SKU: KJ.WB473
UPC: 8402704749.
Composer Ryan Nowlin delivers another energetic concert opener for intermediate to advanced bands. An emotional middle section featuring lush harmonies is surrounded by woodwind flourishes, brass fanfares, and percussive punctuation.
About Kjos Concert Band Legacy
The Neil A. Kjos Music Company's legacy of producing superb literature for concert band spans its entire 80 year history. We're proud to honor that legacy by continuing to publish compositions of the utmost quality at all grade levels in the Kjos Concert Band Legacy series. Each composition is carefully selected and edited to provide the best in wind band literature by both celebrated and rising composers of today. Skillful engraving with logical page turns, measure numbers, rehearsal marks, essential cueing, and other useful indications ensure that the rehearsal process runs smoothly, so bands can focus on making great music.
Compose r Ryan Nowlin delivers another energetic concert opener for intermediate to advanced bands. An emotional middle section featuring lush harmonies is surrounded by woodwind flourishes, brass fanfares, and percussive punctuation.
SKU: KJ.WB473F
UPC: 8402704750.
SKU: KJ.WB395F
UPC: 084027046579.
SKU: KJ.WB395
UPC: 084027026083.
SKU: HL.4006498
UPC: 840126908510. 9.0x12.0x0.072 inches.
Located near the base of scenic Paine Mountain in Vermont, Norwich University boasts the oldest collegiate band in the nation. Paine Mountain Legacy celebrates their 200th anniversary and is filled with dynamic fanfare-like passages, a brief chorale, and striking musical effects.
SKU: KJ.JB103F
UPC: 8402704769.
Written to be included as the 3rd movement to the multi-composer suite honoring the retirement of composer Jack Stamp. Anodthe take on Gavorkna Fanfare, the GF Redux pares down the musical elements present in many of Dr. Stamp's compositions.
SKU: KJ.JB103
UPC: 8402704768.
SKU: CF.SPS85
ISBN 9781491156421. UPC: 680160914968. 9 x 12 inches.
Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines. The original request for this work was a daunting task: I was asked to create an Air Force companion piece to Robert Jager's Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine's Hymn into his work - that is, to weave a musical tapestry of the Air Force's musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few Jager-isms into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived as a dedication to the Air Force's musical legacy, it is also a personal homage to my teacher and friend, Robert Jager. Performance Notes * If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute. * Oboe 1 and 2 parts should be covered before adding the English Horn part. * The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts. * The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out. * From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines. * There is a strong tendency to rush m. 121. * During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo. * In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice line from mm. 251-260.) * In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279. * If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.Blue Horizons is a spirited tribute to the musical heritage of the United States Air Force. The main theme is a variation of the U.S. Air Force Song (Off We Go), with a secondary theme based on A Toast to the Host (the bridge of The Air Force Song). Throughout the work, fragments of other Air Force-related songs appear: Lord, Guard and Guide (the Air Force Hymn), Air Force Blue, and Those Magnificent Men in Their Flying Machines.The original request for this work was a daunting task: I was asked to create an Air Force “companion piece†to Robert Jager’s Esprit de Corps that would mirror the style and spirit of that landmark work. The goal was to use elements of our various Air Force tunes in the same way that Jager incorporated The Marine’s Hymn into his work – that is, to weave amusical tapestry of the Air Force’s musical heritage without ever becoming a mere arrangement of the original material. As a former student of Robert Jager at Tennessee Technological University, I discussed my plans for the piece with him, shared my progress along the way, and sought his guidance as I had done so many times in the past. He was delighted that I managed to incorporate a few “Jager-isms†into the music, including one direct quote from Esprit de Corps. Although Blue Horizons was conceived asa dedication to the Air Force’s musical legacy, it is also a personal homage to my teacher and friend, Robert Jager.Performance Notes• If only two flutists are available, omit the piccolo part and have them play Flute 1 and 2; in this case, Flute 1 should switch over to piccolo (still playing from the Flute 1 part) at m. 81 and back to regular flute at m. 114. If only covering the Flute 1 and 2 parts, Flute 2 should ignore indications to switch to piccolo and just play the entire work on regular flute.• Oboe 1 and 2 parts should be covered before adding the English Horn part.• The clarinet in Eb part should not be covered unless there are a sufficient number of players on the clarinet in Bb parts.• The trumpet cues in mm. 77-80 are only necessary if the horns need assistance finishing their soli phrase with enough strength to be heard. If you can hear them without extra support, leave the trumpets out.• From mm. 89-95, be sure the wind players with static eighth notes do not cover up the players with moving lines.• There is a strong tendency to rush m. 121.• During the oboe solo from mm. 157-168, ensure that the suspension/resolution lines in the bassoon and clarinet parts are heard; emphasize the importance of growing into the suspension with a slight crescendo.• In the scherzo section that begins at m. 217, be sure that each player knows how his/her part fits into the overall sound. I recommend isolating different textural items so the players can hear those parts on their own. (The bass line from mm. 243-260, for example, or the moving inner-voice linefrom mm. 251-260.)• In this same scherzo section, care should be taken to not play too loud and save a little strength for the climax fanfare at m. 279.• If you have an abundance of tubas, I would recommend having one or two of them play up an octave from mm. 243-271 if the lower part seems too heavy.
