SKU: A0.818257

Abraham’s Daughter: March from the Civil War ♫ by Septimus Winter (1861) ♫ with When Johnny Comes Marching Home by Patrick Gilmore a.k.a. Louis Lambert (1863). ♫ arranged for concert band by Stephen R Dalrymple ♫ After a family trip to Gettysburg, Antietam, Harper’s Ferry, and Ford Theater, I created a concert band arrangement to solidify the trip in my mind using a popular Civil War song from the North, “Abraham’s Daughter,� and a song used by both North and South, “Johnny Comes Marching Home.� ♫ Music was a means for soldiers to release the tensions of war. By December 1861 the Union army had 28,000 musicians in 618 bands, not counting soldiers who travelled with violins and other musical instruments. Soldiers often sang as they marched by day and at night in camp. Musical duels were not uncommon between Union and Confederate bands. This idea inspired the last section of the arranger where the 2 songs are played against each other. ♫ Septimus Winner wrote “Abraham’s Daughter� in 1861 for the Minstrel stage. “Abraham’s Daughter� pictures a fresh recruit that is on his way to Washington DC to be processed and trained for future battles. ♫ Given the unpublished verses we have, Abraham’s Daughter was undoubtedly sung and embellished by Union soldiers as they travelled from battlefield to battlefield. ♫ Winner is also known for writing “Ten Little Injuns� “Listen to the Mockingbird� and “Where, Oh Where Has My Little Dog Gone?� ♫ Abraham Lincoln had 4 sons, Robert Todd, Edward Baker, William Wallace, and Thomas (Tad); but no daughters. So, who is Abraham’s daughter? ♫ Oh! Should you ask me who she am, Columbia is her name, sir; She is the child of Abraham, Or Uncle Sam, the same, sir. Now if I fight, why ain't I right? And don't you think I oughter. The volunteers are a-pouring in From every loyal quarter, And I'm goin' down to Washington To fight for Abraham's daughter. ♫ At the beginning of the war, the majority of soldiers, North and South, were fighting to uphold their view of government, each side justifying its position by quoting the Constitution. Southern States saw each State as a sovereign, independent nation. Abraham Lincoln insisted that the United States were one nation. For Abraham Lincoln, the purpose of the war was to preserve the Union. The undivided union was Lincoln’s daughter. ♫ arrangement © 2000, 2013 Stephen R Dalrymple ♫ recording ℗ 2021 Stephen R Dalrymple ♫ presentation © 2021 Stephen R Dalrymple ♫ sequenced by the arranger ♫ Purchase price includes permission to make photocopies of parts and additional scores for a medium size school band. ♫ This .pdf file includes 1) Condensed Conductor’s Score 2) Individual parts for: Instrumentation: Flute, Oboe, Clarinet 1, Clarinet 2, Alto Clarinet, Bass Clarinet, Alto Sax, Tenor Sax, Baritone Sax, Bassoon, Trumpet 1, Trumpet 2, F Horn, Trombone, Treble Clef Baritone, Tuba, Electric Bass, Snare and Bass Drums, Cymbals, and Bells. 3) Condensed Conductor’s Score in a smaller format for use in a 10 inch tablet 4) The same parts formatted for a 10 inch tablet. ♫ The YouTube video contains a full recording.

SKU: IZ.CBS159-S

9 x 12 in inches.

Tomorrow's Hopes and New Horizons is a grade 3 concert band piece that captures both the excitement and the
hesitancy of growing and taking on new challenges. The theme and variations suggest life's varied paths. Similarly,
throughout the piece the different harmonies of the main theme's phrase endings remind us of our wide-ranging
choices as we grow. The piece is meant to
be performed with full concert band. However, the arrangement's flexible scoring provides the most performing
opportunities for smaller ensembles of all sizes and configurations, as long as all four voices are included.
Furthermore, the arrangement's solo and soli passages provide varied sound textures in the context of this
flexible scoring. The piece's ample yet judiciously placed cues allow instrument combinations other than those
written. Directors may use discretion in assigning solo passages as solos, as section solis, or either as solos or
solis from cued parts. Tomorrow's Hopes and New Horizons provides excellent opportunities to teach lessons in balance, blending,
independence, intonation, and maintaining a steady tempo. This stirring work is suitable for any concert venue,
and it is sure to please players and audiences.
.

