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!

Concert Band - Level 3 - Digital Download SKU: A0.746511 Composed by Keith Terrett. 20th Century,Patriotic,World. 32 pages. Keith Terrett #1989071. Published by Keith Terrett (A0.746511). A slow march I entitled The Royal Hussar, is an original ceremonial slow march of mine, suitable for indoor or outdoor performance. Slow March: This is a ceremonial pace, used for funeral marches and when a unit’s colours are marched out in front of the troops. The feet are kept parallel to the ground and the arms are never used. In the United States Marine Corps, arms swing as the distance they normally would in quicktime, but at the same pace as marching. U.S. Marine Color Guards do not swing their arms. Slow March is typically used in the Marine Corps for funeral details and ceremonies such as the Marine Corps Ball (when the cake is escorted out). In Spain, Latin America, and the Philippines this is done during religious processions whenever a military band joins it. This march style is the official parade march in the armed forces of Bolivia and Ecuador and the military academies and schools of Venezuela, done with the goose step during parades and ceremonies. The standard pace is 60 paces per minute. Famous slow marches include:Preobrajensky Regimental Slow March Presented to the Royal Marines by Admiral of the Fleet The Earl Mountbatten of Burma on 10th June 1964 and first performed as the Regimental Slow March of the Royal Marines on Horse Guards Parade that night. The march was composed by the Russian composer Donajowsky for the Russian Tzar’s Preobrajensky Guard. The Royal Hussars Slow March ’Coburg’, a tune composed by Haydn and arranged by Grant-James in the late 19th Century, is without doubt one of the most well-known and famous Slow Marches to be written. ’The Eagle’, which itself is a combination of the 14th and 20th Hussars slow marches is also a very strong march, but not widely known outside 14th/20th King’s Hussars’ circles. The Garb of Old Gaul (sometimes given as Auld Gaul) is an 18th-century patriotic Scottish march and song about Highland soldiers during the Seven Years War. The music was written by General John Reid, who was a senior officer of the 42nd Regiment of Foot (The Black Watch) during the Seven Years War. The words have traditionally been attributed to Sir Harry Erskine (1710 -1765). Robert Burns described it as This excellent loyal Scottish song and states that it first appeared in print in Herd’s Collection of 1769. Alternative titles include The Highland Character and The Highland or 42nd Regiment’s March. The tune was originally a quick march but was later rearranged as a slow march. Other famous slow marches of the British Army include Golden Spurs & Scipio. Put away Scipio, Coburg & Garb of Old gaul, time for a newcomer on the block! For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: http://www.scoreexchange.com/profiles/keith_terret http://musicforalloccasions.org.uk http://www.sheetmusicplus.com/search?Ntt=keith+terrett Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.

Concert Band - Level 4 - Digital Download SKU: A0.755100 Composed by Sy Brandon. 20th Century,Concert,Contemporary,Folk. Score and parts. 130 pages. Sy Brandon #3384569. Published by Sy Brandon (A0.755100). Arizona Centennial Overture was commissioned by the Arizona Commission on the Arts as part of the Centennial Legacy Project to help celebrate Arizona’s centennial. There are three versions of the compositions, chamber orchestra, full orchestra, and band. The overture pays tribute to the unique blend of the various cultures that had a part in shaping Arizona into what it is today. This six and a half minute composition is divided into three main sections. The first section begins with fanfares that announce the celebration. After thirty seconds, the introduction fades into music that pays tribute to the pioneers that migrated to Arizona. The music has a rustic quality reflecting the pioneering spirit of the ranchers, farmers, miners, and merchants who came to Arizona seeking a better way of life. This section is intended to be inclusive as it is impossible to represent each culture individually in a short musical composition. The second section pays tribute to the various Native American cultures that are a large part of Arizona’s history and its present way of life. Flutes and percussion instruments are used in the beginning of this section to represent the Native American respect for nature. This quiet section evolves into a ceremonial dance that increases in intensity. Towards the end of this section one hears fragments of the pioneer melody as these culture come together. The third section is influenced by Mariachi music to recognize the Hispanic influence in Arizona. The first part uses an original rollicking tune with four beats to the measure over syncopation. The second part contains a lyrical melody with three beats to the measure accompanied by instruments playing accents that create the Hispanic sounding grouping of six notes into three groups of two alternating with two groups of three. A brief ending using the fanfares of celebration interspersed with figures from the Native American and pioneer sections brings the work to a rousing close.The score prints on legal size paper and the parts on letter.

