Concert Band - Digital Download SKU: A0.932830 Composed by George Frideric Handel. Arranged by Keith Michael Davis. Baroque. Score and parts. 78 pages. Komodo Music #6593353. Published by Komodo Music (A0.932830). A lively sinfonia from one of Handel's last oratorios, this excerpt from Solomon has established itself as standard fare for chamber orchestras and ensembles around the globe. With this arrangement, this Baroque classic is now available for your concert band, with an opportunity to feature your finest instrumentalists (in C or B-flat) in a prominent duet.

Concert Band - Level 2 - Digital Download SKU: A0.522188 Composed by Various. Arranged by Colin Kirkpatrick. Christian,Christmas,Praise & Worship. Score and parts. 190 pages. Colin Kirkpatrick Publications #6403623. Published by Colin Kirkpatrick Publications (A0.522188). This essential collection may be all you ever need for your wind instruments at Christmas. It's a bargain price too! 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 publication consists of a four-staff score in concert pitch together with fifteen separate parts in various transpositions plus a simplified optional keyboard part. The left hand plays only the bass part most of the time, with the right hand part kept as simple as possible. These four-part arrangements use flexible instrumentation so that you can exercise considerable control over the instrumental voicing or use them for non-standard ensembles. You can also create interesting instrumental tone color by omitting groups of instruments. If the ensemble is large enough you could omit brass instruments in the quieter sections, or use a solo trumpet against a woodwind background. There are endless possibilities.The complete set includes: Part 1 in B flat, E flat and C; Part 2 in B flat, E flat and C; Part 3 in B flat, E flat, F and C and Part 4 in B flat, E flat and C. Parts 1 and 2 in C have been printed an octave higher than the pitch shown in the score because invariably the parts lie too low for flute or oboe. For elementary players, a Part 1 in C (low) is included at concert (score) pitch. Parts 3 and 4 in C are in the bass clef. The arrangements could be played by virtually any combination of conventional wind band instruments. Using the optional keyboard part they could also be used as solos, duets or trios. The scores and all the parts are contained in a single 190-page PDF file. Please note that these arrangements are not necessarily compatible with other Kirkpatrick arrangements published by Glyn Joseph Editions. The collection incuers the following favorite carols: Angels We Have Heard On High (Gloria); Lo, How a Rose E’er blooming (Es ist ein Ros entsprungen); O Come, O Come Emmanuel (Veni Emmanuel); The First Noel; Ding Dong! Merrily on High (Bransle de l’Officiel); O Come All Ye Faithful (Adeste Fidelis); Hark! The Herald Angels Sing (Mendelssohn); Go Tell It on the Mountain; O Little Town of Bethlehem (St. Louis); O Holy Night (Cantique de Noël); Silent Night (Stille Nacht); Away in a Manger (Mueller); Joy to the World (Antioch); O Christmas Tree (Tannenbaum); We Three Kings (Kings of Orient); I Heard the Bells on Christmas Day (Waltham); What Child is This? (Greensleeves); God Rest You Merry, Gentlemen; Good King Wenceslas (Tempus Adest Floridum) and We Wish You a Merry Christmas.

Composed by Various. Arranged by Colin Kirkpatrick. Christian, Sacred, Praise and Worship. Score, Set of Parts. 244 pages. Published by Colin Kirkpatrick Publications

