 cordi). Contemporary. Parts. Composed 1993. Duration 10'. Published by Editions BIM (ET.OV2C).
Instruments: Flute, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Double Bass, B-Flat Trumpet, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Lifesongs. (with SATB Choir). By David Gillingham. For Choir with Concert Band (Flute 1/Piccolo, Flute 2, Oboe, Bassoon, Bb Clarinet 1, Bb Clarinet 2/3, Bass Clarinet, Eb Alto Saxophone 1/2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, F Horn 1/2, F Horn 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba, S). Grade 5. Score and parts. Duration 20:00. Published by C. Alan Publications (CN.08400). The text for Lifesongs comes from three poems by Henry Wadsworth Longfellow, titled, "Sunrise on the Hills," "A Psalm of Life," and "The Light of Stars." These three poems divide the work into three large sections, which are performed without a break. All three poems are life affirming and hence the title Lifesongs. I have renamed each section to coincide with three stages of life, "Song of Birth," "Song of Life," and "Song of Eternity.""Song of Birth" ("Sunrise on the Hills") musically depicts the most wonderful picture of one standing on the hilltop watching the sunrise. The choir, solists, and wind ensemble collaborate in painting this colorful picture. Though this picture is radiant and upbeat, there are changes of mood along the way, such as with lines like "hosts in battle overthrown," "I heard the distant waters dash," "the music of the village bell come sweetly to the echo-giving hills," and "the wild horn, whose voice the woodland fills, was ringing to the merry shout." All of these words are scored appropriately to sway the listener back and forth between these moods. I personally believe that Longfellow was trying to say that all this beauty of the sunrise precipitates an array of emotions. But the pinnacle of the section is at the end where Longfellow suggests that it is easy for us to forget the "sorrows" of the world if we "go to the woods and hills," for "No tears dim the sweet look that Nature wears.""Song of Life" ("Psalm of Life") begins somewhat mournful and depressing with the line, "tell me not, in mournful numbers, life is but an empty dream." The section is about the whole struggle of life and our purpose here on earth. Like the first movement, there is a tug-of-war between emotions. Consider, for example, the line, "Art is long, and Time is fleeting, and our hearts, though stout and brave still, like muffled drums, are beating funeral machines to the grave." Sometimes the music becomes dark and militaristic to lines such as, "in the world's broad field of battle," and "trust no Future, howe'er pleasant!" But the lesson to be learned in this section comes later in the poem when Longfellow states, "Lives of great men all remind us we can make our lives sublime." Here the music becomes more reflective and leads to pure joy when the choir sings the final four lines, "Let us, then, be up and doing, with a heart for any fate; still achieving, still pursuing, learn to labor and to wait."In "Song of Eternity" ("The Light of Stars"), Longfellow alludes to death, but, as with all of his poetry, there is a positive overtone. Like the second section, it begins darkly with an undertone of undulating clarinets in their low register. This backdrop of sound is appropriate for lines such as "the night is come, but not too soon," and "there is no light in earth or heaven but the cold light of stars." But the darkness soon gives way to light and the D-minor tonality moves to C-major. The soprano and baritone begin by joyfully singing the line, "O star of strength! I see thee stand and smile upon my pain." Then comes excitement in the music with a brass fanfare followed by the choir singing, "The star of the unconquered will, He rises in my breast." Finally the soprano, baritone, and choir end the work by singing the final four lines, "O Fear not in a world like this, and thou shalt know erelong, know how sublime a thing it is to suffer and be strong." These lines are as meaningful today as they were in Longfellow's time, and are a true lesson of life.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Saxophone, Brass, Trumpet, Trombone
