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 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 2 - Digital Download SKU: A0.917409 Composed by Gregory Fritze. 20th Century,Contemporary,Instructional,Standards. Score and parts. 52 pages. Musica Nova USA #6075605. Published by Musica Nova USA (A0.917409). Set Free to go Home was composed in the fall of 2019. It was commissioned by Dr. Kristen Tjornehoj, Conductor of the University of Wisconsin at River Falls Symphony Band in remembrance of Kaye Bird, who passed away in 2016 as a resident of River Falls and a member of the community for several years. Kaye Bird was also a resident of Indiana, PA for 37 years and was a well respected teacher in the public schools there. Set Free to go Home was premiered by the Indiana University of Pennsylvania Symphony Band at Fisher Auditorium on February 6, 2020, conducted by Dr. Jason Worzbyt. It is agrade 3 band piece with a duration of five minutes. It is published by Musica Nova USA and availableon sheetmusicplus.com and jwpepper.com.Performance Notes: Set Free to go Home was composed with flexible instrumentation in mind.There are several instruments listed in the score that would enhance the piece (such as harp, oboes,double bass, ect.) but are not necessary to convey a successful performance. For example, if there are not five percussionists available, the piece may be played by less performers with the use of a drumkit, with one person playing two or more parts. This composition can sound very good whether thereare fifteen players or a band with one hundred players.Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. His compositions have been performed more than one thousand times in over twenty-six countries. He has written over ninety compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally, includingFirst Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest 2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winnerin Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d’Onore (highest award given) of the Mario Bernardo Angelo-Comneno International MusicCompetition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), 2nd Prize in the 2nd WASBE International Composition Contest 2019, several awards from The American Prize, annual composition awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers andmany others. He has been commissioned by The Rhode Island Philharmonic Orchestra, The Army Band Pershing’s Own of Washington, DC, The Banda Municipal of Bilbao, The Primativa de Lliria,and others. His compositions include works published by several publishers in the United States, SouthAmerica and Europe and have been performed extensively throughout the world.He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer atmany colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

Concert Band - Level 2 - Digital Download SKU: A0.917410 Composed by Gregory Fritze. 20th Century,Classical,Contemporary,Instructional,Standards. Score and parts. 267 pages. Musica Nova USA #6078853. Published by Musica Nova USA (A0.917410). Sinfonietta (alternate title Sinfonía de Vino y Aceite de Magallon) is a composition for concert band that can be played by any band whether it has 100 players or 30 players. It is at grade 3 level of difficulty and has several substitute parts for ensembles that may not have complete instrumentation. Although the scoring includes piccolo, oboes, bassoons, and French horns, these instruments are not needed to command a good performance.Sinfonietta adheres to classical forms of symphonies by composers such as Mozart, Haydn and Beethoven. The forms are very clear so the players of the band can learn this important history. The first movement is in standard Sonata Allegro form.The second movement is in A B A form and features a solo trumpet. The third movementis in a Rondo form (A B A C A) with three distinct themes. The work was commissioned in 2017 by the town of Magallón, Spain in celebration of the town’s industries of wine and olive oil.  The mayor of the town of 1,000 inhabitants, Victor Manuel Chueca Rodriguez, was specific in his request for a composition at grade 3 level of difficulty. He also suggested the title as Symphony. Since it a three-movement composition instead of a four-movement composition (the normal Minuet and Trio movement is not included in this piece), the title of Sinfonietta instead of Symphony is used.Gregory Fritzeis a prize-winning composer and Fulbright Scholar, as well as an active performer and conductor. His compositions have been performed more than one thousand times in over twenty-six countries. He has written over ninety compositionsfor orchestra, band, chamber ensemblesand soloists.  He has won over sixty composition awards both nationally and internationally, including First Prize in the 1st WASBE (World Association of Symphonic Bands and Ensembles) International Composition Contest2017, First Prize Winner of Reneé Fisher Composition Prize, First Prize Winner in Concurso Bienal de Composición de Musica para Banda, Ciudad de Santa Cruz de Tenerife (Spain), Menzione d'Onore  (highest award given) of the Mario Bernardo Angelo-Comneno International Music Competition by the Accademia Angelica Costantiniana Arti E Scienze (Italy), First Prize in the TUBA International Etude Composition Competition, the IBLA Grand Prize (Italy), 2nd Prize in the 2nd WASBE International Composition Contest 2019, several awards from The American Prize, annual composition awards from Standard Awards Panel of American Society of Composers, Authors, and Publishers and many others.  He has been commissioned by The Rhode Island Philharmonic Orchestra, The Army Band Pershing’s Own of Washington, DC, The Banda Municipal of Bilbao, The Primativa de Lliria, and others. His compositions include works published by several publishers in the United States, South America and Europe and have been performed extensively throughout the world. He has thirty-three compositions commercially recorded on Albany Records, MSR Classics, Crystal Records, Mark Records and others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University. He now resides in Daytona Beach Shores, Florida.

