Concert Band - Level 2 - Digital Download SKU: A0.522172 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 138 pages. Colin Kirkpatrick Publications #5726785. Published by Colin Kirkpatrick Publications (A0.522172). Here’s a terrific collection of sixty of the best-loved hymns ever composed. The hymns are scored in four parts and could be used with virtually any combination of conventional wind instruments. They are presented in a set of three books and include full four-part instrumental scores plus separate parts in a variety of useful transpositions. Parts 1 and 2 (soprano and alto) are provided in B flat, E flat and C (8ve higher than concert); Part 3 (tenor) in B flat (9th above concert), E flat, F and C (bass clef) and Part 4 (bass) in B flat, E flat and C. There’s also an optional but useful simplified keyboard part intended for less experienced keyboard players. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. It could be used as the basis of an accompaniment and means that you can use the arrangements as solos, duets or trios. The piano part too means that you can use the arrangements as solos, duets or trios. These arrangements are intended either as stand-alone pieces that could be used as interludes in a service, or they could be used to accompany solo, choral or congregational singing. This is essential music for schools and many churches and contains probably all the hymns you’ll ever need. The entire collection of scores and parts is presented in a single 138-page PDF file for instant download. Book 3 contains the following twenty popular hymns: All Hail the Power of Jesus’ Name (Miles Lane); All things Bright and Beautiful (Bright and Beautiful); Alleluia, Sing to Jesus (Hyfrydol); Blessed Assurance (Assurance); Come, Ye Thankful People, Come (St George’s Windsor); Father, Hear the Prayer we Offer (Sussex & Gott Will's Machen); For the Beauty of the Earth (Dix); Glorious Things of Thee are Spoken (Austrian hymn); How Firm a Foundation (Foundation); Jesu, Lover of my Soul (Hollingside); Jesus Loves Me, This I Know (Jesus Loves Me); Joyful, Joyful, We Adore Thee (Hymn to Joy); Kum Ba Yah (Afro-American folksong); Mine Eyes have Seen the Glory (Battle Hymn of the Republic); O God, Our Help In Ages Past (St. Anne); Morning has Broken (Bunessan); Praise to the Lord the Almighty (Lob den Herren); Shall We Gather at the River? (Hanson Place); The God of Abraham Praise (Leoni); When Peace Like a River (Ville du Havre).   The music has been set in wind-friendly keys and the arrangements are compatible with the brass collection of the same name. They are not compatible with the string collection of the same name.   

Concert Band - Level 4 - Digital Download SKU: A0.1285185 Composed by Christian F. J. Buettner, John Tuananh Dang, and Rajan S. Arranged by Stephen Cai. 21st Century,Video Game. Score and Parts. 66 pages. Stephen Cai #876297. Published by Stephen Cai (A0.1285185). Monody - TheFatRat (Christian F. J. Buettner) arr. Stephen Cai for Concert BandProgram Notes:MUSIC As a sequel to Pigstep by Lena Raine and Exodus by Ernest Gold, I have decided to take on the challenge of arranging the ever-famous glitch hop song, Monody by Christian Buettner (known more prominently by his online alias, TheFatRat).Similarly to Pigstep, my first arrangement, I ran into the challenge of instrumentation, as Monody’s original soundtrack almost entirely consisted of electronic instruments. However, I used the same technique I did with Pigstep to overcome this problem: assign basslines to low brass, treble melodies to mid-range instruments, and high parts to upper woodwinds. Unlike Pigstep, Monody pushed me to be more creative with the percussion section, as I had to puzzle out recreating all of the numerous sound effects throughout the piece with traditional percussion instruments. I even decided to notate a conch shell line for the war horn present at the beginning and the coda! At the end, however, it all came together nicely, and I came to realize that both this song and the process of arranging it represent a journey, albeit in different contexts. The word “Monody� refers to, in a literal sense, a song sung to mourn one’s death, which accordingly fits with my view of the piece as a journey where the narrator loses their companion. Writing the introduction measures (M.22) carried me through the genuine feelings of embarking on a mythical undertaking as the original soundtrack intends to portray. The lively middle section (M.70) was enjoyable to write as well, because the music itself is upbeat and full of energy. Finally, arranging the solo section was probably my most memorable experience. The slow and subtly melancholic character of the melody (the oboe solo) very closely alludes to the narrator’s mourning, and the enchanting lyrics originally written for this section further confirms their loss:      I still hear you in the breeze,      See your shadows in the trees;      Holding on, memories never change. The chords and harmonies that the original soundtrack provided were relatively simple to transcribe, and I found joy complementing them with luscious percussion effects. This is my interpretation of Monody, and I believe that it would be best performed as a journey, one which we can relate to as it encompasses the theme of loss; a monody. ARTWORK I also took up the challenge of creating original cover artwork for Monody, and I have to say, my level of appreciation for artists of any kind has skyrocketed ever since that endeavor. It took nearly two months of watching YouTube tutorials, onerous idea crunching, and using my sister’s drawing tablet, but I had nevertheless completed it with advice from some of my more experience peers (including my sister). Formal Credits: Cai, Stephen and Rachel Cai. “Monody� Arrangement for Concert Band cover. 2023 Lastly, I want to say thanks to my friend Matteo Sohn for being such a huge musical inspiration, and thank you for acknowledging my arrangement!