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 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 - Digital Download SKU: A0.739420 Composed by Cesar Auguste Franck. Arranged by David Catherwood. Romantic Period,Wedding. Score and parts. 26 pages. Opus 3 Music #3421517. Published by Opus 3 Music (A0.739420).  Panis angelicus This arrangement of Franck's famous vocal solo is intended originally for Trombone and Orchestra but will work equally well with other suitable instruments in the solo role ('cello, bassoon, euphonium, violin , clarinet etc) and if necessary just a quartet accompaniment.A full set contains a score and a set of parts (with permission to copy to suit your own requirements) for the following instruments:Part 1 in C (Flute, Oboe 1, Violin 1)Part 1 in Bb (Clarinet 1 in Bb, Trumpet 1 in Bb)Part 2 in C (Oboe 2, Violin 2)Part 2 in Eb (Alto Saxophone, Eb Horn)Part 2 in F (Horn in F)Part 2 in Bb (Clarinet 2 in Bb, Trumpet 2 in Bb)Part 3 in C (Bassoon 1, Trombone)Part 3 in Eb (Alto Saxophone, Eb Horn)Part 3 in F (Horn in F)Part 3 in alto clef (Viola)Part 3 in Bb (Tenor Saxophone, Bb Trombone (treble clef)Part 4 in C (Cello, Double Bass, Bassoon 2, Bass Trombone)Part 4 in Eb (Baritone Saxophone, Eb Bass Tuba (treble clef)Part 4 in Bb (Euphonium, Bb Bass Tuba (treble clef)Panis angelicus (Latin for Bread of Angels or Angelic Bread)Panis angelicus     (May the Bread of Angels)fit panis hominum;   (Become bread for mankind;)Of course the instrumental parts could also be used to accompany the original vocal part.

Concert Band (optional solo piano) - intermediate - Digital Download SKU: AQ.AMC-WB-003SCO Composed by Francis Johnson. Arranged by Kenneth Amis. Music of Black Composers and Artists. Conductor score. 40 pages. Amis Musical Circle - Digital #AMC-WB-003SCO. Published by Amis Musical Circle - Digital (AQ.AMC-WB-003SCO). 11 x 17 inches.The 1818 publication of Francis Johnson's A Collection of New Cotillions marks the first known publication of original music by a black composer in the United States. A prolific composer, instrumentalist, teacher and conductor, Johnson led a varied and successful career in an era in U.S. history that was not inviting to black professionals. His musical interests ranged from the contemporary works of Johann Strauss Jr. to traditional, popular dances.The cotillion is a French country dance that was popular in Europe and America in the 18th century. It was originally danced by four couples in square formation and was an important influence in the development of the square dance in the United States. Francis Johnson composed two sets of six piano accompaniments for this dance. The original 1818 publication even included movement instructions for the eight dancers. The short and charming melodies that he composed are a fitting example of popular dance music of the time.This transcription may be performed as a piano solo, with the piano as a non-solistic instrument within the ensemble or without piano at all. If it is to be a piano solo, the other instruments should not play the passages marked “opt. tacet (optional tacet). If the piano will not be treated soloistically, the conductor can have some or all of the “opt. tacet passages played at their discretion. When there is no piano involved in the performance ,all instrumentalists should ignore the “opt. tacet instruction and play everything.

Concert Band - Level 4 - Digital Download SKU: A0.1024218 Composed by Blake Mathieson. Contemporary,World. Score and parts. 22 pages. Blake Mathieson #2884421. Published by Blake Mathieson (A0.1024218). 22 pages. Size A4.This is the conductor's book for the song Kyrgyz Rhythms. This book should be used when conducting a concert band. It contains the parts for Piccolo, Flute, Oboe, B flat Clarinet, Alto Saxophone, B flat Trumpet, Tenor Saxophone, French Horn in F, Bass Clarinet, Baritone Saxophone, Bassoon, Euphonium, Trombone, Bass Drum and Snare Drum. The piece uses the whole ranges of these instruments, from the A1 that can be played by the Bassoon and Trombone, to the C8 that is required from the Piccolo. Many of these instruments need to use techniques to utilise their full range, so make sure your instrumentalists are skilled and knowledgeable.The song has a lot of rhythmic and melodic diversity, and switches tempo and key signature frequently. The keys used are C major, F major, G major and E minor, not too difficult. Some of the rhythms can be quite hard to grasp, and instrumentalists must be able to play quick notes with accuracy. Again, make sure your instrumentalists are well learned for this. The song has a set of melodies, that are divided up by three bar percussion solos. Many of the instruments play solos or solis throughout the song, which it can be good for developing an instrumentalist's ability to stay calm on stage. The song should also improve their ability to play some complex rhythms at quite a fast speed.

