Concert Band

SKU: HL.4476021

1st Trombone. Composed by Various. Band Folio. Carol, Christmas/Advent Sacred, General Worship, Hymns, Patriotic, Spirituals. 32 pages. Published by Rubank Publications (HL.4476021).

UPC: 073999760217. 6.75x5.25x0.115 inches.

By John O'reilly. For Concert Band. Instructional. Part. 1 pages. Published by Alfred Music. Digital Sheet Music

Composed by Bliss. Arranged by Sandra Zylstra. For Trombone,Tuba,Cello,Bass C Instrument,piano accompaniment. Christian,Sacred. Intermediate. Sheet Music Single. 6 pages. Published by Sandra Zylstra

By Victor Lopez. For Concert Band. Instructional. Part. 2 pages. Published by Alfred Music. Digital Sheet Music

By William Harbinson. For Concert Band. Instructional. Part. 4 pages. Published by Alfred Music. Digital Sheet Music

By Steve Hodges. For Concert Band. Instructional. Part. 2 pages. Published by Alfred Music. Digital Sheet Music

By Steve Hodges. For Concert Band. Instructional. Part. 1 pages. Published by Alfred Music. Digital Sheet Music

Composed by Traditional. Arranged by Sandra Zylstra. Folk, Children's Music. 2 pages. Published by Sandra Zylstra (S0.98225). - - Folk,Children's Music - Sandra Zylstra

By Steve Hodges. For Concert Band. Instructional. Part. 1 pages. Published by Alfred Music. Digital Sheet Music

Composed by Various. Arranged by David McKeown. Christian, Gospel, Praise & Worship, Sacred, Spiritual. Score and parts. 29 pages. David McKeown #6259265. Published by David McKeown

Composed by James James. Arranged by Keith Terrett. 20th Century, World, European, Patriotic. Score, Set of Parts. 9 pages. Published by Music for all Occasions

By John Darling. For Concert Band. Instructional. Part. 2 pages. Published by Alfred Music. Digital Sheet Music

Soprano voice,Vocal Solo - Level 5 - Digital Download

SKU: A0.799619

Composed by Gioachino Rossini. Arranged by Nicole Elyse DiPaolo. Classical,Opera,Romantic Period. 13 pages. Nicole Elyse DiPaolo #5334741. Published by Nicole Elyse DiPaolo (A0.799619).

The first of its kind, this is a customized Comtesse-only audition cut of En proie à la tristesse from Gioachino Rossini's Le comte Ory (1828). In the past, singers wishing to audition for this role would have to make a series of awkward cuts to eliminate the gaps created by the Comte and Isolier's lines, and deal with a needlessly inflated page count due to the choral parts, when performing this excerpt. The current edition omits and condenses those passages and, as a result, noticeably reduces the page count to 13. In addition, this new engraving is remarkably clearer than the existing French-language vocal score, which has deteriorated severely from age.

The piano reduction itself has not been simplified or drastically altered (at the commissioner's request), although the engraving features minor changes from the original edition (for example, eliminating cross-staff chord notation, correcting some obvious typos, and reconciling details in the Ricordi and French editions).

In this edition, the score cuts immediately from 2 measures after rehearsal 41 to the beginning of rehearsal 42 (so the Comtesse sings the last syllable of bonheur on the first downbeat of cut time and the C major/C minor sections are cut away completely). This brings the excerpt in line with most cavatina/cabaletta numbers that do not have a discernible break in between the two.

About the Arranger: 

Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. 
For more information, please visit http://ndipaolo.musicaneo.com .

Concert Band - Level 3 - Digital Download

SKU: A0.1153134

Composed by Joseph Hasper. 20th Century,Classical,Contemporary,Contest,Festival,Instructional. Score and parts. 93 pages. Joseph Hasper #753375. Published by Joseph Hasper (A0.1153134).