Concert Band - Level 4 - Digital Download SKU: A0.569605 By Rafael Hernandez. By Rafael Hernandez. Arranged by Thomas Graf. Contemporary. Score and parts. 108 pages. Thomas Graf - the-hit-factory.com #6521003. Published by Thomas Graf - the-hit-factory.com (A0.569605). One of the best latin songs ever by Rafael Hernandez This arrangement will be an absolut crowd pleaser. Promised!   featuring vocals (female), solo trumpet and percussion / DrumsThe performance starts at 58:36 in the videoInstrumentation: Flute 1 Flute 2 Clarinet 1 in Bb Clarinet 2 in Bb Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone 1 Tenor Saxophone 2 Baritone Saxophone Trumpet 1 in Bb Trumpet 2 in Bb Trumpet 3/4 in Bb Horn in F Baritone in Bb Trombone 1 Trombone 2 Trombone 3 Tuba/ Bass Tromb. Bass Guitar Drum Set Percussion Congas/ Cow Bell/ Chimes Piano Solo Trumpet in Bb Vocals Drum Set             Listen to the video recording - a challenge for your ensemble. Please don't forget to review your purchase - you will help other musicians to choose the perfect arrangement for their ensemble. Thank you very much!                .

Concert Band - Digital Download SKU: A0.733009 Composed by Benjamin Ayotte. Contemporary. Score and parts. 30 pages. Ayotte Custom Musical Engravings #2075851. Published by Ayotte Custom Musical Engravings (A0.733009). A promise to stand by... this phrase indicate loyalty, steadfastness, being a man of one's word, knowing that integrity and honor are the enduring qualities by which we will be judged; not fame, fortune, influence, or other worldly measures. It is no surprise, therefore, that this phrase was incorporated by Lou Fortunate and Msgr Herman Kucyk, of blessed memory, into the alma mater of Divine Child High School. When I was approached by Mr. Bush and the Divine Child Band Boosters about the possibility of writing a piece to celebrate the fiftieth anniversary of the band program I was excited, flattered, and--most of all--humbled that I should be chosen out of many worthier candidates, in my estimation. Divine Child has had, for the longest time--since the beginning, it seems--a vibrant and thriving fine arts program involving music (both vocal and instrumental), theatre, and the visual arts as well as literature and poetry. I began to conceive of a work that would pay homage to each of these arts musically and be a celebration of all that Divine Child has to offer. One of my favourite composers, Gustav Mahler, famously said, a symphony must be like the world; it must contain everything. In the 1988 vice-presidential debate, Lloyd Bentsen famously said to Dan Quayle, Senator, you're no Jack Kennedy. A voice in my head said, Benjamin, you're no Gus Mahler. As the discarded drafts in the recycle bin took on a life of their own, I eventually dismissed the idea as impractical, and even vainglorious. I settled upon a more general idea to make the music about the band program. Most every student in the band program goes through the rigors of marching band and performs at the Falcon football games where they become intimate with the Three School Songs: the Falcon Fanfare, the Fight Song, and the Alma Mater. Taking the latter piece as my inspiration, I meditated upon the mission of the school: a promise to educate us in body, mind, and spirit. Divine Child High School stands by her promise, recruiting some of the best teachers in the area to guide us through the tumultuous adolescent years. We students, too, have a promise: to strive to be worthy of this gift, and to accept it and use it for the betterment of society. In band class, under Leo Tallieu, I learned to listen; to contribute to the group; to consider my part in relation to the whole ensemble; to show leadership when needed; and to be a role player when needed. And so, my conception of the piece changed. I wanted to use melodic, harmonic, and rhythmic devices that would be familiar to all DCHS band students, but to use them in a new and different way; to recontextualize them. As time went on, Bob Bush asked me if I would be able to work in a tribute to two band students who had tragically died in the last few years: Blaise H.