SKU: A0.750939

This original composition depicts an epic tale with sweeping lines, especially in the horn parts. – A Dragon’s Realm – The Lost World will be part of a suite that also includes another composition of mine called – A Dragon’s Heart. There is also a version for Orchestra.

This is the first movement of A Dragon's Suite for Concert Band. Movement 2: A Dragon's Lament and Movement 3: A Dragon's Heart are also available for Orchestra - See Related Scores.

The MP3 was recorded with NotePerformer 3.

Grade = 4 Duration = 3:20 mins

To play the suite in the original order:

1. A Dragon's Realm - The Lost World/ 2. A Dragon's Lament/ 3. A Dragon's Heart/ (Full performance time approx. 12:15 mins)

SKU: A0.723171

In 1817, James Hewitt set Francis Scott Key's poem The Defence of Fort M'Henry (which we now better know as The Star Spangled Banner).  Hewitt's original song gained some local popularity; however, throughout most of the country, people began singing the poet's words to a popular drinking song then known to many Americans, English composer John Stafford Smith's To Anacreon in Heaven (originally written for a popular gentleman's club of amateur musicians in London, the Anacreontic Society).  Whereas John Stafford Smith's music was borrowed for the poem, Hewitt's music was especially composed for the poem.  I was asked by Mitch Sturman, the band director of the Wilson Junior High School Warrior Band in El Centro, California, to arrange the original piano music for his band to play at his annual spring Concert of Premieres where he presented new works he had commissioned for his band from well-known band composers, and arrangements of neglected works he felt were worthy of performance.  This was one of those neglected worthy pieces by an American composer for an American poem.  It is orchestrated for flute, oboe, clarinets 1-3, bass clarinet, alto sax, tenor sax, baritone sax, bassoon, French horn, trumpets 1-2, baritone horn, trombone, tuba, timpani, snare drum, bass drum, cymbals, and glockenspiel. .

SKU: IZ.CBS159

9 x 12 in inches.

Tomorrow's Hopes and New Horizons is a grade 3 concert band piece that captures both the excitement and the
hesitancy of growing and taking on new challenges. The theme and variations suggest life's varied paths. Similarly,
throughout the piece the different harmonies of the main theme's phrase endings remind us of our wide-ranging
choices as we grow. The piece is meant to
be performed with full concert band. However, the arrangement's flexible scoring provides the most performing
opportunities for smaller ensembles of all sizes and configurations, as long as all four voices are included.
Furthermore, the arrangement's solo and soli passages provide varied sound textures in the context of this
flexible scoring. The piece's ample yet judiciously placed cues allow instrument combinations other than those
written. Directors may use discretion in assigning solo passages as solos, as section solis, or either as solos or
solis from cued parts. Tomorrow's Hopes and New Horizons provides excellent opportunities to teach lessons in balance, blending,
independence, intonation, and maintaining a steady tempo. This stirring work is suitable for any concert venue,
and it is sure to please players and audiences.
.