Concert Band - Level 3 - Digital Download SKU: A0.1009356 By Keith Terrett. By Sarah Flower Adams (1805-1848) Harmonised & Arr. Keith Terrett. Arranged by Keith Terrett. Multicultural,Praise & Worship,Sacred,Traditional,World. 20 pages. Keith Terrett #615015. Published by Keith Terrett (A0.1009356). Nearer, My God, to Thee arranged for Young Concert Band, is a 19th-century Christian hymn by Sarah Flower Adams, based loosely on Genesis 28:11–19, the story of Jacob's dream. Genesis 28:11–12 can be translated as follows: So he came to a certain place and stayed there all night, because the sun had set. And he took one of the stones of that place and put it at his head, and he lay down in that place to sleep. Then he dreamed, and behold, a ladder was set up on the earth, and its top reached to heaven; and there the angels of God were ascending and descending on it…. The hymn is well known, among other uses, as the alleged last song the band on RMS Titanic played before the ship sank. For more of my original music, great arrangements and all the national anthems of the world, check out my on-line stores: https://www.scoreexchange.com/profiles/keithterrett1 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 If you perform this arrangement in public, make a recording or broadcast it through any media, please notify the PRS (UK), or ASCAP (USA), or SOCAN (Canada), or APRA (Australia) or KODA (Denmark) or the equivalent organisation in your own country, giving the name of the arranger as Keith Terrett.

Concert Band - Digital Download SKU: A0.917412 Composed by Gregory Fritze. 20th Century,Contemporary,Folk. Score and parts. 370 pages. Musica Nova USA #6321277. Published by Musica Nova USA (A0.917412). The Four Seasons in the Basque Country is a 4 movement symphony for concert band. It is the Third Prize Winner of the 2020 American Prize in Composition - Concert Band. Grade 5, duration 27 minutes. The piece depicts four different places in the Basque country that the composer feels best show the changes of season. The first movement is Winter in the Costa Norte (Galerna). Galerna is on the northerncoast and is subject to harsh storms in the winter. As the piece starts off with a light-hearted dance in thepiccolo, a storm is approaching from afar. At first the storm seems to be in the distance but as it comes closer it overtakes the festivities in a bluster. For a short time two conductors are needed as the concertband is split into two groups – one showing the light-hearted dance led by the piccolo, the other thecacophony of the storm led by the percussion. The storm overtakes everything as it ends the movement with a flourish.The second movement Spring in Rioja Alavesa is a calming contrast to the first movement like the freshness of a spring day. The sun rises and shines beams of light onto the acres of grape vines. After a timea short rain comes to refresh and clean the plants.The third movement Autumn at the Guggenheim Museum is in a traditional 3rd movement form of a symphony, minuet and trio, but the harmonies sometimes use bitonality, having the melody in one key while the accompaniment is in another to suggest surrealism. The Guggenheim Museum in Bilbaois one of the world’s most famous museums, not only for the surreal art inside, but also because of the architecture of the building itself.The fourth movement Summer in Bilbao is based on a dance melody composed in the Ezpata- dantza Basque style. It employs a rhythmic element with alternating 6/8 and 3â�„4 meters where the eighth notes are basically equal, but in the dance the 3â�„4 meter is actually a little bit longer. This type of subtlemanipulation of rhythm is used similarly in the Viennese Waltz, when the 3rd beat would be stretched outto accommodate the dancers. The Ezpata-dantza dance continues until the Altza Gastiak, the officialsong of the Bilbao Athletic Club, the local soccer team of Bilbao, is heard. After this the Ezpata-dantzamelody is transformed from a happy dance to a triumphant melody and rousing finale.In The Four Seasons in the Basque Country all of the themes are original except for the short excerpt ofAltza Gastiakin the 4th movement. Some themes are composed in the style of Basque folk dances.Gregory Fritze is a prize-winning composer and Fulbright Scholar, as well as an active performer. He recently retired from Berklee College of Music where he was Professor and Chair of Composition, serving on the faculty from 1979 to 2016. He has written over one hundred compositions for orchestra, band, chamber ensembles and soloists. He has won over sixty composition awards both nationally and internationally. His compositions include works published by several publishers in the United States, South America and Europe that have been performed extensively throughout the world. Many of his compositions are available on ITunes, Youtube and Soundcloud.He has been a frequent traveler to Spain since 1993 and has promoted compositions by Spanishcomposers around the world. He is the only composer who has been commissioned six times by Spanishbands for Certamen competitions, with each band winning first prize.His compositions are recorded on Albany Records, MSR Classics, Crystal Records, Mark Recordsand others. He has been a guest lecturer, conductor and performer at many colleges, universities and music festivals in the United States, Canada, Japan, South America and Europe. He was born in Allentown, Pennsylvania in 1954 and has Composition degrees from the Boston Conservatory and Indiana University.He now resides in Daytona Beach Shores, Florida

