Concert Band - Level 4 - Digital Download SKU: A0.1407735 Composed by Florence Beatrice Price. Arranged by Steven Nunes. 21st Century,Romantic Period. 183 pages. Nagamon Publications #990351. Published by Nagamon Publications (A0.1407735). Florence Price(b Little Rock, AR, 9 April 1887; d Chicago, IL, 3 June 1953) was the first African American woman to win widespread recognition as a symphonic composer, rising to prominence (with William Grant Still and William Dawson) in the 1930s. After early training with her mother she studied composition at the New England Conservatory in Boston with Wallace Goodrich and Frederick Shepherd Converse (1903–6) and privately with George Whitefield Chadwick. She gained an Artist’s Diploma (organ) and a piano teacher’s diploma.  In her large-scale works Price’s musical language is often conservative, in keeping with the Romantic nationalist style of the 1920s–40s, but it also reflects the influence of her cultural heritage and the ideals of the “Harlem renaissance� of the 1920s–30s. To her art songs and piano music she brought a thorough knowledge of instrumental and vocal writing, colorful harmonies and exotic modulations.The Oak from 1943 was originally written for orchestra and has been transcribed for concert band.  The PDF contains the full score and full set of parts.

Concert Band - Level 2 - Digital Download SKU: A0.1389361 Composed by Florence Beatrice Price. Arranged by John Ivor Holland. 20th Century,Christian,Classical,Multicultural,World. 41 pages. John Ivor Holland #972946. Published by John Ivor Holland (A0.1389361). Born in Little Rock, Arkansas in 1887, Florence Price received early musical training from her mother, going on to study at the prestigious New England Conservatory of Music, graduating in 1906 with a Soloist’s Diploma in Organ Performance, and a Teacher’s Diploma in Piano Performance. After completing her degree, Price returned back to the south to teach music and after about 20 years, moved her family moved to Chicago to ultimately escape the racial tension in the south. It was here that she was able to properly establish herself as a concert pianist, organist and composer. She composed over 300 works, including 20 full orchestral pieces and over 110 art songs, many performed by leading American orchestras and esteemed vocalists. Price was the first African-American woman composer to earn national recognition. Seen as a pioneer among women, she was celebrated constantly for her achievements.Originally, written for organ, 'Adoration' (dating from 1951, just a few years before her death), is one of Florence Price’s best-known works, available in several different versions. Beginning in the 1930s, Price earned a living by playing organ in churches as well as in theatres. Adoration is a work of deep devotion and sincerity, a simple yet beautiful work suitable for church concerts and for remembrance/memorial events.

Concert Band - Level 5 - Digital Download SKU: A0.1389302 Composed by Florence Beatrice Price. Arranged by John Ivor Holland. 20th Century,Classical,Multicultural,World. 188 pages. John Ivor Holland #972867. Published by John Ivor Holland (A0.1389302). Born in Little Rock, Arkansas in 1887, Florence Price received early musical training from her mother, going on to study at the prestigious New England Conservatory of Music, graduating in 1906 with a Soloist’s Diploma in Organ Performance, and a Teacher’s Diploma in Piano Performance. After completing her degree, Price returned back to the south to teach music and after about 20 years, moved her family moved to Chicago to ultimately escape the racial tension in the south. It was here that she was able to properly establish herself as a concert pianist, organist and composer. She composed over 300 works, including 20 full orchestral pieces and over 110 art songs, many performed by leading American orchestras and esteemed vocalists. Price was the first African-American woman composer to earn national recognition. Seen as a pioneer among women, she was celebrated constantly for her achievements. Composed in 1943, about 10 years before her death, 'The Oak' is an unpublished tone poem, perhaps more appropriately described as an 'orchestral essay', quite serious in tone and character. The foreboding opening slowly grows as more instruments enter the mix. The piece explores a number of different moods and atmospheres, from mysterious to more aggressive and irritated. Arranged for symphonic wind ensemble, 'The Oak' is a major contribution to the repertoire and deserves detailed attention - there are two different endings, the second, one that resolves quietly, is written in the score as 'the composer's preference'.

Concert Band - Level 5 - Digital Download SKU: A0.1011815 Composed by Jairo Ouma Jura. Contemporary,Film/TV,New Age,World. Score and parts. 20 pages. Jairo Ouma Jura #3483355. Published by Jairo Ouma Jura (A0.1011815). This is a powerful artistic music in quest of peace parleys in Juba, South Sudan as a result of the war that began in December 2013 and which adversely affected children and women and development of the country. It is inquisitive and seeking diplomatic answers to address humanitarian concern. It is worth listening to and could be good for film or movies.

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.