Concert Band - Level 3 - Digital Download SKU: A0.818278 By Stephen R Dalrymple. By Henry A Work. Arranged by Stephen R Dalrymple. Folk. Score and parts. 30 pages. Stephen R Dalrymple #4884975. Published by Stephen R Dalrymple (A0.818278). Grandfather’s Clock ♫ by Henry A Work ♫ with Hickory Dickory Dock ♫ arranged for concert band by Stephen R Dalrymple ♫ My Grandfather’s clock was written in 1876 by Henry Clay Work (written in England by an American author.) Our first print record of the poem Hickory Dickory Dock is in 1744. The origin of the music is lost in history. ♫ The teaching point of this piece is to instruct the young band how to switch back and forth from duple and triple time signatures. My method is to count the triplet or duplet inside a pulse (instead of counting 1, 2, 3, 4, 5, 6). This helps solidify the basic nature of 6 8 time in the student. ♫ The Percussion section has a critical role in the piece. ♫ sequenced by the arranger ♫ arrangement © 2001, 2005 Stephen R Dalrymple ♫ recording ℗ 2021 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission to make photocopies of parts and additional scores for a medium size school band. ♫ This .pdf file 17 files (30 pages): 1) Condensed Conductor’s Score 2) Individual parts for: Flute, Oboe, Clarinet, Bass Clarinet, Alto Sax/Alto Clarinet, Tenor Sax, Baritone Sax, Trumpet, F Horn, Trombone/Baritone/Bassoon, Treble Clef Baritone, Tuba, Electric Bass, Wood Block/Triangle, Claves/Slide Whistle and Bells. ♫ The YouTube video contains the full recording.

Concert Band - Level 3 - Digital Download SKU: A0.1309664 Composed by علي إسماعيل‎‎ Ali Ismael. Arranged by Keith Terrett. Multicultural,Patriotic,Praise & Worship,Traditional,World. 27 pages. Keith Terrett #898837. Published by Keith Terrett (A0.1309664). An arrangement for Flexible Band of the Palestinian National Anthem. Fida'ī (Arabic: �دائي, romanized: Fida'i, lit. 'Fedayeen warrior') is the national anthem of Palestine.History: The anthem was adopted by the Palestinian Liberation Organization in 1996,[2] in accordance with Article 31 of the Palestinian Declaration of Independence from 1988.[not verified in body] It replaced Mawtini. It was written by Said Al Muzayin (a.k.a. Fata Al Thawra, boy of the revolution), while its music was composed by Egyptian maestro Ali Ismael. It was known as the anthem of the Palestinian redemption.Lyrics:The word fid�ʾīyīn is the Arabic plural of fid�ʾī, which means sacrifice / one who sacrifices himself (a literal translation of fid�ʾīyīn might be martyrs), and it originally comes from Persia, where the first band of fedayeen (also famous as Hashshashin) was formed by Hassan-i Sabbah. The Palestinian fedayeen (from the Arabic fid�'ī, plural fid�'iyūn, �دائيون) are militants or guerrillas of a nationalist orientation from among the Palestinian people. Most Palestinians consider the fedayeen to be freedom fighters.

Concert Band - Level 1 - Digital Download SKU: A0.1165498 Composed by John Bacchus Dykes and Mark Danner. Arranged by Mark Danner. Contest,Festival,Historic,Patriotic,Sacred,Standards. Score and Parts. 22 pages. Mark Danner #765858. Published by Mark Danner (A0.1165498). This is a 6 piece chorale warm up for concert bands. 2 of them are classic hymns Eternal Father Strong to Save & Fairest Lord Jesus The other 4 are originals with plenty of melodic and harmonious sounds.