Marching Band - Level 2 - Digital Download SKU: A0.934825 Composed by Francis Scott Key, John Stafford Smith. Arranged by Christopher Durigg. Folk,Holiday,Patriotic. Score and parts. 21 pages. Christopher Durigg #6437539. Published by Christopher Durigg (A0.934825). PUBLISHER: C. DURIGG MUSICPUBLISHER WEBSITE: www.cdurigg.com VISIT FOR AN AUDIO SAMPLE RECORDING: www.cdurigg.com/cdmb001C. DURIGG MUSIC ID FOR THIS PIECE: CDMB-001GRADE LEVEL: EMERGING and SOARING BAND SERIES (Grade Range of 1.5-2)OTHER ASSOCIATED SERIES: LIMITED OR FULL BAND SERIESWHAT IS THE LIMITED OR FULL BAND SERIES FROM C.DURIGG MUSIC?Do you have intermediate or advanced students in a very small band program? Are your students ready for more intermediate or advanced band repertoire, yet the band’s limited instrumentation holds them back?My Limited or Full series is geared toward the success of small bands with limited instrumentation. These pieces aim at giving small bands more advanced music within the framework of a young band arrangement. If you like the music, these pieces also sound great with a larger full instrumentation.PRODUCT DESCRIPTION:Some school and community bands have limited size or instrumentation. This arrangement has been written to work as both a traditional marching band arrangement or a flex marching band arrangement. It was written to sound great for both traditional and limited ensembles, both large and small. It is accessible for student musicians at various playing levels. I sincerely hope you enjoy my arrangement, and I hope that it helps to make your musicians successful!Important Compositional ElementsKey: The Key of Ab lends itself more to limited-range playing than the Key of Bb does. While this is not the traditional philosophy, my experience has shown me that most students can learn to play successfully in the Key of Ab even if they are still working on their extended range.Range: Players have the option to play the extended ranges. However, parts are doubled at the octave where necessary for players with more beginning/limited ranges. THIS ALLOWS FOR A WIDER RANGE OF ABILITY LEVELS IN SMALLER BANDS TO SUCCESSFULLY PLAY TOGETHER.  

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 2 - Digital Download SKU: A0.1367279 By The Beatles. By George Harrison, John Lennon, Paul McCartney, and Richard Starkey. Arranged by Lorenzo Bocci. Pop,Rock. 73 pages. Lorenzo Bocci #951636. Published by Lorenzo Bocci (A0.1367279). NOW AND THEN The Beatlesfor Concert Band - Grade 3 - Digital Download Composed by Richard Starkey, John Lennon, Paul McCartney, George Harrison. Arranged by Lorenzo Bocci. Pop/Rock. Concert Band - Blasorchester - Harmonie. Score and parts. Duration 4'05''. Published by Lorenzo Bocci.Instrumentation:Full Score, Flute 1, 2, Oboe, Bassoon, Eb Clarinet, Bb Clarinet 1, 2, 3, Bb Bass Clarinet, Eb Alto Saxophone 1, 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1, 2, 3, 4, Trombone 1, 2, Bass Trombone, Euphonium, Bass, Electric Bass, Drum Set, Percussion (Tambourine), Acoustic Guitar, Piano.Additional Parts:Bb Soprano Saxophone, Eb Horn 1, 2, 3, 4, Bb Trombone 1, 2 T.C., B.C., Bb Bass Trombone T.C., B.C., Bb Euphonium T.C., B.C., Bb Bass T.C., B.C., Eb Bass T.C., B.C.Now and Then is a ballad that John Lennon wrote and recorded around 1977 as a solo home demo but left unfinished. After Lennon's death in 1980, the song was considered as a potential third Beatles reunion single for their 1995–1996 retrospective project The Beatles Anthology. Instead, it was shelved for nearly three decades, until it was completed by his surviving bandmates Paul McCartney and Ringo Starr, using overdubs and guitar tracks by George Harrison (who died in 2001) from the abandoned 1995 sessions. The final version features additional lyrics by McCartney. Lennon's voice was extracted from the demo using the machine-learning-assisted audio restoration technology commissioned by Peter Jackson for his 2021 documentary The Beatles: Get Back. The song has been released on 2 November 2023 on a double A-side single, paired with a new stereo remix of the band's first single, Love Me Do (1962). Both songs were included on the expanded re-issues of the 1973 compilations 1962–1966 and 1967–1970, released on 10 November 2023. It topped the charts in the United Kingdom, Germany, and Austria, and reached the top ten in Australia, Belgium, Canada, Ireland, the Netherlands, Sweden, Switzerland, and the United States.Subscribe to my YouTube Channel to stay updated on new releases.