Monologues (Euphonium Feature). By Joseph Turrin (1947-). Arranged by Dennis Wright. For Soloist(s) with Concert Band (Solo Euphonium, Piccolo, Flute 1-2, Oboe 1-2, Bassoon 1-2, Eb Clarinet, Bb Clarinet 1-3, Bass Clarinet, Alto Saxophone 1-2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1-5, F Horn 1-4, Trombone 1-3, Euphonium, Tuba, Piano/ Harp, Timpani, Percussion 1 ). Grade 5. Score and parts. Duration 22:00. Published by C. Alan Publications (CN.17050). Monologues was commissioned by the following consortium of universities:John N. Culvahouse, UGA Wind Ensemble / University of GeorgiaDavid Waybright, UF Wind Symphony / University of FloridaJim Copenhaver, USC Symphonic Band / University of South CarolinaCody Birdwell / George Boulden, UK Wind Ensemble / University of KentuckyGary Sousa, UT Wind Ensemble / University of TennesseeJohnnie Vinson, AU Symphonic Band / Auburn UniversityDavid Willson, UM Symphonic Band / University of MississippiDwayne Sagen/Tom Verrier, VU Wind Ensemble / Vanderbilt UniversityElva Kaye Lance, MSU Symphonic Band / Mississippi State UniversityFrank Wickes, LSU Wind Ensemble / Louisiana State UniversityW. Dale Warren, UA Wind Symphony / University of ArkansasKen Ozello, UA Wind Ensemble / University of AlabamaPERFORMANCE NOTESChaconne: Although written in 4/4 the metronome marking is in two. I would like this movement to have a two feel throughout. It will probably work best conducted in a moderate two instead of a fast four. Make sure that bar 60 keeps pace and does not slow down too much. This section needs to have some breath while maintaining a forward motion. The piece that comes to mind with this movement is Ravel's Bolero.Arioso: Make sure the triplets are played musically in the ensemble. Crescendos and decrescendos should be dramatic and powerful. Intonation is important especially in the close harmonies and clusters. Bar 57 through 72 is a chamber group section with only a few instruments playing. Make sure that the solo euphonium, since he or she is out front, is balanced in the texture.Intermezzo: This movement should be light and steady. Staccatos need to be short and animated and the sixteenth note passages need to have personality and flair. Make sure that the movement keeps its tempo and does not bog down.Capriccio: Not much to know about this movement except to be careful not to cover the soloist. Pay attention to the balance. The key word here is energetic. Keep the drive and excitement throughout.
Instruments: Piano, Flute, B-Flat Clarinet, Bass Clarinet, E-Flat Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, Harp, B-Flat Trumpet, Trombone, Euphonium, Percussion, Timpani, Tuba, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Strings, Trumpet
Alpine Tuba by James Gourlay. For Eb bass & brass band. Swiss import. Original Composition. Grade 4+. Score and parts. Published by Editions Marc Reift (MA.EMR-1422).
Instruments: Tuba, Brass
Un Americain a Paris (+ Percussion) by George Gershwin (1898-1937). Brass Ensemble. For 4 trumpets, horn, 4 trombones & tuba with percussion. Swiss import. Grade 5. Score and parts. Published by Editions Marc Reift (MA.EMR-5073).
Instruments: Horn, B-Flat Trumpet, Trombone, Percussion, Tuba, Brass, Trumpet
Genres: Standards, Jazz & Blues
Hi-Lo by Scott Richards. For piccolo, tuba & wind band. Swiss import. Grade 3+. Score and parts. Published by Editions Marc Reift (MA.EMR-10369).
Instruments: Piccolo, Tuba, Flute, Woodwinds, Brass
Steamboat Stomp by Marcel Saurer. For tuba & wind band. Swiss import. Jazz / Ragtime / Dixieland. Grade 3+. Score and parts. Published by Editions Marc Reift (MA.EMR-10490).
Instruments: Tuba, Brass
Genres: Ragtime, Jazz & Blues
War is Kind. (with SATB Choir). By Daniel McCarthy. For Choir with Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, F Horn 1/2, F Horn 3, Trombone 1, Trombone 2/3, Euphonium, Tuba, Piano, Timpan). Grade 4. Score and parts. Duration 15:10. Published by C. Alan Publications (CN.05970). After the events of September 11, 2001, many composers and artists jumped on the 9/11 "bandwagon" to create pieces on that timely subject. So I must say immediately that "War Is Kind" is not really a piece about 9/11. But, being a child of the late sixties and early seventies, I remember the Vietnam war, although I was too young to be drafted. My generation, it seems, was very lucky to then come of age during a relatively long period of peace. But, war is once again a major concern in our country with the gulf war seemingly leading to the new war in Afghanistan.It is with this in mind that I have been thinking about my older friends and colleagues who fought in WWII and Korea. It is awesome to comprehend being the age of 18 and staring in the face of annihilation. Still, many of these people did what they must and are alive today to tell me about their lives....So, three of the four movements from "War Is Kind" are about; the awesome power unleashed in the machinery of war and the fear that there may be an end to the world as we know it (Beat!Beat!Drums! by Walt Whitman); the odd dichotomy in the text that seemingly was written to console a grieving parent, lover, or another who has lost a loved one - when one wonders how their loved one died - did they suffer? "Do not weep, War is kind." (War is Kind by Stephen Crane); and the utter despair of James Joyce's "I Hear An Army" (My love, my love, my love, why have you left me alone?)I am also aware of the battles that we must fight in our personal and professional lives. So the last movement, "Beyond the Havens" is about reconciliation and healing. It is titled partly after the last chapter of "the Return of the King" by J.R.R. Tolkien.
