Matériel : Conducteur
SKU: PR.816600040
UPC: 680160600045. 5.5x5 inches.
This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.
About CD Sheet Music (Version 1)
CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.
SKU: CL.CTS-7708-01
This is the composition that started it all! A classic of the wind band literature for concert and contest alike. It was something completely different, with its appearance in 1964. The band’s literature had not experienced the trademark 7/8 measures, which we all know as a Smith trait. This composition also includes one of his few full band fugatos. Excellent percussion writing and a combination of all themes come together in a direct modulation to C Major. Originally titled Overture for Winds and Percussion, the word Emperata has no meaning; it was just, as Claude put it, an intriguing word! Still Smith’s best-selling work.
SKU: CL.011-4423-01
Excitement abounds in this Latin flavored overture featuring a variety of musical styles. A bold declaration of a highly expressive theme at the start is a strong indication that more musical excitement is about to occur. Your percussionists will certainly enjoy the variety of instruments required to provide just the right feel for this spirited work. Instruments scored where they sound their absolute best combine to create a composition that delivers musical impact from the initial downbeat to the final cut-off. A guaranteed winner!
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: CL.026-4663-01
Another outstanding Ed Huckeby young band overture adaptation in the Build-A-Band series, this has just the right combination of changing meters and rhythmic variety to make it a really big hit with your students. Interesting melodic lines and fresh, vibrant harmonies in the slow section provide the imaginative musical content for which Ed Huckeby has become so well known. Playable with as few as five instruments and percussion, this outstanding overture is highly recommended for contest or as a dramatic concert feature.
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: KN.10079S
UPC: 822795100792.
The Merry Wives Of Windsor is a German opera written by Otto Nicolai in 1845 based on the Shakespearean comedy of the same name. Nicolai had achieved great success with his Italian operas, but this became a German favorite. The Overture is a success in its own right, and even inspired a short film produced by conductor Johnny Green that won the Oscar for Best Short Subject in 1954. This energetic grade 4 arrangement contains many themes from the overture and will make a great concert opener. Duration 3:40.
SKU: HL.7223
UPC: 884088166076. 9.0x12.0x0.084 inches.
SKU: CL.CTS-8002-01
Declaration Overture has a five-note motive in an opening slow section, followed by a driving Allegro where the original five-note motive is put through a series of variations. This flexible arrangement allows ensembles to perform the work with as few as ten musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound. *The posted recording is based on the full band scoring but aligns with the suggested preferences for either woodwinds/strings or brass suggested in the score.
SKU: CL.CTS-8012-01
Dedicated to William (Bill) Maupin, a friend and fellow music educator of Claude T. Smith, Castlebrooke Overture is a perfect piece to introduce younger ensembles to meter changes and a couple measures in 3/8 time. This flexible arrangement allows ensembles to perform the work with as few as ten musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound. *The posted recording is based on the full band scoring but aligns with the suggested preferences for either woodwinds/strings or brass suggested in the score.
SKU: CF.YPS244F
ISBN 9781491159866. UPC: 680160918454.
Brass town Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
SKU: CL.011-2330-01
Reminiscent of this composer’s Excellentia Overture, this exceptional concert/contest composition will show off your band’s ability to play both crisp energetic and lyrical styles. Majestic fanfare opening statements prepare the spirited main theme that alternates between brass and woodwinds. Separating the outer fast section is a beautiful legato song which builds to a triumphant climax before returning to the main theme. Extremely Nice!
SKU: SU.96010011
Concert Band Full Score & Set of Parts: available for sale (#96010010) Published by: Subito Music Publishing.
SKU: CL.012-1936-01
After a broad melodic introduction filled with lush harmonies and poignant brass clusters, snare and bass drum introduce a lively and effective modal allegro. Solo snare drum alternating with brass and woodwinds build to a majestic conclusion. Few technical demands.
SKU: SU.96010010
Concert Band Full Score: available for sale (#96010011) Published by: Subito Music Publishing.
SKU: CL.012-3589-01
Uplifting and bright, this fine overture was written for the Salt Lake Symphonic Winds. Images of flight are suggested through the composer's use of rhythm and tempo. The middle section has solo lines for trumpet and clarinet and is beautifully scored utilizing the many different colors available to the wind medium. Various cross cueings allow the conductor/director freedom to tailor the piece to fit a particular ensemble. An excellent choice for high school and community bands alike.
About Heritage of the March
Full -sized concert band editions of the greatest marches of all time. Each has been faithfully re-scored to accommodate modern instrumentation and incorporate performance practices of classic march style
SKU: CL.CTS-8013-00
Stone Mountain Overture was beautifully written to ensure success with younger ensembles. The composition is wonderfully developed with captivating rhythmic themes and dynamics. This flexible arrangement allows ensembles to perform the work with as few as ten musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound. *The posted recording is based on the full band scoring but aligns with the suggested preferences for either woodwinds/strings or brass suggested in the score.
SKU: CF.CPS244F
ISBN 9781491157992. UPC: 680160916597. 9 x 12 inches.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
SKU: CL.CTS-7708-00
This is the composition that started it all! A classic of the wind band literature for concert and contest alike. It was something completely different, with its appearance in 1964. The band??s literature had not experienced the trademark 7/8 measures, which we all know as a Smith trait. This composition also includes one of his few full band fugatos. Excellent percussion writing and a combination of all themes come together in a direct modulation to C Major. Originally titled Overture for Winds and Percussion, the word Emperata has no meaning; it was just, as Claude put it, an intriguing word! Still Smith??s best-selling work.
SKU: AP.47449
UPC: 038081547732. English.
The quintessential Can-Can provides a rousing finish, yet this entire piece offers excitement, lyricism, and opportunities for impressive, yet manageable, solos and cadenzas. For strings alone or with any combination of winds, harp, and percussion---up to full symphonic orchestra. Optional cuts included.
SKU: AP.47449S
UPC: 038081547749. English.
SKU: CL.011-2935-01
A spirited overture for young bands which is full of exciting rhythms and bold, contemporary harmonies. Has a lovely andante section in 3/4 that first features alto sax and then the whole ensemble. Very playable yet still challenging for middle school and jr. high bands and it’s perfect for contest or concert performances. A truly outstanding piece for developing bands! Recorded on the CD A Lantern In The Window by The Washington Winds.
SKU: CL.CTS-8005-00
Avondale Overture is perfect for younger concert bands. Simple key changes, tempo changes, and one 7/8 measure provide appeal and interest for students and teachers alike. This flexible arrangement allows ensembles to perform the work with as few as ten musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound. *The posted recording is based on the full band scoring but aligns with the suggested preferences for either woodwinds/strings or brass suggested in the score.
SKU: CL.CTS-8018-00
This is the composition that started it all! Emperata Overture is a wind band classic for concert and festival alike. The original publication of this work established Claude T. Smith’s use of the 7/8-time meter as his signature rhythmic device for instrumental ensembles. This flexible arrangement allows ensembles to perform the work with as few as fourteen musicians providing accessibility and flexibility for numerous instrumentation needs, while still allowing a full ensemble sound. The posted recording is based on the full band scoring but aligns with the suggested preferences for either woodwinds/strings or brass suggested in the score.
