Concert Band - Level 3 - Digital Download SKU: A0.1002654 Composed by Billy Rose and Fred Fisher. Arranged by Chris Harris. 20th Century,Blues,Jazz,Jewish,Standards. Score and parts. 38 pages. CHRIS HARRIS MUSIC #603763. Published by CHRIS HARRIS MUSIC (A0.1002654). I’D RATHER BE BLUE, THINKING OF YOU (than be happy with somebody else) was originally recorded by pioneering American songstress Fanny Brice in 1929. Since then it was featured in her biography “Funny Girl� when it was sung (and danced on roller-skates!) by Barbra Streisand. This is a FLEXIBLE ORCHESTRATION which implies that it is intended for community bands, bands in small schools, club bands etc. and can be played, not only by full bands or orchestras but by incomplete bands and bands that are made up of almost any mixture of instrument that you can imagine. To achieve this, the music is made up of five “Parts� or voices which are defined by pitch and key e.g. Part II Bb – Trumpet, Clarinet, Tenor saxophone etc. To those five are added additional parts for percussion, tuned percussion, piano and voice. I should mention here that, besides regular band or orchestral instruments, it is possible to include less used instruments such as harmonica, piano-accordion, ukulele, electric guitar – the list is endless! Lastly, it is possible to use flexible orchestrations for chamber groups of any size. They can be chosen by instrument family e.g. Woodwind quintet, or by particular instrument e.g. Clarinet Trio.

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.

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: A0.983162 Composed by Craig Wadley. Concert,Contemporary,Standards. Score and parts. 102 pages. Wadley Publications #3043809. Published by Wadley Publications (A0.983162). The Privateers is a swashbuckling depiction of an oceangoing pirate adventure, presented in the form of a march.  The piece starts with a brief fanfare, followed immediately by a rousing melody in the style of an old sea-shanty.  Images of sailing upon an endless sea of stars come to mind as a tranquil nocturne is presented, but the peace is shattered as cutlasses and sabers clash in a dogfight sure to end in Davy Jones’ locker!  The music swells to a dramatic conclusion as our mighty galleon surges across a stormy sea.   Instrumentation   The Privateers comes with full sets of both concert/stage and marching/field parts, allowing for great flexibility in your performance venues. Contemporary marching bands and drum & bugle corps utilize specialized field percussion which is typically not used in a concert setting.  With this piece, the use of outdoor percussion (quad toms and a tonal bass drum line) onstage is encouraged, although not required.  A single bass drum line is included which may be used instead of (or in addition to) the tonal bass drum line, and the Quad Toms part may be omitted.    A piano part is included, primarily for optional use indoors as a color instrument for the ensemble.  However, smaller bands in particular may find it useful for filling out the accompaniment line if instrumentation is limited.  Optionally, a very small ensemble of melodic instruments could be used, with the piano acting as a full-fledged accompaniment.   Several optional parts are included, such as Eb and Bb Horn, for ensembles with limited instrumentation.  Also, the two Low Winds parts should be distributed equally across trombone, baritone/euphonium, and tenor sax players.   Double reed parts are not included.  Double these instruments on appropriate parts to suit the needs of your ensemble.   Teaching Points   Meter – The alternation of 6/8 and 4/4 with a constant pulse (rather than a constant 8th note) provides an excellent opportunity to teach your students to shift the subdivision of the beat from triple to duple and back again.   Chromaticism & Accidentals – There is a recurring passage which features the prominent use of secondary dominants, or circle of fifths chord motion.  Students can learn a few less-than-common accidentals and enharmonics, while also getting a larger lesson in music theory.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP12EB (wp) 12 in Eb. Arranged by Mark Davis Scatterday. Instructional. World Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp12Eb. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP12EB). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP12BBBC (wp) 12 in Bb Bass Clef. Arranged by Mark Davis Scatterday. Instructional. World Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp12BbBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP12BBBC). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP6BBBC (wp) 6 in Bb Bass Clef. Arranged by Mark Davis Scatterday. Instructional. World Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp6BbBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP6BBBC). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP16EBTC (wp) 16 in Eb Treble Clef. Arranged by Mark Davis Scatterday. Instructional. World Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp16EbTC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP16EBTC). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP13EB (wp) 13 in Eb. Arranged by Mark Davis Scatterday. Instructional. World Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp13Eb. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP13EB). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP5BBBC (wp) 5 in Bb Bass Clef. Arranged by Mark Davis Scatterday. Instructional. World Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp5BbBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP5BBBC). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP16EBBC (wp) 16 in Eb Bass Clef. Arranged by Mark Davis Scatterday. Instructional. World Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp16EbBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP16EBBC). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP13BBBC (wp) 13 in Bb Bass Clef. Arranged by Mark Davis Scatterday. Instructional. World Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp13BbBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP13BBBC). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP15BBBC (wp) 15 in Bb Bass Clef. Arranged by Mark Davis Scatterday. Instructional. World Part. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp15BbBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP15BBBC). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.

Concert Band - Digital Download SKU: AX.00-PC-0001517_WP8BBBC (wp) 8 in Bb Bass Clef. Arranged by Mark Davis Scatterday. Instructional. World Part. 4 pages. Alfred Music - Digital Sheet Music #00-PC-0001517_wp8BbBC. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0001517_WP8BBBC). UPC: 038081330044.The current edition of Gabrieli's Aria Della Battaglia was transcribed for the modern orchestra wind section from the Canto Dialoghi Musicali de Diversi Eccelentissimi Autori: Venice 1590. The work is subtitled per sonare d'instrumenti da fiato (to be played by wind instruments) and is one in a long line of such descriptive works dating from the sixteenth century with no instrumental designation whatsoever. The popularity of this genre, however, did not fade with the close of the Renaissance. Rather, a rich development continued into the nineteenth century with Beethoven's Wellington's Victory, the so-called Battle Symphony, being a latter-day example.