Concert Band - Level 4 - Digital Download SKU: A0.1233382 By Ozzy Osbourne. By Bob Daisley, Ozzy Osbourne, and Randy Rhoads. Arranged by Jeffrey Bowen. Contest,Festival,Rock. Score and Parts. 50 pages. Music Arrangement Services Inc. #828979. Published by Music Arrangement Services Inc. (A0.1233382). Performed by Ozzy Osbourne.  This Concert Band Scores accompanies the SAB/Piano Score with parts for 2 Trumpets, Trombone, Alto Sax, Tenor Sax, Baritone Sax, Synth (Organ), Synth Horns, Guitar, Bass, Drums and Percussion.  This song is about finding love and peace in a crazy world.  The song refers to being crazy, learning how to love, forgetting how to hate, mental wounds, masses who follow and others that make their own rules, cold war.  This arrangement is designed for high school or college show choir, concert choir or community choir.  SAB/Piano Score also available.  Performance time is approximately 2:15.

Concert Band - Level 3 - Digital Download SKU: A0.818295 By Stephen R Dalrymple. By Johann Ludwig Krebs. Arranged by Stephen R Dalrymple (Dalrymple Designs). Baroque. Score and parts. 14 pages. Stephen R Dalrymple #5030197. Published by Stephen R Dalrymple (A0.818295). Krebs Trio ♫ for Concert Band with Flexible Instrumentation ♫ by Johann Ludwig Krebs (1713-1780) ♫ arranged by Stephen R Dalrymple ♫ Johann Krebs was the son of a well-known organist. Krebs studied organ and composition with JS Bach and was highly commended by him. He was one of the most technically gifted young organists of his day, yet was never employed by a major church. Krebs held modest positions all of his life and he and his family of seven children struggled with poverty. ♫ Although underpaid according to his ability and training, Krebs produced a large body of work – 193 known scores. His compositions are judged to be of prime quality, superior enough for scholars to argue whether a piece was composed by him or Bach. His Toccata and Fugue in E for organ is counted one of the masterpieces in Baroque literature. His 2 concertos for lute show that he must have been an accomplished lute player. Krebs was born, studied, lived, & composed in or near Upper Saxony (much like Bach). ♫ Teaching band in a small school, I often needed flexible instrumentation to assure satisfaction for students when a full complement of instruments was not available. This Baroque work from pipe organ literature has been scored for 3 independent polyphonic voices plus an optional percussion part. This piece can be played with almost any combination of instruments or as a trio or quartet. I added an optional hand drum part so percussionists can also participate. Krebs Trio has been performed by my mid level band and a quintet of music educators at a school music benefit concert, and the fanfa at North Haiti Music Camp. ♫ Purchase price includes permission is granted to make photocopies of parts additional scores for a medium size school band.

Concert Band - Level 4 - Digital Download SKU: A0.1152172 Composed by John Philip Sousa. Arranged by Wesley Besancon. 20th Century,March. Score and Parts. 62 pages. Wesley Besancon #752386. Published by Wesley Besancon (A0.1152172). Throughout Sousa’s career as a conductor, he often altered the performance of his marches without marking or changing the printed music. These alterations were designed for concert performances and included varying dynamics and omitting certain instruments on repeated strains to expand the range of the musical textures, as well as adding unscripted percussion accents for dramatic emphasis at key points in the music. Although Sousa never documented his performance techniques himself, several players who worked extensively with Sousa provided directions for his frequently performed marches, most notably cornetist Frank Simon. Sousa continued to conduct many of his earlier marches later in his career with these unique alterations, but he rarely returned to several of the marches composed between 1873 and 1880. Although no written confirmation exists for how Sousa might have performed these earliest compositions, select elements of his typical performance practices can also be applied to these marches. “Our Flirtation� is the earliest march for which Simon documented Sousa’s common adjustments in performance. The Complete Marches of John Philip Sousa appears in chronological order and is based on some of the earliest known sources for each composition. These newly edited full scores correct many mistakes and inconsistencies found in the parts of early publications; however, all remaining markings and the original scoring are preserved. Additionally, the alterations traditionally employed by the United States Marine Band in performance are incorporated throughout; either those specifically documented by Sousa’s musicians or changes modeled on the customary practices of “The March King.� Performance practices that deviate from the original printed indications are described below and appear in [brackets] in the score. In many instances these indications appear side-by-side with the original markings. An open diamond marked with an accent in the cymbal part indicates that the cymbal player should let that accent ring for an additional beat before rejoining the bass drum part. Second strain (m. 21-38): The dynamic should drop to piano first time through with piccolo, E-flat clarinet, cornets/trumpets, and trombones tacet first time. Additionally, all clarinets should play down one octave as indicated by the cued notes. All instruments rejoin fortissimo and at the original octave in the first ending. A percussion accent may be added in m. 29 the second time. The printed percussion figure in the first ending continues the previous pattern, yet muddies the pick-ups to the second strain and may be omitted for just that one bar as indicated after the downbeat. Trio (m. 39-54): Piccolo and cornets/trumpets are tacet once more as well as cymbals, but trombones have an interesting part in the texture and may continue to play softly here. All instruments rejoin for the fortissimo pick up notes in m. 54. Interlude/Break-up strain (m. 55-70): A percussion accent may be added on beat two in m. 62 and 70, both times, to match the accented chords in the rest of the band. Final strain (m. 71-end): The first time through this strain is piano once more and piccolo, cornets/trumpets, trombones, and cymbals are tacet again. First and second B-flat clarinets should also play one octave lower as indicated by the cued notes. All instruments rejoin in the first ending for the repeat of the break-up strain and play fortissimo to the end.