Concert Band - Level 3 - Digital Download SKU: A0.1414403 Composed by Leslie Bricusse and Ryuichi Sakamoto. Arranged by John Ivor Holland. 20th Century,Classical,Film/TV,Multicultural,World. 50 pages. John Ivor Holland #996173. Published by John Ivor Holland (A0.1414403). The Last Emperor is a 1987 epic biographical drama film about the life of Puyi, the final Emperor of China. It is directed by Bernardo Bertolucci and depicts Puyi's life from his ascent to the throne as a small boy to his imprisonment and political rehabilitation by the Chinese Communist Party. It premiered at the 1987 Tokyo International Film Festival, earning widespread positive reviews from critics and was also a commercial success. At the 60th Academy Awards, it won all nine Oscars it was nominated for, including Best Picture, Best Director, and Best Adapted Screenplay. It also won several other accolades, including three BAFTA Awards, four Golden Globe Awards, nine David di Donatello Awards, and a Grammy Award for its musical score, which features nine pieces composed by Ryuichi Sakamoto, five by David Byrne, one from Cong Su, and a few incidental pieces of source music. 'Open The Door' occurs quite early in the film and can be considered to be one of the main themes, often performed instrumentally in concert by Ryuichi Sakamoto - as a song, with lyrics by Leslie Bricusse, it is not often heard, so this piece would work on many levels in a concert of film music.

Concert Band - Level 3 - Digital Download SKU: A0.1280956 Composed by Edward Elgar (1857–1934). Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 44 pages. Kasama Music Corporation #872291. Published by Kasama Music Corporation (A0.1280956). [This Publication is in letter size (8/5 x 11). A4 size is also available.]My Love Dwelt in a Northern Land was composed by Sir Edward Elgar (1857–1934) in 1889. The lyrics are based on the poem, Romance, by Andrew Lang (1844–1912), and it is the third of Elgar’s three cappella secular part-songs. My Love Dwelt in a Northern Land was published in 1890, while two other songs were published later.The complete instrumentation is best for this transcription; however, it can be performed with as few as 9 players. This transcription is also suitable for a medium sized, or even large band.This publication is for small concert band with full score (pp. 1–10), flute–percussion (pp. 11–29), and transposed parts (pp. 30–44).A printed score and the parts on CD-ROM are available for purchase at www.kasamamusic.com.

Concert Band - Level 3 - Digital Download SKU: A0.1280952 Composed by Edward Elgar (1857–1934). Arranged by Shinji Kasama. Classical,Contest,Festival. Score and Parts. 44 pages. Kasama Music Corporation #872286. Published by Kasama Music Corporation (A0.1280952). [This Publication is in letter size (8/5 x 11). A4 size is also available.]My Love Dwelt in a Northern Land was composed by Sir Edward Elgar (1857–1934) in 1889. The lyrics are based on the poem, Romance, by Andrew Lang (1844–1912), and it is the third of Elgar’s three cappella secular part-songs. My Love Dwelt in a Northern Land was published in 1890, while two other songs were published later.The complete instrumentation is best for this transcription; however, it can be performed with as few as 9 players. This transcription is also suitable for a medium sized, or even large band.This publication is for small concert band with full score (pp. 1–10), flute–percussion (pp. 11–29), and transposed parts (pp. 30–44).A printed score and the parts on CD-ROM are available for purchase at www.kasamamusic.com.