Instruments: Piano Accompaniment, Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Trombone, Euphonium, Percussion, Tuba, Piano, Piano and Keyboard, Woodwinds, Clarinet, Saxophone, Brass, Trumpet
Turn the Page by Daniel McCarthy. For Full Orchestra (Piccolo, Flute, Oboe, English Horn, Bb Clarinet 1-2, Bass Clarinet, Bassoon, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, Trombone, Tuba, Timpani (5), Percussion 1 (suspended cymbal, 4 tom-toms, snare drum, rain stick, claves, bongos), Percussion 2 (suspended cymb). Orchestra Music. Score and parts. Duration 7:30. Published by C. Alan Publications (CN.11300). The writing of "Turn the Page" was the result of my association with conductor and good friend Jung Ho Pak (New Haven Symphony and World Youth Symphony Orchestras). Maestro Pak and I met at The Interlochen Arts Camp where we are both faculty and we collaborate on the orchestra reading project with the student composers.Our conversations over the years have included the future of the orchestra and new orchestral music in our society. Audiences have lost a great deal of context with new music over the past 90 years, in my opinion, and new music has remained an anomaly for many listeners.So when I decided to write Jung Ho an orchestra piece, I knew it had to be music that meant something to listeners--something that would have cultural context to an audience and yet be challenging and interesting to play. And a piece that would be played more than just once.I seek a certain drama and excitement in my music. Perhaps that is why I am so attracted to composers like Mahler, Stravinky, and Daugherty. But I also have a diverse listening palate having played big band jazz as a lead trumpet player and funk as a synthesizer player.Often when I travel, especially on long driving trips, I will listen to old "art-rock" of bands such as "Yes," "Genesis," and "Led Zeppelin." One of my favorite tunes is "Heartbreaker" from the album "Led Zeppelin II." It has a very unusual guitar solo in the middle of the song--Unusual, because the band stops playing and Jimmy Page takes a motivically oriented solo, much like a cadenza in a concerto. It was the first time anything like that was ever done in that genre and was really the beginning of guitarists becoming virtuosos on their instruments. Actually, that solo had all the fire of a Tchaikovsky or Mendelssohn concerto cadenza.Hence, the idea came to be to combine the suggestion of this solo with orchestra and, later, to use an electric guitar or CD recording of the actual solo with the orchestra. It seemed to me that all the power of Led Zeppelin was certainly in good company with a full-sized symphony orchestra--Witness Stravinsky's "Rite of Spring." Could any rock band create that much excitement?-DWM.
Instruments: Flute, B-Flat Clarinet, Bass Clarinet, Oboe, Bassoon, English Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Clarinet, Trumpet, Brass
Fnugg Blue by Traditional. Arranged by Baadsvik. For tuba solo with orchestra. Published by BVD Press (BV.OV553).
Instruments: Tuba, Brass
Symphonie Nr. 3 "Die Tageszeiten" (1944) by Ernst Pepping (1901-1981). For 2 flutes, 2 oboes, 2 clarinets (b flat), 2 bassoons, 4 horns, 3 trumpets (c), 2 trombones, tuba, kettledrum, drums, strings. Score. Composed 1944. No. 3. 277 pages. Duration 42'. Published by Baerenreiter Verlag (BA.BA2258). ISBN 9790006498444. Print on demand (POD).
Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Drums, Tuba, Woodwinds, Brass, Trumpet
Symphonie Nr. 1 e-moll op. 39 by Jean Sibelius (1865-1957). Edited by Timo Virtanen. For 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, strings*. This edition: Urtext. Score. Opus 39. 172 pages. Published by Breitkopf and Haertel (BR.PB-5358). ISBN 979-0-004-21215-8.