SKU: A0.1035592

PROGRAM NOTE: Rosemary - That's for remembrance.... In 1882, Sir Edward Elgar jotted down in his musical notebook a piano piece he titled Douce Pensée (Sweet Thought). There it remained until 1913 when he got it out again, revised it slightly, re-titled it Rosemary - That's for remembrance, and published it for the first time. The title comes from Ophelia's Garland Speech in Shakespeare's Hamlet, where she says, There's rosemary, that's for remembrance. Pray you, love, remember. In 1915, the First World War had been raging in Europe for a year, and many British composers and poets had turned to artistic means to mourn those who died in the trenches of across the Channel. Elgar orchestrated the work at that time. In 1925, London publisher W. Paxton published arrangements by C. Jenkins made for brass and reed band and for military band; however, these are now out of print and no longer available. In the fall of 2015, Mitch Sturman, director of the Wilson Junior High School Warrior Band in El Centro, California, asked me to make an arrangement of Rosemary for the Eighth Annual Concert of Premieres, a series Sturman had begun in 2008, commissioning new works by known composers, and commissioning new arrangements of pieces he felt were worthy works in the public domain that were no longer in print and/or were written for ensembles containing instruments no longer part of the standard modern band or orchestra. INSTRUMENTATION: Flute I (4), Flute II (4), Oboe (1), Clarinet I (4), Clarinet II (4), Clarinet III (4), Bass Clarinet (1), Bassoon (1), Alto Saxophone (4), Tenor Saxophone (2), Baritone Saxophone (1); Trumpet I (3), Trumpet II (3), French Horn (2), Baritone Horn T.C. (2), Baritone Horn B.C. (2), Trombone (6), Tuba (2); Timpani [F2, B-flat 2] (1), Snare Drum (1),Triange (1), Suspended Cymbal (1), Bass Drum (1), Glockenspiel (1). Joel Jacklich May 21, 2015 El Centro, California.

SKU: A0.750891

The song Oh! It's a Lovely War was written by J. P. Long and Maurice Scott in 1917.

The lyrics of the first verse and the chorus are as follows:

Up to your waist in water,
Up to your eyes in slush -
Using the kind of language,
That makes the sergeant blush;
Who wouldn't join the army?
That's what we all inquire,
Don't we pity the poor civilians sitting beside the fire.

Chorus
Oh! Oh! Oh! it's a lovely war,
Who wouldn't be a soldier eh?
Oh! It's a shame to take the pay.
As soon as reveille is gone
We feel just as heavy as lead,
But we never get up till the sergeant brings
Our breakfast up to bed
Oh! Oh! Oh! it's a lovely war,
What do we want with eggs and ham
When we've got plum and apple jam?
Form fours! Right turn!
How shall we spend the money we earn?
Oh! Oh! Oh! it's a lovely war.

This is an arrangement for full Concert Band that could be used to accompany a sing-a-long of this World War 1 song's 3 verses and chorus.  The MP3 plays only 2 verses with Chorus plus repeats. There are Horns in F and Eb, Basses in C, Eb and Bb as well as an optional Piano part (Not on the score).

Grade = 3   Duration = 3:08 mins.

SKU: A0.1501664

SET OF PARTS.  Score sold separately. 

This orchestration is the end product of my book entitled Orchestrational Archetypes in Percy Grainger's Wind Band Music. In an attempt to understand the enigmatic style of Grainger's wind band music, I made a detailed analysis of his recurring orchestrational practices with regard to melody, countermelody, part writing and contrapuntal dynamics. The conclusion is that the Grainger sound is a function of recurring orchestrational techniques, rather than other compositional elements such as melody or harmony. This information was then used to dish up selected Grainger voice and piano pieces in his own idiosyncratic style.  I also arranged “British Waterside” and “The Cutting of The Hay” (G. Schrimer).  

Lord Maxwell’s Goodnight is a reflective, moving piece based on a ballad about Lord Maxwell, who has killed a rival in a long-standing bloody family feud and is leaving for Scotland to avoid prosecution. He bids good-bye to his wife, his lands and his country.  Lord Maxwell’s Goodnight appears as Grainger’s British Folk Music Setting No. 42 for high tenor voice or unison male chorus and 4 strings (violin, viola, 2 cellos) in 1904.  The original is in the key of F major but has been shifted to Db major in this orchestration.  The lyrics of the first verse are:
 
Adieu, madame, my mother dear,
But and my sisters three O!
Adieu, fair Robert of Orchardstane,
My heart is woe for thee, O!
Adieu, the lily and the rose,
The primrose fair to see, O!
Adieu, my ladye, and only joy,
For I may not stay with thee, O!.