Concert Band - Level 4 - Digital Download SKU: A0.1261392 By Eric O'Reilly. By Eric O'Reilly. 21st Century,Classical,Contest,Festival,Multicultural,New Age,World. Score and Parts. 97 pages. Eric O'Reilly #854458. Published by Eric O'Reilly (A0.1261392). Hectic, composed and performed by Eric O'Reilly, is an exciting and difficult song for concert bands. It is written for a full concert band with several percussionists available but includes cue notes in other parts to allow for playing with a smaller band. It is written as a keyless piece as it uses primarily the C double harmonic scale (1, b2, 3, 4, 5, b6, 7, 1) as it's key centre. This is also sometimes known as the egyptian scale, giving the song a dark and intense eqyptian feel. Best for an experienced high school concert band playing advanced songs or harder. Included with this purchase are the follwing instruments:Full ScorePiccoloFlute (1 and 2)OboeBassoonClarinet in Bb (1 and 2)Bass ClarinetAlto Saxophone (1 and 2)Tenor Saxophone (1 and 2)Baritone SaxophoneCornet in Bb (1 and 2)Trumpet in Bb (1 and 2)Horn in F (1 and 2)TromboneBass TromboneEuphoniumTubaPianoString Bass (or anytype of bass available)TimpaniCymbalsBass DrumShakerSnareDjembeMarimbaThe song can be played with many different variations on these instruments but cannot be played without at least the inclusion of these instruments.- Flute- Clarinet- Either a Bass Clarinet or a Baritone Saxophone- Alto Saxophone- Tenor Saxophone- Trumpet- One or more of the low brass instruments (Trombone, Bass Trombone, Euphonium, and Tuba)- Piano- Bass- At least 3 percussionistsFinal Notes:-The cornet parts can be played easily by trumpet players if no cornets are available.-The bass trombone part can be played easily by a trombone player if no bass trombone is available.-If only 3 percussionist are available they should play Timpani, Snare, and Djembe.

Concert Band - Level 4 - Digital Download SKU: A0.1358962 Composed by L.A. Rescala, R. Stewart, Pee Wee King, R.A. King. Arranged by Michael Maschmeier (ASCAP). 20th Century,Classical,Contemporary,Instructional,Traditional. 99 pages. Warrior Musician LLC #943380. Published by Warrior Musician LLC (A0.1358962). Waltzing Throught the Mid-west is Grade 2.5-3.0. This waltz uses three official state songs for source material, Hush-a-bye Ma Baby (Missouri Waltz), Beautiful Ohio (Ohio Waltz) and the Tennessee Waltz. It has one foot in traditional entertainment aspects from Wind Band's history, and the other foot in modern choices in tempo, time signature changes (including two juxtaposed feels that will challenge even your best students), along with chordal changes that keep it from sounding 'dated.' I feature several low instruments, giving them the limelight at times and with three mallet instruments written into the score, your melodic percussion have plenty to do. This piece lays well in more than one part of your lconcert line-up, including as  the feature piece.

Concert Band - Level 2 - Digital Download SKU: A0.978107 Composed by Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. 20th Century,Latin,World. Score and parts. 23 pages. Idalmo Santos #6679863. Published by Idalmo Santos (A0.978107). The famous Corta-jaca, the name with which the tango Gaúcho became popular, is one of Chiquinha Gonzaga's most recorded and best-known songs, along with Ó abre alas, Lua branca, and Atraente. It was born on the stages of musical theaters, where it was danced in the final scene of the burlesque operetta of national costumes Zizinha Maxixe, imitated from French by an anonymous author, performed at the Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa), the anonymous author of the play, ended up putting verses to the music of Corta-jaca, helping to popularize it, especially after his version was recorded on disc by the duo Os Geraldos. Throughout history, Corta-jaca frequented other stages and repertoires: café-cantante, chope-berrante, rodas de choro... But it was at the Palácio do Catete, in 1914, that it achieved its glory. Performed on the guitar by first lady Nair de Teffé, it caused political scandal and ended up nicknaming the administration of Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa made from the rostrum. When asked what was the corta-jaca he had heard so much about, he concluded: The lowest, the most vulgar, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions the corta-jaca is performed with all the honors of Wagner's music, and one does not want the conscience of this country to revolt, our faces to blush and the youth to laugh! Never before in the history of Brazil had eminently popular music been performed at the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca has become a classic of the great repertoire of Brazilian instrumental music, meriting recordings by, among others, Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, Turíbio Santos, countless bands, and some sung versions. It was written by the maestro also for singing and piano and small orchestra: oboe, viola, timpani, horns (bass), bassoon.