Instruments: Flute, Clarinet, Oboe, Bassoon, Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Woodwinds, Brass, Trumpet
Genres: 20th Century, Scandinavian, Classical, World
Couleurs du Temps by Maurice Jarre (1924-). For brass quintet (2111), string orchestra, timpani and percussion. Contemporary. 5. Score & parts. Composed 1999. Duration 15'. Published by Editions BIM (ET.ENS103).
Instruments: Horn, B-Flat Trumpet, Trombone, Percussion, Timpani, Tuba, Brass, Trumpet
Concerto by Juraj Filas. For horn and symphonic wind band (horn solo; piccolo, flute 1and 2, oboe, english horn, clarinet 1,2,3, alto clarinet, bass clarinet, bass 1 and 2; saxophones: altos 1 and 2, tenor, baritone; horns 1, 2, 3, 4, trumpet 1, 2, 3; trombone 1, 2; bass - trombone; baritone, euphonium; tuba Eb, ). Contemporary. 4-5. Parts. Composed 2004. Duration 15'. Published by Editions BIM (ET.CO71E).
Instruments: Flute, Bass Clarinet, Oboe, Saxophone, English Horn, B-Flat Trumpet, Trombone, Euphonium, Tuba, Woodwinds, Clarinet, Trumpet, Brass
The Best of Belwin Jazz: First Year Charts for Jazz Ensemble is a collection of twelve outstanding jazz ensemble arrangements for the young player. Each chart is written by experienced educational arrangers and composers in various styles and tempos: swing, Latin, ballad, waltz, holiday and pop.This collection is written for full instrumentation---five saxophones, three trumpets, three trombones, and four rhythm---but is designed to sound full and complete with reduced instrumentation of three saxes, two trumpets, one trombone and three rhythm. Optional parts are available for flute, clarinet, tuba, horn in F, and baritone T.C.The rhythm section parts offer suggestions for rhythms, piano voicings, and guitar chord frames. All solos are written out in improvised sections. The conductor's book includes full-length CD recordings of all titles. Titles include: "Bill Bailey, Won't You Please Come Home," "Birth of the Blues," "Embraceable You," "First Time Around," "Gospel," "Hot Chocolate," "Jazzmin Tea," "Jingle Bell Rock," "Poco Loco," "Splanky," "Sunday Morning," "TMI"
Instruments: Piano, Guitar, Flute, Clarinet, Horn, Trumpet, Trombone, Tuba, Piano and Keyboard, Woodwinds, Brass
Csardas (in C minor) by Vittorio Monti (1868-1922). Arranged by Marc Reift. For solo instrument (flute, clarinet, oboe, bassoon, alto saxophone, tenor saxophone, horn in F, trumpet, trombone, bass trombone, tuba, or euphonium) and concert band. Swiss import. Classical Arrangements. Grade 5. Score and parts. Published by Editions Marc Reift (MA.EMR-1261).
Instruments: Flute, Clarinet, Oboe, Alto Saxophone, Tenor Saxophone, Bassoon, Horn, B-Flat Trumpet, Bass Trombone, Euphonium, Tuba, Woodwinds, Saxophone, Brass, Trumpet, Trombone
Out Of The Shadows - Orchestration An Easter cantata for SATB Choir, Two Narrators and Optional Orch
The agony and angst of the stirring events of Holy Week textually and musically evolve into the jubilant celebration of the risen Christ in this moving portrayal of the most significant event in all Christendom. The remarkable beauty and sensitivity of John Purifoy's music deftly captures the extreme pathos contained in the story's darkest shadows as well as the exhilarating excitement created by the risen Christ. " ...out of the shadows of darkness, Jesus triumphed ...out of the shadows of death, Jesus rose ...out of the shadows of the crucifixion, we are all reborn" This inspirational presentation will be especially welcomed and successfully performed by choirs of limited resources while being equally effective and satisfying to those choirs blessed with an abundance of talent. Con Score, flute, oboe, horn, trpt 1/2, tbn, tuba, perc, timp, vln 1/2, viola, cello, contrabass.
Instruments: Choir, Flute, Oboe, Horn, Cello, Viola, Bass Guitar, Tuba, Vocal, Woodwinds, Brass, Strings, Guitar