Concert Band - Level 3 - Digital Download SKU: A0.834118 By Christina Aguilera. By Christina Aguilera and Glen Ballard. Arranged by RUSSELL T. KING. Contemporary,Pop. Score and parts. 73 pages. EMK Music #6637993. Published by EMK Music (A0.834118). Arranged for Voice (or Solo Alto Saxophone) and Concert Band.  This arrangement of the very popular Christina Aguilera hit is a half tone higher than the original in order to put it in a more Band friendly key. Alternate notes are provided if the range is too high for the vocalist. A Solo Alto Saxophone part has been included to make the arrangement useful as an instrumental solo if a vocalist is not available.  Arranged with schools in mind (there are many doublings which will help if there are instruments missing) it is a great opportunity for schools with a Voice and a Band Program to combine two learning areas. It is not often that a vocalist has the opportunity to sing with a large band backing.

Concert Band - intermediate - Digital Download SKU: AQ.AMC-WB-005SSC Composed by Kenneth Amis. Music of Black Composers and Artists. A short feature piece or 4 soloists. Study Score. 30 pages. Amis Musical Circle - Digital #AMC-WB-005SSC. Published by Amis Musical Circle - Digital (AQ.AMC-WB-005SSC). 8.5 x 11 inches.Commissioned by the MIT Wind Ensemble, Dinner for Four was conceived as a short feature piece for 2 pairs of like instruments performed by teacher-student duos. The premier was performed by two flutes and two tubas; however, any balanced pair of high and low instruments may be used (e.g., 2 alto saxes and 2 trombones). Alternate transpositions of the high and low solo parts are available. If solo instrumentalists are not available in pairs any appropriately balanced quartet of instrumentalists may be featured.

Concert Band - intermediate - Digital Download SKU: AQ.AMC-WB-005SCO Composed by Kenneth Amis. Music of Black Composers and Artists. A short feature piece or 4 soloists. Conductor score. 30 pages. Amis Musical Circle - Digital #AMC-WB-005SCO. Published by Amis Musical Circle - Digital (AQ.AMC-WB-005SCO). 11 x 17 inches.Commissioned by the MIT Wind Ensemble, Dinner for Four was conceived as a short feature piece for 2 pairs of like instruments performed by teacher-student duos. The premier was performed by two flutes and two tubas; however, any balanced pair of high and low instruments may be used (e.g., 2 alto saxes and 2 trombones). Alternate transpositions of the high and low solo parts are available. If solo instrumentalists are not available in pairs any appropriately balanced quartet of instrumentalists may be featured.

Concert Band - Level 3 - Digital Download SKU: A0.549215 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3467666. Published by jmsgu3 (A0.549215). A musical monument: the first known composition in history to employ dynamics. Instrumentation: Medium-sized Concert Band. 1 PiccoloAt least 2 flutes, clarinets, alto & tenor saxesAt least 1 bass clarinetAt least  2 trumpets, horns, trombones & tubas4 timpaniScore: 20 pg. 81 measures. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.  

Concert Band - Level 2 - Digital Download SKU: A0.549200 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Easter,Renaissance,Standards. 27 pages. Jmsgu3 #3458689. Published by jmsgu3 (A0.549200). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: small concert band, no percussion. Here is a stunningly beautiful example of Renaissance polyphony and a mesmerizing fast-paced recital number. Program this initially to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not tricky, but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes there was probably a third group near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance. First Works Finally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Gabrieli’s later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, the instruments are an essential part of the presentation, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Concert Band - Level 3 - Digital Download SKU: A0.549206 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 29 pages. Jmsgu3 #3461981. Published by jmsgu3 (A0.549206). Duration 3:00. Score 9 pg. Parts 2 pg. ea. Instrumentation: small wind band, no percussion. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.

Large Ensemble - Level 2 - Digital Download SKU: A0.522134 Composed by Frederico Consolo (1841-1906). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 34 pages. Colin Kirkpatrick Publications #3456199. Published by Colin Kirkpatrick Publications (A0.522134). Colin Kirkpatrick’sNational Anthems ExpressSAN MARINO: Inno NazionaleThis 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.This arrangement consists of a three-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) 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 music is presented in pdf files at 1,200 dpi which can produce professional-looking printed copies. 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.