Modern Wind Series - Flute

20 Pieces from 4 Centuries. Composed by Various. Edited by Gerda Koppelkamm-Martini and Stefan Albrecht. This edition: Saddle stitching. Sheet music with CD. Woodwind Solo. Renaissance, Baroque, Modern, Classical. Edition with CD. 52 pages. Schott Music #ED22926. Published by Schott Music

By Michael Lawrence. Modern Christian and Sacred. Orchestration- Stand Alone. Published by Word Music.

Concert band - Grade 3

SKU: CL.012-4156-01

Galop. Composed by Alexander. Arranged by Glover. Concert Band. Heritage of the March Series. Extra full score. Composed 2014. Opus III Wind Orchestra Publications #012-4156-01. Published by Opus III Wind Orchestra Publications (CL.012-4156-01).

A rip-snortin' galop that's as much fun to play as it is to listen to! This modern edition includes full score, F horn, and C flute and piccolo parts. A great circus favorite, this will show off your band like nothing else!

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

Grade 3

SKU: CL.012-1742-01

Arranged by Hill. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR101). Extra score. Composed 1984. Duration 5 minutes, 55 seconds. Opus III Wind Orchestra Publications #012-1742-01. Published by Opus III Wind Orchestra Publications (CL.012-1742-01).

This piece is one of those little pearls of music. It’s an excellent arrangement, written to feature either solo flute or the entire flute section.

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

Grade 3

SKU: CL.012-3349-00

Composed by Earl. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR331). Score and set of parts. Composed 2004. Duration 6 minutes, 44 seconds. Opus III Wind Orchestra Publications #012-3349-00. Published by Opus III Wind Orchestra Publications (CL.012-3349-00).

A vibrant new composition by a fresh young writer. An exciting piece that makes full use of all three instrument families and each gets several chances to shine. The Brass starts things off at an exciting Allegro Vivo tempo. An eloquent lyrical section includes short solos for Flute, Oboe, Clarinet and Alto Sax and all solos are amply cued to insure playability. Brilliantly scored to demonstrate a wide variety of tonal colors and there's lots of tasty percussion writing to challenge your entire section. An exceptional programming choice for any festival or concert performance. IMPRESSIVE!

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

Grade 4

SKU: CL.012-3249-75

Composed by C. McBride. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR328). Oversized, spiral-bound score. Composed 2003. Duration 4 minutes, 39 seconds. Opus III Wind Orchestra Publications #012-3249-75. Published by Opus III Wind Orchestra Publications (CL.012-3249-75).

The debut composition of a talented young composer who created this exceptional piece at the age of 15 while a student at Independence High School in Iowa. Programmatic in concept, Perilous Voyage opens up with short solo statements for both flute and oboe and then builds in intensity using contemporary compositional techniques throughout the piece. Since Cory is a young percussionist, he has featured a large cast of percussion instruments which provide a bold pulse that is both impressive and exciting! Your students(and audiences) will love this unique and dynamic music by this talented young composer! OUTSTANDING!

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

Grade 4

SKU: CL.012-3315-01

Composed by C. McBride. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR331). Extra full score. Composed 2004. Duration 5 minutes, 59 seconds. Opus III Wind Orchestra Publications #012-3315-01. Published by Opus III Wind Orchestra Publications (CL.012-3315-01).

A very exciting and contemporary work that is descriptive of the tragedy that occurred in Central America in 1541 when a long quiet volcano that had filled with water suddenly erupted, sending mud and water covering the city of Ciudad Vieja killing many and completely wiping out the city. The name of that volcano was Agua, which on that day brought whelm on to everything that its waters touched. This is the second published work by young composer Cory McBride and was written when he was a 16 year old high school student. Bold, unique and distinctive, includes solos for flute, tenor sax, bari sax & horn and it’s an excellent programming choice for any festival or concert performance by better bands.

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

Flute & Piano

SKU: AP.1-ADV8506

Composed by Ludmila Ulehla. Series; Solo; Solo Small Ensembles; Woodwind - Flute Solo. Advance Music. Part(s). Advance Music #01-ADV8506. Published by Advance Music (AP.1-ADV8506).

UPC: 805095085068. English.

This happy, brilliant piece is fun to perform and challenges the soloist with contrasting sections and a cadenza. The accompanying piano part supports the flute with a modern harmonic style that introduces young players to the contemporary idiom.

Orchestra - Grade 4

SKU: WD.080689111396

Composed by Richard Kingsmore. Arranged by Richard Kingsmore. Coronation Series. Modern Christian, Sacred, Orchestral. Orchestration. Word Music #080689111396. Published by Word Music (WD.080689111396).

UPC: 080689111396.

About Coronation Series

Coronation Series Instrumentation:
Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles Tuba), Alto Sax (doubles French Horn), Tenor Sax/Baritone T.C. (doubles Trombone,) - All charts released since 3/1/02 include a Bari Sax part that doubles Tuba.
Brass: 2 French Horn, 3 Trumpet, 3 Trombone, Tuba
Percussion:Percussion
Strings: 2 Violin*, Viola* Cello/Bassoon, String Bass
*simplified parts included
Additional Parts: Harp, Rhythm, String Reduction

Orchestra - Grade 4

SKU: WD.080689277696

Composed by Michael Lawrence. Arranged by Michael Lawrence. Coronation Series. Modern Christian, Sacred, Orchestral. Orchestration. Word Music #080689277696. Published by Word Music (WD.080689277696).

UPC: 080689277696.

About Coronation Series

Coronation Series Instrumentation:
Woodwinds: 2 Flute, Oboe, 2 Clarinet, Bass Clarinet (doubles Tuba), Alto Sax (doubles French Horn), Tenor Sax/Baritone T.C. (doubles Trombone,) - All charts released since 3/1/02 include a Bari Sax part that doubles Tuba.
Brass: 2 French Horn, 3 Trumpet, 3 Trombone, Tuba
Percussion:Percussion
Strings: 2 Violin*, Viola* Cello/Bassoon, String Bass
*simplified parts included
Additional Parts: Harp, Rhythm, String Reduction

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500103F

Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F).

ISBN 9781491131763. UPC: 680160680290.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500101F

Mvt. 1 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00101F. Published by Theodore Presser Company (PR.16500101F).

ISBN 9781491131725. UPC: 680160680252.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Grade 1.5

SKU: CL.012-1742-00

Arranged by Hill. Concert Band. Heritage of the March Series. Audio recording available separately (item CL.WFR101). Sacred, Transcription. Score and set of parts. Composed 1984. Duration 5 minutes, 55 seconds. Opus III Wind Orchestra Publications #012-1742-00. Published by Opus III Wind Orchestra Publications (CL.012-1742-00).

This piece is one of those little pearls of music. It’s an excellent arrangement, written to feature either solo flute or the entire flute section.

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