Enjoy the double bass Band 2

SKU: BT.BB3667

ISBN 9783793143642. German-English.

SKU: BT.SCHBB2313

German.

SKU: BT.SCHBB2316

German-English.

SKU: BT.SCHBB2315

German-English.

SKU: CF.CPS225

ISBN 9781491152515. UPC: 680160910014.

Tarta n Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

SKU: CF.CPS225F

ISBN 9781491153192. UPC: 680160910694.

Tarta n Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

SKU: CF.FPS160F

ISBN 9781491159521. UPC: 680160918119.

Here is a fun piece to play that involves eighth-note rhythms. The instrument ranges are limited so that students can concentrate on the rhythms. It is suggested that you have the band clap and count the eighth-note rhythms before playing. The melody is passed around between sections. Enjoy!.
Here is a fun piece to play that involves eighth-note rhythms. The instrument ranges are limited so that students can concentrate on the rhythms.It is suggested that you have the band clap and count the eighth-note rhythms before playing. The melody is passed around between sections.Enjoy!

SKU: CF.FPS160

ISBN 9781491159514. UPC: 680160918102.

Here is a fun piece to play that involves eighth-note rhythms. The instrument ranges are limited so that students can concentrate on the rhythms. It is suggested that you have the band clap and count the eighth-note rhythms before playing. The melody is passed around between sections. Enjoy!.
Here is a fun piece to play that involves eighth-note rhythms. The instrument ranges are limited so that students can concentrate on the rhythms.It is suggested that you have the band clap and count the eighth-note rhythms before playing. The melody is passed around between sections.Enjoy!

SKU: CF.YPS239

ISBN 9781491159613. UPC: 680160918201.

This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43-51 as a percussion feature. I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many. Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group. I hope you enjoy my new piece The Brave Warrior.
This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43–51 as a “percussion” feature.  I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many.  Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group.  I hope you enjoy my new piece The Brave Warrior.

SKU: CF.YPS239F

ISBN 9781491159620. UPC: 680160918218.

This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43-51 as a percussion feature. I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many. Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group. I hope you enjoy my new piece The Brave Warrior.
This piece is about a journey unlike any other in 2020. We have all been touched by the devastating effects of COVID-19, and we have seen friends, family, and many others succumb to it. For the people who are left behind this piece is dedicated to you, the brave warriors that have survived this pandemic. The piece is set in Eb major with a 4/4 time signature. The beginning starts off robust and full, with the tempo at quarter note= 150. Measure 25 presents many opportunities for shaping to move the melody and counter melody lines around as the ostinato is being played in the percussion and low brass. I wrote mm. 43–51 as a “percussion” feature.  I felt in my eighteen years of experience as an educator that we always have plenty of percussionists! Double students on parts if you have way too many.  Overall, this piece has many places for beautiful phrasing and shaping. You will need to assign the students places to breathe in order to achieve maximum effort from the group.  I hope you enjoy my new piece The Brave Warrior.

SKU: CF.FPS164

ISBN 9781491163504. UPC: 680160922291.

Call of the Ancient Clans takes players back to the time of the dawn of man, when neighboring tribes could communicate with each other not by racing through the harsh jungle or dry desert, but by the use of different rhythm instruments. Music was also used in religious rituals, celebrations and to share the history of the group.With an interesting, pulsating rhythm and catchy woodwind lines, Call of the Ancient Clans is sure to light a fire under students and get them involved in making some exhilarating music. The notes can be easily played by those with over a year of band experience, but will also provide a good challenge, as the first clarinets do go over the break a couple of times.Students will have a lot of fun playing double forte (who doesn’t?). However, caution students that playing “as loud as you can” can lead to bad-sounding notes. Balance with the person next to you; if you can’t hear them, you’re too loud. Double forte is a bit like calling to your friend from across the gym when nobody else is in there. You don’t want to be louder than that.Who has the melody at each rehearsal mark? Your students should know and if they do not, tell them. If they don’t have the melody, they need to back off their notes and play softer. Let the melody shine.Balance will make this piece truly sing. I hope you enjoy playing it; I loved writing it.

SKU: CF.FPS164F

ISBN 9781491163900. UPC: 680160922697.

Call of the Ancient Clans takes players back to the time of the dawn of man, when neighboring tribes could communicate with each other not by racing through the harsh jungle or dry desert, but by the use of different rhythm instruments. Music was also used in religious rituals, celebrations and to share the history of the group.With an interesting, pulsating rhythm and catchy woodwind lines, Call of the Ancient Clans is sure to light a fire under students and get them involved in making some exhilarating music. The notes can be easily played by those with over a year of band experience, but will also provide a good challenge, as the first clarinets do go over the break a couple of times.Students will have a lot of fun playing double forte (who doesn’t?). However, caution students that playing “as loud as you can” can lead to bad-sounding notes. Balance with the person next to you; if you can’t hear them, you’re too loud. Double forte is a bit like calling to your friend from across the gym when nobody else is in there. You don’t want to be louder than that.Who has the melody at each rehearsal mark? Your students should know and if they do not, tell them. If they don’t have the melody, they need to back off their notes and play softer. Let the melody shine.Balance will make this piece truly sing. I hope you enjoy playing it; I loved writing it.