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 - Level 2 - Digital Download SKU: A0.978107 Composed by Francisca Gonzaga (Chiquinha Gonzaga 1847-1935). Arranged by Idalmo Santos. 20th Century,Latin,World. Score and parts. 23 pages. Idalmo Santos #6679863. Published by Idalmo Santos (A0.978107). The famous Corta-jaca, the name with which the tango Gaúcho became popular, is one of Chiquinha Gonzaga's most recorded and best-known songs, along with Ó abre alas, Lua branca, and Atraente. It was born on the stages of musical theaters, where it was danced in the final scene of the burlesque operetta of national costumes Zizinha Maxixe, imitated from French by an anonymous author, performed at the Teatro Éden Lavradio, in August 1895. Actor Machado Careca (José Machado Pinheiro e Costa), the anonymous author of the play, ended up putting verses to the music of Corta-jaca, helping to popularize it, especially after his version was recorded on disc by the duo Os Geraldos. Throughout history, Corta-jaca frequented other stages and repertoires: café-cantante, chope-berrante, rodas de choro... But it was at the Palácio do Catete, in 1914, that it achieved its glory. Performed on the guitar by first lady Nair de Teffé, it caused political scandal and ended up nicknaming the administration of Hermes da Fonseca. The reaction can be measured by the impassioned speech that Senator Rui Barbosa made from the rostrum. When asked what was the corta-jaca he had heard so much about, he concluded: The lowest, the most vulgar, the rudest of all wild dances, the twin sister of batuque, cateretê and samba. But at presidential receptions the corta-jaca is performed with all the honors of Wagner's music, and one does not want the conscience of this country to revolt, our faces to blush and the youth to laugh! Never before in the history of Brazil had eminently popular music been performed at the seat of government, in front of the diplomatic corps and the country's elite. Corta-jaca has become a classic of the great repertoire of Brazilian instrumental music, meriting recordings by, among others, Abel Ferreira, Altamiro Carrilho, Antonio Adolfo, Artur Moreira Lima, Clara Sverner, Conjunto Regional do Donga, Eudóxia de Barros, Guio de Morais, Itamar Assieré, Leandro Braga, Marcus Viana, Maria Teresa Madeira, Marcelo Verzoni, Paulo Moura, Radamés Gnatalli, Rosária Gatti, Talitha Peres, Turíbio Santos, countless bands, and some sung versions. It was written by the maestro also for singing and piano and small orchestra: oboe, viola, timpani, horns (bass), bassoon.

Concert Band - Level 5 - Digital Download SKU: A0.1082229 Composed by Jeff Tyzik. Arranged by Jeff Tyzik. Latin. Score and parts. 31 pages. Jeff Tyzik/Macaroni Music #686377. Published by Jeff Tyzik/Macaroni Music (A0.1082229). Three Latin Dances was composed for the Eastman Wind Ensemble at the request of Mark Scatterday in September of 2018. In the past twenty years, Mark has been very instrumental in encouraging me to compose wind music. I am grateful for the many wind ensemble projects and recordings we have collaborated on including IMAGES, our CD that was released in October 2018. I've always been attracted to the music of great Latin composers including de Falla, Gimenez, Chapi, Piazzolla, Ginastera, Lacuona and many others. In this short suite, I used three different popular Latin dance forms. The first dance section is based on the Danzón, a Cuban dance that is slow, formal and elegant. The Danzón transitions into a Cha Cha, another Cuban dance that is a medium tempo rhythmic dance that I first experienced during my student days at Eastman when I played in local Latin bands. After a brief recap of the Danzón another transition evolves into a Malambo, an Argentine dance that is exciting, up tempo and whose roots can be traced back to the 1600s. As one might imagine, the percussion section is very busy and featured throughout from the elegant and lyrical introduction to the exciting finish. As an alumni of the EWE under Donald Hunsberger, it is an honor to have this preeminent Eastman ensemble premiere this new suite with Mark Scatterday conducting at Severance Hall in Cleveland on May 7, 2019.