Concert Band - Level 5 - Digital Download SKU: A0.1463454 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 251 pages. Michael Barrera #1042150. Published by Michael Barrera (A0.1463454). Https://www.michaelbarreraflute.com/shop/p/mephisto-waltz1-band-partsTwo Episodes from Lenau’s Faust | Mephisto Waltz No. 1Program NotesFranz Liszt’s first Mephisto Waltz is a programmatic work based on an episode from Nikolaus Lenau’s 1836 verse drama Faust.  The program note that appears in the original printed score is noted here:There is a wedding feast in progress in the village inn, with music, dancing, carousing.  Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities.  Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains.  The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods.  The sounds of the fiddle grow softer and softer, and the nightingale warbled his love-laden song. Mephisto Waltz No. 1 is paired with a work preceding it, Midnight Procession (Der Nächtliche Zug), however this piece is not as widely performed.  Liszt later transcribed the waltz into a piano duet and a virtuosic solo piano work.  Each of these versions were written around the same time, roughly 1859-62.  The orchestral version also has an alternate ending, which is softer and fades away.  This arrangement features both endings. This work was then followed by three more Mephisto Waltzes.  No. 2 was also written as both an orchestral and piano work, while Nos. 3 and 4 were for piano only.  Of the four, the first is the most popular, although the third is also praised as highly musically. InstrumentationWritten for Wind Ensemble of any size (Number indicates how many parts - some parts include divisi)1 Piccolo (doubles Flute 3)                                              2 Flutes2 Oboes2 Bassoons1 Clarinet (E flat)3 Clarinets (B flat)1 Bass Clarinet (B flat)1 Contrabass Clarinet (B flat)2 Alto Saxophones1 Tenor Saxophone1 Baritone Saxophone3 Trumpets (B flat)4 Horns (F)2 Trombones1 Bass Trombone1 Euphonium1 Tuba1 String BassTimpaniMarimbaCymbalTriangle.

Concert Band - Level 5 - Digital Download SKU: A0.1463453 Composed by Franz Liszt. Arranged by Michael Barrera. 19th Century,Classical,Romantic Period. 42 pages. Michael Barrera #1042149. Published by Michael Barrera (A0.1463453). Https://www.michaelbarreraflute.com/shop/p/mephisto-waltz1-band-scoreTwo Episodes from Lenau’s Faust | Mephisto Waltz No. 1Program NotesFranz Liszt’s first Mephisto Waltz is a programmatic work based on an episode from Nikolaus Lenau’s 1836 verse drama Faust.  The program note that appears in the original printed score is noted here:There is a wedding feast in progress in the village inn, with music, dancing, carousing.  Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities.  Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains.  The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods.  The sounds of the fiddle grow softer and softer, and the nightingale warbled his love-laden song. Mephisto Waltz No. 1 is paired with a work preceding it, Midnight Procession (Der Nächtliche Zug), however this piece is not as widely performed.  Liszt later transcribed the waltz into a piano duet and a virtuosic solo piano work.  Each of these versions were written around the same time, roughly 1859-62.  The orchestral version also has an alternate ending, which is softer and fades away.  This arrangement features both endings. This work was then followed by three more Mephisto Waltzes.  No. 2 was also written as both an orchestral and piano work, while Nos. 3 and 4 were for piano only.  Of the four, the first is the most popular, although the third is also praised as highly musically. InstrumentationWritten for Wind Ensemble of any size (Number indicates how many parts - some parts include divisi)1 Piccolo (doubles Flute 3)                                              2 Flutes2 Oboes2 Bassoons1 Clarinet (E flat)3 Clarinets (B flat)1 Bass Clarinet (B flat)1 Contrabass Clarinet (B flat)2 Alto Saxophones1 Tenor Saxophone1 Baritone Saxophone3 Trumpets (B flat)4 Horns (F)2 Trombones1 Bass Trombone1 Euphonium1 Tuba1 String BassTimpaniMarimbaCymbalTriangle.

Concert Band,Large Ensemble - Level 3 - Digital Download SKU: A0.522164 Composed by Ananda Samarakoon (1911-1962). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 35 pages. Colin Kirkpatrick Publications #4286175. Published by Colin Kirkpatrick Publications (A0.522164). 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 is the full version of the anthem (41 measures) which is used on formal, official occasions. Shorter versions are sometimes heard.This arrangement is in five 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 five-page score with six instrumental staves (including timpani) and three one-line percussion staves. The following parts are printed on separate pages. The score and all the parts are contained in the same pdf file.Part1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (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 British-style 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 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, tuba, double bass.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. 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.

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.  

Large Ensemble - Level 3 - Digital Download SKU: A0.522149 Composed by Pedro Figueredo (1818-1870). Arranged by Colin Kirkpatrick. Contemporary. Score and parts. 38 pages. Colin Kirkpatrick Publications #3507973. Published by Colin Kirkpatrick Publications (A0.522149). REPUBLIC OF CUBA: El Himno de Bayamo This national anthem arrangement is essential for traveling musicians, bands, instrumental groups and both amateur and professional ensembles. Although it's primarily designed for band, 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 four-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 38-page PDF file. Part 1 in B flat (clarinet, trumpet, cornet, flugelhorn, soprano sax); Part 1 in C (oboe, 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 (9th above concert pitch); 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 Part 3 in B flat 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, cello, euphonium, bassoon. Part 6 in B flat (B flat bass, bass clarinet); Part 6 in C (bass clef for bass trombone, bassoon, 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.   Parts 1a and 2a are provided because Parts 1 and 2 are too low to be comfortably played by flute and piccolo. By using these parts you can create a high woodwind tone above the other instruments.   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.