There are five main sections in this piece, each lasting exactly 21 measures. Why this unlikely number? I chose this number because the percussion parts, which are the driving force behind the piece, are based repeating patterns of 6, 7, and 8 eighth notes. It works out that these patterns only line up every 168 half-beats—which happens only at the end of 21 measures! The title for this piece was provided by Armstrong High School student Aaron Baker and was used as inspiration for the work. The phrase “endless routes� guided my decision to have several main themes instead of just one or two. The themes are widely different in character but share the feature that they each go to the same place—the very last half of the last beat of every twenty-first measure. The Minimalist style of music often features short musical fragments that are repeated many times in different combinations, and I used that technique to create a seemingly “endless� effect in the percussion parts. The percussion parts also use a colotomic structure, a technique often used in gamelan music of the far East. Unlike Western music, which generally has a strong accent on the first beat of a phrase, colotomic music accents the last beat of a phrase. You can hear this in Endless Routes when the percussion parts all become aligned and hit a simultaneous accent at the end of each section. This piece was commissioned and premiered by the Armstrong High School, under the direction of Jason Venesky. Mr. Venesky is a veteran teacher with over twenty years of experience in the Armstrong School District. He is a graduate of Carnegie Mellon University with a Bachelor of Fine Arts in Music Performance (Tuba) and Music Education Certification and an active performer as Principal Tuba for the Butler County Symphony Orchestra; tubaist for the Armstrong Brass Quintet and Windsor Brass Quintet; and Bass Trombonist for the Gibbons Big Band. Mr. Venesky is currently Instructor of Tuba at Grove City College and Music Director for the Kittanning Community Band. Includes a full score and complete set of parts.

Full Orchestra - Level 5 - Digital Download

SKU: A0.533667

Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667).

Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and is
dedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. The
piece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.
The work contains only two specific “programmatically inspired� images related to
Pittsburgh. They form the outer two sections of the work. The inner four sections are
inspired more abstractly by various aspects of the city, its landscapes, and its people; they
feature a series of solos and duets for many members of the orchestra – in the manner of a
“concerto for orchestra.�
The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.
Colors and sounds of the clangorous industrial age of America’s past are evoked. The basic
musical material (a six-note cell) for the entire work is presented in this aggressive
introduction. Throughout the rest of the work, this basic material is developed in ways that
range from lushly romantic to aggressively athletic.
The following section is marked “slow, lush� and features a duet first between trumpet and
tuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leads
to an extended viola solo.
The next section is fast and energetic. It begins with an athletic duet for English horn and
bass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is for
violin, as the orchestral texture disintegrates around it.
The next section, marked “slow, mystical�, begins with a duet between piano and bass
clarinet. A passionate horn duo follows before a passage for solo bass leads directly into the
next section.
This section is fragmentary and halting. An unpitched duo of bass drum and flexatone
begins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,
an extended cello solo closes the section.
The final part of the work is inspired by my first visit to Pittsburgh. When driving in from
Pittsburgh airport (which is far outside the city), the city itself is “hidden� from the road by
hills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,
emerges from it on a suspension bridge over the Monongahela River. Late at night, this was
a truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glittering
lights. The ecstatic rush of the lighted city at night is portrayed in this section – amidst
fragments from the opening, recalling the industrial past, now transformed into something
new.

Instrumentation
3 Flutes (3rd dbl. Picc.)
2 Oboes
English Horn
3 Clarinets in Bb
Bass Clarinet in Bb
2 Bassoons
Contrabassoon
4 Horns in F/Bb
3 Trumpets in Bb
2 Trombones
Bass Trombone
Tuba
Timpani
Percussion (3 players)
I: tubular bells, bass drum
II: vibraphone (motor off)
III: crotales, marimba, flexatone
(Percussion II needs two rosined bows.
Percussion III needs one rosined bow.)
Piano
Violin I
Violin II
Viola
Cello
Contrabass
(principal/solo contrabass must have machine extension to low Db)

This is the score only.  The parts are available on rental from the publisher