Large Ensemble - Level 2 - Digital Download SKU: A0.522128 Composed by Fredrik Pacius (1809 - 1891). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 35 pages. Colin Kirkpatrick Publications #3382783. Published by Colin Kirkpatrick Publications (A0.522128). Colin Kirkpatrick’s National Anthems Express  ESTONIA: Mu Isamaa This quick and easy national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. You can play it with any virtually any combination of instruments: symphonic band, clarinet choir, brass ensemble, brass band, solos, duets and trios - almost anything! This arrangement is in six independent parts each transposed into a variety of keys. For the most satisfying sound you’ll need to get a good balance between each part possibly with an emphasis on the melodic line. If you have a non-standard ensemble, you can pick 'n' mix as required. The piano reduction can fill missing parts or can be used as the basis for an accompaniment. Note that this anthem is virtually identical to the anthem of Finland. There is a minor difference in part of the melody and the repeat structure is different. This arrangement consists of a two-page score with seven instrumental staves and three percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (flute, oboe, piccolo, glockenspiel, violin); Part 1 in E flat (alto sax, E flat clarinet); Part 1a in C (octave above concert for flute, piccolo, oboe, violin) and Part 1a in E flat (E flat cornet in brass band). Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 2 in C (violin); Part 2 in E flat (alto sax); Part 2a in C (octave above concert pitch for flute, oboe, violin); Part 2a in B flat for clarinets; Part 2a in E flat (minor 3rd below concert for E flat alto clarinet). Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in C alto (alto clef for viola); Part 3 in E flat        (tenor horn, alto sax); Part 3 in F (French horn);  Part 3a in B flat (8ve below concert for 3rd clarinets in band). Part 4 in B flat (tenor sax, baritone); Part 4 in C (bass clef for trombone, euphonium, bassoon, cello); Part 4 in E flat (tenor horn, alto sax); Part 4 in F (French horn). Part 5 in B flat (baritone); Part 5 in C (bass clef for trombone, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, contrabassoon, tuba, double bass); Part 6 in E flat  (E flat bass, baritone sax). There’s also a part for timpani, percussion (3 players) and a piano reduction. The arranger, Colin Kirkpatrick studied at London’s Royal College of Music and followed a career in music education. He was a High School Music Director for about fifteen years and later became a Music Education Adviser, with the added responsibility for training teachers and directing the instrumental teaching service. He has published a great deal of music and his publishers include Boosey & Hawkes, Novello, Paxton, Schott, Oxford University Press, Chester, Belwin Mills and Intrada (Netherlands). His music has been performed and broadcast all over Europe as well as in Japan, Thailand, Australia and the USA.  

Concert Band - Level 4 - Digital Download SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart.  .

Concert Band - Level 2 - Digital Download SKU: A0.1025077 Composed by Aric Noble. Contemporary,Folk. Score and parts. 10 pages. Aric Noble #5306619. Published by Aric Noble (A0.1025077). Over the past few years I have become obsessed with Norse Mythology, and I mean real Norse Mythology. I say that withquotes because in my research I realized that a lot of people tell different stories. This is mainly because back when Christianity was growing,the Christians saw anything that wasn't Christian as pagan, so they got rid of it all. So that is why Greek, Roman, and Norse religions faded into mythologies, and all that was left was passed around in folk tales. And also because Marvel tells a very different tale of the mythology than the research I have collected and I want people to know these stories. Now moving passed the history lesson and into the music. This is interesting for me because this is the biggest original piece that I've ever made. This is going to be a multimovement piece, and this is the 1st movement, Ginnungagap, the endless void. This movement describes The Void, and the two lands of Fire(Muspelheim) and Ice(Niflhiem).Starting with The Void, it describes the blackness, and I use the absence of instruments to give this feeling, but however to give2 of the other themes to foreshadow it.  It moves into this wild cascading theme for the Niflheim theme to describe the cold cascading environment of the world.After that it slows into a dark and ominous theme for Muspelheim(Surtr's Destiny). This was an interesting part to make because in mythology, Surtr, also referred to as Surt,  is the fabled fire giant who destroys Asgard. No one knows where hecomes from, but from the moment of his creation, he knew of his destiny to destroy Asgard so he spent all of his time forging his sword to burrow into Asgard.  I used a break drum to symbolize a hammer hitting an anvil to forge a sword, a lingering sound of Surtr's destiny.After this, I brought both themes together to resemble The Clash of the two worlds to create the Norse universe.The final theme in this first movement is entitled I am Ymir. In myhtology, Ymir is the father of everything. Created from the clash, he gave creation to all the gods, humans, giants, elves, and dwarves. This final theme takes Surtr's theme and flipsit to be mo.

