SKU: A0.751052

Inside Your Heaven is a song written by Andreas Carlsson, Pelle Nylén, Savan Kotecha, and produced by Desmond Child. Carrie Underwood and Bo Bice, the final two contestants on the fourth season of American Idol, each released a version of the song in June 2005.

This is an arrangement for the Concert Band.

There are parts for both Horns in F and Eb.

Grade = 3.5 Duration = 3:30 mins.

The audio was recorded with NotePerformer 3.

© 2005 EMI BLACKWOOD MUSIC INC., OH SUKI MUSIC, UNIVERSAL MUSIC PUBLISHING AB and ANDREAS CARLSSON PUBLISHING AB

All Rights for OH SUKI MUSIC Controlled and Administered by EMI BLACKWOOD MUSIC INC.

All Rights for UNIVERSAL MUSIC PUBLISHING AB in the United States and Canada Controlled and Administered by UNIVERSAL -

POLYGRAM INTERNATIONAL PUBLISHING, INC. All Rights for ANDREAS CARLSSON PUBLISHING

AB in the United States and Canada Controlled and Administered by WB MUSIC CORP.

All Rights Reserved International Copyright Secured Used by Permission

SKU: A0.1405543

'The Sidewinder' is a 1964 album by jazz trumpeter Lee Morgan, recorded in New Jersey, U.S. It was released on the Blue Note label and the title track is perhaps Morgan's all-around best-known composition; it would go on to become a jazz standard and was additionally released as a single, entering the Billboard Hot 100 in January 1965. Morgan recorded the track with tenor saxophonist Joe Henderson, pianist Barry Harris, double bassist Bob Cranshaw and drummer Billy Higgins. The album became Blue Note's best-selling record ever, breaking the previous sales record and saving the label from near bankruptcy. Record producer Michael Cuscuna recalls the unexpected success: the company issued only 4,000 copies upon release. Needless to say, they ran out of stock in three or four days. And 'The Sidewinder' became a runaway smash. The title track was used as the music in a Chrysler television advertisement during the 1965 Baseball World Series, without Morgan's permission; he threatened to sue, Chrysler agreed not to show the advertisement again and settled the case. This arrangement has been adapted from the jazz ensemble version by Mark Taylor, retaining solos for alto sax and trumpet, although an optional cut can be taken if necessary to skip these.

SKU: 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 =.

SKU: A0.1325806

Autumn Walk is a miniature tone poem that reverberates Work’s compositional style, imbued with rich tonal harmonies, lyrical melodic ideas, and sensitive orchestrations that radiate with imaginative tone color. It was composed in 1958, and was a notable addition among the repertoire recorded by Frederick Fennell and the Eastman Wind Ensemble for the American Concert Band Masterpieces album in 1959 (Mercury Records MG-50220). 

Autumn Walk is, in its own right, a marvelous composition, but listening to the 1959 EWE recording, one notices a remarkable difference from the published score, including additional passages that sound organically conceived. In his discography of Fennell’s recordings entitled Ffortissimo, Roger Rickson simply noted the work was recorded with “FF edits.� However, it has been recently revealed that it was Donald Hunsberger, then a graduate student and member of the EWE, who was responsible for adding the enhancements heard on the EWE recording. Shortly before his death in November 2023, Hunsberger stated “FF and I were discussing the piece after a rehearsal (I did a lot of rehearsing for him that year as he was away doing President of CBDNA) concerning some of the thinness of sound… I had just spent 4 years with the Marine Band in Washington, playing trombone and serving as resident arranger. I had been trying to upgrade the band's sound, experimenting with all kinds of orchestration, and told FF that I would work over the score and enrich it in various ways.�

This revised edition incorporates the additional passages conceived by Hunsberger and reconciles minor errors and other orchestrational aspects.

SKU: A0.723125

PROGRAM NOTE:  Mitch Sturman, director of the Wilson Junior High School Warrior Band in El Centro, California, has been  commissioning works, both new works and modern arrangements of old works, for nine years for an annual Concert  of Premieres each May.  He commissioned me to arrange this military march by Juan de Arriaga for his 9th Annual  Concert of Premieres for the 2015-2016 Academic year.  

Juan Crisóstomo Jacobo Antonio de Arriaga y Balzola (January 27, 1806 – January 17, 1826) was a Spanish Basque  composer. He was nicknamed the Spanish Mozart after he died, because, like Wolfgang Amadeus Mozart, he was both  a child prodigy and an accomplished composer who died young. They also shared the same first and second baptismal  names; and they shared the same birthday, January 27 (fifty years apart).    

The Marcha Militar was written in 1820 when Arriaga was 14 years old.  The original is scored for requinto (a small, 3/4-size guitar tuned in F, a fourth above the normal quitar), piccolo in D,  two clarinets in B-flat, two small trumpets in B-flat, two large trumpets in B-flat, two bassoons in B-flat, serpent in  A-flat, trombone in B-flat, triangle, chimes, cymbals, side drum, and bass drum.  I have arranged the piece for a modern band of piccolo, flute, oboe, three clarinets in B-flat, bass clarinet in B-flat,  alto sax in E-flat, tenor sax in B-flat, bari sax in E-flat , bassoon, French horn in F, three trumpets in B-flat, baritone  horn (with parts for both bass clef and transposing B-flat treble clef),trombone, tuba, triangle, snare drum, cymblas,  bass drum, and glockenspiel.  As this arrangement was originally meant for a junior high school band, some notes may cause range problems for  young, less experienced players.  I have indicated these notes with smaller noteheads in parenthesis. While these  parenthetical notes are the preferred notes, and should be played if possible, it is assumed the regular-sized note is  probably the one which will probably need to be played.  

Joel Jacklich El Centro, California,  July 4, 2015.

SKU: 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.html

An English translation of the German text used by Brahms

SOLO

But 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.