SKU: A0.750937

A Dragon's Lament is an original composition for Concert Band and is one of a 3 movement suite called A Dragon's Suite for Concert Band. This movement is the middle slow minor-key theme reflecting the loss of a Dragon's life or imminent death… There is also a version for Orchestra.

Grade = 3.5 Duration = 4:30 mins (This movement only)

The MP3 was recorded with NotePerformer.

To play the suite in the original order:

1. A Dragon's Realm - The Lost World/ 2. A Dragon's Lament/ 3. A Dragon's Heart/ (Full performance time approx. 12:15 mins)

See Related Scores

SKU: A0.990603

Music of the Civil War: Delevau's Quickstep -- This Quickstep by C.S. compares favorably with Grafulla's famous Washington Greys. It is derived from a set of brass band parts that are held in the Library of Congress. This is for full modern concert band. A very enjoyable piece to warm-up an audience. If you are able to hear the .mp3 recording you will get a good idea of how this piece was first presented in modern form. It was first published ca. 1857 and found it's way into the band books of Union Bands during the civil war.

SKU: A0.1501543

This orchestration is the end product of my book entitled Orchestrational Archetypes in Percy Grainger's Wind Band Music. In an attempt to understand the enigmatic style of Grainger's wind band music, I made a detailed analysis of his recurring orchestrational practices with regard to melody, countermelody, part writing and contrapuntal dynamics. The conclusion is that the Grainger sound is a function of recurring orchestrational techniques, rather than other compositional elements such as melody or harmony. This information was then used to dish up selected Grainger voice and piano pieces in his own idiosyncratic style.  I also arranged “British Waterside” and “The Cutting of The Hay” (G. Schrimer).  

Lord Maxwell’s Goodnight is a reflective, moving piece based on a ballad about Lord Maxwell, who has killed a rival in a long-standing bloody family feud and is leaving for Scotland to avoid prosecution. He bids good-bye to his wife, his lands and his country.  Lord Maxwell’s Goodnight appears as Grainger’s British Folk Music Setting No. 42 for high tenor voice or unison male chorus and 4 strings (violin, viola, 2 cellos) in 1904.  The original is in the key of F major but has been shifted to Db major in this orchestration.  The lyrics of the first verse are:
 
Adieu, madame, my mother dear,
But and my sisters three O!
Adieu, fair Robert of Orchardstane,
My heart is woe for thee, O!
Adieu, the lily and the rose,
The primrose fair to see, O!
Adieu, my ladye, and only joy,
For I may not stay with thee, O!.

SKU: A0.1114090

Gustav Mahler’s “Veni Creator Spiritus� was a new musical setting for the lyrics of a 9th century Latin hymn, originally sung as a Gregorian chant, as an invocation of the Holy Spirit during the celebration of the Christian Feast of Pentecost. This work would comprise the Part I of the symphony with Part II being a setting of the words from the closing scene of “Faust� by Johann Wolfgang von Goethe. Mahler envisioned the premiere of this new symphony, Number 8, as a massively grand spectacle, with an orchestra not only including strings but a large brass and woodwind section, eight soloists, two full adult choruses, and a children’s choir. The full complement for the premiere was 171 instrumentalists and 858 singers, a total of 1029 musicians, which inspired the promoter to advertise the work as “Symphony of a Thousand.�

Part I, “Veni Creator Spiritus,� expresses the whole range of human emotions: grand statements expressing the awe of divine majesty alternate with gentle melodic lines of tender love. It combines moments of awesome dramatic tension with the lightness of a fugue. Robert Anello’s arrangement makes this exceptional music accessible to large concert bands while maintaining the essence and flow of Mahler’s original work.