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 2 - Digital Download SKU: A0.522168 Composed by Various. Arranged by Colin Kirkpatrick. Christian,Holiday,Praise & Worship,Sacred. Score and parts. 185 pages. Colin Kirkpatrick Publications #4727417. Published by Colin Kirkpatrick Publications (A0.522168). This new collection of Thanksgiving and Harvest hymns contains all your favorites, or at least, most of them. It’s probably all you’ll ever need for thanksgiving and harvest festivals and the arrangements can be used for virtually any combination of wind instruments. This is an essential title for any band library or for any ensembles that are called upon to provide music for schools or churches. 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. 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. The score and all the parts are contained in a single PDF file. The following 25 hymns are included:  All Creatures of our God and King (Lasst uns Erfreuen); As the Sun doth Daily Rise (Innocents); All Things Bright and Beautiful (Bright and Beautiful); Bringing in the Sheaves (George Minor); Come Ye Thankful People Come (St George’s Windsor); Fair Waved the Golden Corn (Holyrood); Fill your hearts with Joy and Gladness (Ode to Joy); For the Beauty of the Earth (Dix); For the Fruits of His Creation (Ar Hyd y Nos); Glorious Things of Thee are Spoken (Austrian Hymn); Immortal, Invisible (St Denio); Let all Things now Living (Ash Grove); Let us with a Gladsome Mind (Monkland); Now Thank we all Our God (Nun danket); Praise and Thanksgiving (Bunessan); Praise God for the Harvest (Stowey); Praise my Soul the King of Heaven (Lauda anima); Praise to the Lord the Almighty (Lob den herren); Rejoice the Lord is King (Darwall’s 148th); Sing to the Lord of Harvest (Wie lieblich ist der maien); This is my Father’s World (Terra Beata); To thee, O Lord, our Hearts we Raise (Golden Sheaves); We Gather Together (Kremser); We plough the Fields and Scatter (Wir pflügen); Praise God from whom all Blessings Flow (Old Hundredth) The publication consists of a four-staff score for each hymn plus: Part 1 in B flat (clarinet, trumpet, cornet, soprano sax); Part 1 in C (8ve higher for flute, oboe); Part 1 in E flat (alto saxophone, E flat clarinet); Part 2 in B flat (clarinet, trumpet, cornet, flugelhorn); Part 2 in C (8ve higher for flute, oboe); Part 2 in E flat (alto saxophone); Part 3 in B flat (tenor saxophone, B flat baritone); Part 3 in C (bass clef for trombone, bassoon); Part 3 in E flat (E flat tenor horn, alto saxophone, alto clarinet); Part 3 in F (French horn in F); Part 4 in B flat (B flat bass clarinet, B flat bass); Part 4 in C (bass clef for trombone, bass trombone, bassoon, tuba); Part 4 in E flat (E flat baritone saxophone, E flat bass).    

Concert Band - Level 3 - Digital Download SKU: A0.1152527 Composed by Hector Berlioz. Arranged by Guilherme Ribeiro. 20th Century,Classical,March,Opera,Romantic Period. Score and Parts. 103 pages. Gui Ribeiro #752748. Published by Gui Ribeiro (A0.1152527). Symphonie fantastique is a piece of program music that tells the story of an artist gifted with a lively imagination who has poisoned himself with opium in the depths of despair because of hopeless, unrequited love. Berlioz provided his own preface and program notes for each movement of the work. Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a final thought of love interrupted by the fatal blow. Berlioz claimed to have written the fourth movement in a single night, reconstructing music from an unfinished project, the opera Les francs-juges. The movement begins with timpani sextuplets in thirds, for which he directs: The first quaver of each half-bar is to be played with two drumsticks, and the other five with the right hand drumsticks. The movement proceeds as a march filled with blaring horns and rushing passages, and scurrying figures that later show up in the last movement. NOTES: - The two timpani part can be played by only the 2 pairs of timpani. - Measure 93 and 100: Clarinet 1, 2 and 3 play one octave lower as written.

