SKU: CL.024-4687-01
This regal musical statement begins with a powerful fanfare that will make your band sound very mature. The piece develops with a contrasting and majestic melodic line leading to a return of the fanfare and a powerful conclusion. Appropriate for concert/festival use, you will also find this an excellent choice for ceremonial events in your school and community. Our highest recommendation!
SKU: CL.024-4687-00
SKU: HL.35032211
UPC: 888680740375. 5.0x0.147 inches. Arr. Brad Nix/Jon Paige. Lamentations 5:19, Philippians 2:9-11, Psalm 68, Song of Solomon 3:11.
This declaration of worship and praise is part of a successful series dedicated to encouraging congregational singing. The words proclaim the glory and majesty of Christ and challenge us with the task of making Him known to all. Incorporating both CORONATION and DIADEM, the octavo is an interesting addition to the cadre of existing arrangements of this popular hymn. Festive! Score and Parts (tpt 1-2, tbn 1-2, timp) available as a digital download. Handbell part (3 oct.) also available as a digital download.
SKU: HL.35032208
UPC: 888680740344. 6.75x10.5 inches. Arr. Brad Nix/Jon Paige.
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
SKU: PE.EP73703
ISBN 9790577023649.
Coronation Sanctus by Roxanna Panufnik was commissioned by His Majesty King Charles III for The Coronation at Westminster Abbey on May 6, 2023. It is a 2-minute piece for double choir and organ described by Roxanna Panufnik as festive and glittering. The music quickly builds and finishes ecstatically, with organ fanfares and flamboyantly colorful harmonies.
SKU: KJ.O1084F
UPC: 8402703169.
SKU: CL.MB115
SKU: KJ.O1084C
UPC: 8402703168.
SKU: HL.8772574
UPC: 649325021651. 8.5x11.0x0.055 inches.
SKU: HP.1460
UPC: 763628114602. By Oliver Holden. Revelation 5:9, Ephesians 2:1-10, Philippians 2:1-13.
Hymn by Oliver Holden A festive setting in keeping with the nature of the hymn. Several stanzas are presented in their entirety but many interludes and fanfares, in different keys, present fragments of the tune. Well worth the effort of learning and performing.
SKU: AP.50211
UPC: 038081573816. English.
This, the first of Handel's four Coronation Anthems, has been a cherished part of crowning British royalty from George II in 1727 to the current sovereign, Charles III. Commemorate the grand occasion with this condensed version of the majestic Baroque masterwork. Available in three fresh editions designed with student choirs in mind. Perform with the accessible piano reduction, or combine with your school orchestra (strings, brass, and timpani) for a regal fanfare.
About Alfred Choral Designs
The Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: AP.50210
UPC: 038081573809. English.
SKU: AP.50213
UPC: 038081573830. English.
SKU: AP.50212
UPC: 038081573823. English.
SKU: OU.9780193532854
ISBN 9780193532854. 12 x 9 inches.
This famous march was commissioned for the coronation of Queen Elizabeth II in 1953. The stirring music, skilfully conveyed in this arrangement, offers everything from sweeping melodies to playful syncopations and magnificent fanfares. This piece has often been paired with Walton's Crown Imperial.