Concert Band - Difficulty: medium SKU: HL.4476008 1st Alto Saxophone. Composed by Various. Band Folio. Americana. Alto saxophone songbook. 32 pages. Rubank Publications #3. Published by Rubank Publications (HL.4476008). UPC: 073999760088. 5.3x6.8 inches.Rubank (with optional Strings) Grades 2-3. Can be played solo or with other books in the series.

Concert Band - Level 3 - Digital Download SKU: A0.927174 Composed by George Willson. 20th Century,Contemporary,Patriotic. Score and Parts. 70 pages. George Willson #4607975. Published by George Willson (A0.927174). War, by its nature, claims the lives of those who enter it, and over the course of history, many have fallen in the service of their countries who have gone to war for one reason or another. Fanfare for the Fallen seeks to honor those who have fallen in service and conjure the image of them marching into their glorious afterlife. Christianity holds that there is no greater love than laying down one's life for another, and many cultures believe that dying in battle yields glory in the great beyond. So whether marching into heaven, Valhalla or some other bright light at the end of the tunnel, let this music provide the soundtrack of trumpeting angels and one last ticker tape parade as these warriors are welcomed into their eternal home.This is a piece of intermediate difficulty with a nice melody and a John Williams' Olympic Fanfare feel to it. While the trumpets soar in their high registers for the heralding sections, the range for the rest of the piece (and the rest of the band) stays mostly in the center of the instruments. While 32nd notes are found here and there, the tempo sitting at around 80 keeps their difficulty, as well as the 16th note woodwind runs, in check. George Willson has been an performer, composer, and conductor for thirty years in various mediums and ensembles.Mp3 provided is a midi extracted from the composition program.

Concert Band - Level 2 - Digital Download SKU: A0.934821 Composed by Mykola Leontovych. Arranged by Christopher Durigg. Christmas,Contemporary,Folk. Score and parts. 50 pages. Christopher Durigg #6208375. Published by Christopher Durigg (A0.934821). PUBLISHER: C. DURIGG MUSICPUBLISHER WEBSITE: www.cdurigg.com  VISIT FOR AN AUDIO SAMPLE RECORDING AND VIRTUAL SCORE: www.cdurigg.com/cdb001  C. DURIGG MUSIC ID FOR THIS PIECE: CDB-001GRADE LEVEL: SOARING BAND SERIES (Grade 2)OTHER ASSOCIATED SERIES: LIMITED OR FULL BAND SERIESWHAT IS THE LIMITED OR FULL BAND SERIES FROM C.DURIGG MUSIC?Do you have intermediate or advanced students in a very small band program? Are your students ready for more intermediate or advanced band repertoire, yet the band’s limited instrumentation holds them back? My Limited or Full series is geared toward the success of small bands with limited instrumentation. These pieces aim at giving small bands more advanced music within the framework of a young band arrangement. If you like the music, these pieces also sound great with a larger full instrumentation.PRODUCT DESCRIPTION:Leontovych’s CAROL OF THE BELLS is one of the most iconic and timeless Christmas carols in Western music. This arrangement inserts the classic carol into an exciting, lively concert band overture that is sure to interest both your students and your audience! This overture begins with a loud and bombastic riff, accompanied by a lively accented background rhythm. The introduction then gives way to a soft and lively melody in the flutes and high woodwinds. The full ensemble then enters, combining traditional carol with the lively accented rhythm. The piece then softly passes the melody between sections. The melody is further passed around as instruments are added. The piece finally gives way to a bombastic combination of the traditional carol and the introductory riff. The melody is then softly passed between sections once more, and then this section finally builds to a full orchestral finish. I sincerely hope that you enjoy my lively arrangement of Carol of the Bells.      - Christopher Durigg