Concert Band - Level 4 - Digital Download SKU: A0.837514 Composed by Brett L. Wery. Contemporary. Score and parts. 124 pages. Sonata Grendel Publishing #6748213. Published by Sonata Grendel Publishing (A0.837514). Note: for best results, print the score (first 38 pages) on 8.5 X 14 (legal) sized paper and print the parts on 8.5 X 11 (letter) sized paper. M45 is the Messier catalog number for an open star cluster better known as the Pleiades. Oot-kwa-tah is dedicated to Schenectady County Community College on the forty-fifth anniversary of the college’s establishment as part of the State University of New York. The college sits on land that was once part of the Mohawk nation of the Iroquois Confederacy. Oot-kwa-tah is inspired by the Iroquois legend of M45, the Pleiades star cluster. The Iroquois tell a story about seven children who met each day and danced for hours at a time instead of doing chores. An old man appeared to them one day as they danced. He shone magnificently like silver and was clad from head to toe in brilliant white feathers. The old man warned them to stop dancing lest something terrible happen to them. Ignoring the old man’s warning and growing more and more hungry and lightheaded the children began to rise into the air. If only they had listened to me, the old man thought. As the children’s parents gathered, one little boy heard his father’s voice below. The little boy looked down and saw his father. At that instant he fell back to earth. The other children continued to float higher and higher into the sky to become the Pleiades star cluster.The Iroquois call them Oot-kwa-tah and are reminded of these reckless children each time they see a falling star.