SKU: CF.SPS85F
ISBN 9781491156438. UPC: 680160914975. 9 x 12 inches.
SKU: HL.4007962
Stories, sagas and legends - who among us don't know them? Always delivered with a tinge of brutality, these cautionary tales are a legacy of moral education from times past: inquisitive children alone in the forest are generally eaten by a witch; the 'Soup-Kasper' of Hoffman's Struwwelpeter dies from starvation eather than eating his soup; anyone letting in strangers usually gets devoured; anyone who plays with matches gets burned; and thumb-suckers get their thumbs cut off. The list of unfortunate demises is almost endless. In the tale of The Pied Piper of Hamelin, parents lose their children through greed, ridicule, scom and a failure to appreciate art. There is still a street in the town of Hamelin in which neither drumming nor playing has not been allowed since 130 children disappeared into a mountain, never to be seen again. This composition by Otto M. Schwarz opens with exactly this scene, taking us back to the year 1284. As in many towns at the time, Hamelin in Germany suffered with hygiene problems - rats and mice began to multiply rapidly, and the town was overrun with the plague. There appeared a man dressed in coorful clothes who promised the locals to free them from this burden. They agreed and settled on a fee. Then the man pulled out a pipe and began to play. When the rate and mice heard this, they followed him. He led the animals into the Weser River, where they all drowned. Back in town, the people refused to pay him. They didn't recognize this man's skills and knowledge and were only prepared to pay for simple labor. A pact with the devil was made, which led to the Pied Piper leaving the town in a furious rage. One Sunday, when many people were at church, he returned, took out his flute and began to play. The town'schildren were so enchanted by his playing that they followed him. He led them out of the town and disappeaed with them forever into a mountain. Of all the children, only two survived - however one was mute, and one was blind. In the street from which the children left Hamelin, music may no longer be played in memory of this event.
SKU: HL.8754611
UPC: 884088647056. 5.5x5 inches.
The “Hymnz4Kidz” series burst forth last year with considerable fanfare, led by one of the brightest new names in sacred music, Heather Sorenson. Now comes the latest release: This Is My Father's World. Traditional hymns dressed in fresh and snazzy outfits that captivate young singers and teach them our legacy of hymnody is grabbing everyone's attention. The series offers a host of correlating products: Accompaniment Tracks, Orchestral Score and Parts, and a downloadable Digital Toolkit (including a short skit, director's resources, activity sheet, and much more). Teaching old hymns has never been so much fun!
SKU: HL.8754607
UPC: 884088646967. 5.5x5 inches.
The “Hymnz4Kidz” series burst forth last year with considerable fanfare, led by one of the brightest new names in sacred music, Heather Sorenson. Now comes the latest release: Holy, Holy, Holy. Traditional hymns dressed in fresh and snazzy outfits that captivate young singers and teach them our legacy of hymnody is grabbing everyone's attention. The series offers a host of correlating products: Accompaniment Tracks, Orchestral Score and Parts, and a downloadable Digital Toolkit (including a short skit, director's resources, activity sheet, and much more). Teaching old hymns has never been so much fun!
SKU: HL.8754606
UPC: 884088646936. 5.5x5 inches.