Concert Band - Level 4 - Digital Download SKU: A0.837514 Composed by Brett L. Wery. Contemporary. Score and parts. 124 pages. Sonata Grendel Publishing #6748213. Published by Sonata Grendel Publishing (A0.837514). Note: for best results, print the score (first 38 pages) on 8.5 X 14 (legal) sized paper and print the parts on 8.5 X 11 (letter) sized paper. M45 is the Messier catalog number for an open star cluster better known as the Pleiades. Oot-kwa-tah is dedicated to Schenectady County Community College on the forty-fifth anniversary of the college’s establishment as part of the State University of New York. The college sits on land that was once part of the Mohawk nation of the Iroquois Confederacy. Oot-kwa-tah is inspired by the Iroquois legend of M45, the Pleiades star cluster. The Iroquois tell a story about seven children who met each day and danced for hours at a time instead of doing chores. An old man appeared to them one day as they danced. He shone magnificently like silver and was clad from head to toe in brilliant white feathers. The old man warned them to stop dancing lest something terrible happen to them. Ignoring the old man’s warning and growing more and more hungry and lightheaded the children began to rise into the air. If only they had listened to me, the old man thought. As the children’s parents gathered, one little boy heard his father’s voice below. The little boy looked down and saw his father. At that instant he fell back to earth. The other children continued to float higher and higher into the sky to become the Pleiades star cluster.The Iroquois call them Oot-kwa-tah and are reminded of these reckless children each time they see a falling star.

Full Orchestra - Level 3 - Digital Download SKU: A0.746971 Composed by Montenegrin folk song. Arranged by Keith Terrett. 20th Century,Multicultural,Patriotic,Praise & Worship,Traditional,World. 27 pages. Keith Terrett #5205655. Published by Keith Terrett (A0.746971). The National Anthem of Montenegro arranged for Symphony Orchestra. There are versions for Brass Quintet & String Orchestra in my on-line stores.Oj, svijetla majska zoro (Montenegrin Cyrillic: „Ој, �вијетла мај�ка зоро, trans. Oh, Bright Dawn of May) is the official National anthem of Montenegro adopted in 2004. Before becoming the anthem, it was a popular folk song of the Montenegrins, with many variations of its text. The oldest one is dated to the 2nd half of the 19th century, known as Oh, Bright Dawn of Heroism, oh!, a popular Montenegrin folk song.It was played in public for the first time in 1863 in the national theater in Belgrade. It was a component song of the Battle of Grahovo or blood feud in Montenegro (Бој на Грахову или крвна о�вета у Црној Гори) heroic play in three parts. It is unknown if the text’s authors are also the play’s, namely the following Montenegrin composer/writers: the father of Marko Car Jovan Car and an unknown Obrad Vitković. The play and the Montenegrin folk song was also played/sung in the National Theater again in 1870 and 1876. Its first record in Montenegro itself dates to 1887, when it was included into the regular school program of Montenegrin national songs for pupils in the 3rd grade. It was reconfirmed in the teacher’s plan for Montenegrin schools of 1888, which speculates that it must have been an established folk song for decades by then.Sekule Drljević, party strongman of a minor political party which was active in the Yugoslavian Kingdom in Montenegro known as the Montenegrin Federalist Party, rewrote the text and published it in 1937 in the book of then’s Croatian writer of Montenegrin origins Savić Marković Štedimlija known as Crvena Hrvatska (Red Croatia), which confounded the thesis not of a Serb ethnic origin of the Montenegrins, which was the dominant one back then, but rather from the Croats. Its name was Eternal Ours… (Vje�na naša). When Nikola Hercigonja wrote down Oh, Bright Dawn of May shortly after WWII ended after 1945, he erroneously concluded that Drljević was the original wholesale author of this song, which also led to its considerable decline in popularity as a Montenegrin folk song altogether.The song survived until today under various names as a popular Montenegrin folk song under the name Oh, Bright Dawn of May (Oj svijetla majska zoro). This version of the song has been one of the several versions proposed in 1993 during the first discussion on the official anthem, however, on which there was no consensus because of the disputed melodic value.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 Love national anthems, then join me on twitter, facebook, instagram & soundcloud for frequent updates on my Olympic anthems!