Concert Band - Level 2 - Digital Download SKU: A0.522171 Composed by Various. Arranged by Colin Kirkpatrick. Praise & Worship,Sacred. Score and parts. 123 pages. Colin Kirkpatrick Publications #5726781. Published by Colin Kirkpatrick Publications (A0.522171). 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 123-page PDF file for instant download. Book 2 contains the following twenty popular hymns: A Mighty Fortress is our God (Ein Feste Burg); Awake my Soul (Morning Hymn); All Creatures of our God and King (Lasst uns Erfreuen); All People that on Earth do Dwell (Old Hundredth); Angels we have Heard on High (Gloria); Be thou my Vision (Slane); Come Thou Font of Every Blessing (Nettleton); Eternal Father, Strong to Save (Melita); God moves in a Mysterious Way (London New); Glory to Thee, My God, This Night (Tallis Canon); How Sweet the Name of Jesus Sounds (St. Peter); Immortal, Invisible, God Only Wise (St. Denio); Onward, Christian Soldiers (St. Gertrude); Let us with a Gladsome Mind (Monkland) Love Divine, All Loves Excelling (Beecher); Praise my Soul, the King of Heaven (Lauda Anima); The Day Thou Gavest (St. Clement); The King of Love my Shepherd is (St. Columba); We Plough the Fields and Scatter (Wir pflügen); Lead Us, Heavenly Father, Lead Us (Mannheim). 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 3 - Digital Download SKU: A0.750785 Composed by E. T. Paull (1908). Arranged by Brendan Elliget MAGA 537. Contemporary. Score and parts. 115 pages. BJE Music #3567783. Published by BJE Music (A0.750785). The Home Coming March (1908) - Concert Band Score and Parts PDF Music by: ET Paull Of course, eventually, all the soldiers and sailors had to eventually come home from all the battles and Paull had that eventuality well covered also. The artwork on the front cover (of unknown origin) is one that is full of imagery that covers all aspects of the services, Army and Navy and is full of patriotic and familial ideals. The border lists all of the US States and the corner pictures depict aspects of homecoming. The main image is a parade of victory. Let's let Paull explain it all to us as he did on the inside cover. Why This Piece Of Music Was Named The Home Coming March   Explanatory When the author had about completed the music of the present march, it occurred to him that it might be well to have suggestions made from a number of people, recommending a good name for same, for after all there is considerable in a name. He, therefore, had a special advertisement placed in several of the leading music Journals throughout the country, offering a prize of $10.00 in gold to anyone suggesting a name that would be accepted. Over three thousand names were sent in from all parts of the country, even from far away New Zealand and Australia, in which countries the author's marches are universal favorites. Included in the letters received was one from Mr. W. C. Bates, Secretary of the Sheffield Advertising Agency of New York and Chicago, in which he suggested the name The Home Coming March. After due consideration, this name was accepted, and the prize was awarded and paid to Mr. Bates, who stated that he was prompted to recommend this name on account of having been present during the impressive celebration of Old Home Week in Boston, Mass., last year. Probably no one idea is so universally dominant in the mind of the Human Race as that of home, or matters pertaining to home. The author believes that the name selected is one that will appeal to everyone; as the many pleasant associations with the words Home Coming are almost without limit. The title page of this march is without any exception the handsomest seen on a piece of music. The main body of the title pace represents a street scene, with buildings decorated and shows a handsome royal Arch of Welcome in the foreground, gaily decorated with flags, emblems, and bunting. A band is shown passing under the arch, leading a procession of the Home Guard, and thousands of people waving handkerchiefs, banners, flags, etc. Four smaller scenes also appear on the page, one representing the Home Coming of the soldier from war; another scene shows the Home Coming of the sailor boys embarking from their battleships; another scene represents the Home Coming reunion of the family and loved ones; the fourth scene represents the Home Coming of the father from work, where a little tot has been watching and waiting, and runs to meet him. The whole design of the title page is then surrounded by a border of differently designed medallions, on which appears the names of all the States of the Union, making without a doubt, the most unique and attractive title page ever conceived for a piece of music. One thing Paull mastered early in his career was the art of overstatement! Musically, this march is beginning to show the repetitiveness of many of Paull's works, especially evident as time passed. Once Paull found the formula (a fabulous cover and a playable, rousing march) that sold music, he stuck with it and was quite successful as a result.This arrangement is for Full Concert Band with the original optional piano part ( Not on the score).  There are parts for Trombones 1 and 2 in TC and BC as well as parts of Euphonium in TC and BC.  The MP3 was recorded with NotePerformer 3.Grade = 3.5  Duration =.

Concert Band - Level 2 - Digital Download SKU: A0.1373472 By Kate Bush. By Kate Bush. Arranged by John Ivor Holland. 20th Century,Film/TV,Pop,Singer/Songwriter. 46 pages. John Ivor Holland #957837. Published by John Ivor Holland (A0.1373472). Cloudbusting is a song written, produced and performed by English singer Kate Bush. It was the second single released from her fifth studio album 'Hounds of Love' (1985). Cloudbusting peaked at No. 20 on the UK Singles Chart. Taking inspiration from the 1973 Peter Reich memoir A Book of Dreams, the song is about the very close relationship between psychiatrist and philosopher Wilhelm Reich and his young son, Peter, told from the point of view of the mature Peter. It describes the boy's memories of his life with Reich on their family farm, called Orgonon, where the two spent time cloudbusting, a rain-making process which involved using a machine pointing at the sky. The lyrics further describe Reich's abrupt arrest and imprisonment, the pain of loss the young Peter felt, and his helplessness at being unable to protect his father. The predominant string texture has been retained in this concert band arrangement, transposed to a more band-friendly key and the thumping percussion recalls Kate Bush's megahit 'Running Up That Hill'. Arranged as part of a project to expand the repertoire of music for concert band by women composers.

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!