SKU: IS.CM4669EM
ISBN 9790365046690.
François Glorieux was born in Belgium in 1932, and acclaimed throughout Europe, the USA, Latin America, Canada, Japan, China, the Middle East and Africa. He is one of the most widely accomplished and versatile musicians traveling the international circuit today: pianist composer conductor, commentator, entertainer, honorary professor of chamber music at the Royal Music Conservatory of Ghent and guest professor at Yale University (USA). His particular art was the rare one of improvisation presented in five languages. Glorieux practices all musical styles and has been highly considered by great artists such as André Cluytens, Arthur Rubinstein, Yves Nat, Hiroyuki Iwaki, Enrique Jorda, Raphael Frühbeck de Burgos, but also Michael Jackson, Stan Kenton, Stéphane Grappelli, Paul McCartney, Toots Thielemans, Jacky Collins, Annie Girardot, Dionne Warwick, A.C. Jobim, and so on.
SKU: CL.011-4293-01
What a better way to celebrate the holiday season than enjoying a piece of Holiday Flutecake! As the title suggest, the piece features the flute section in a clever medley of all time favorite holiday tunes. An easier accompaniment in the brass and woodwinds combined with interesting percussion sound effects make this piece a breeze to prepare in a short amount of time. Everyone loves flutecake. everyone loves the flute section and everyone will LOVE this novelty piece. A sure bet to be the hit of your holiday concert.
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: 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.
SKU: CL.012-4119-01
Sands of the Sahara paints a breathtaking and dramatic picture of the desolation, intrigue, culture, and storied history of the north Africa landscape. At the start, special percussion effects mimic the sounds of the wind, while a mysterious, faraway flute melody calls to mind an oasis in the desert. Abruptly, a bold theme is introduced by the full band, and leads to the driving rhythms and exotic themes that further propel and sustain the rest of the piece. Concluding, the introduction is briefly restated, and the piece ends in a stunning tour-de-force of color and intensity. Perfect for concert or contest, Sands of the Sahara will showcase your entire band with excitement and enthusiasm.
SKU: CF.YPS240F
ISBN 9781491159644. UPC: 680160918232.
An Ankh is an ancient Egyptian hieroglyphic representing the word Life. The Ankh of Eternity depicts an epic journey through ancient lands to find the mythical Ankh of Eternity amulet promising eternal life. The piece journeys through the desert in a caravan, with a stop for a Kaff celebration, an Arabic hand-clapping folk art. The discovery of the tomb is spine chilling and eerie with special percussion effects. After the Ankh is discovered, swarms of locusts descend and our travelers run for their lives. They may have found eternal life, but will they be forever cursed? The Ankh of Eternity uses an Arabic or double harmonic-major scale. Performers have multiple soloing and improvising opportunities. Complex but repeating rhythms offer players a chance to practice getting in the groove. Players and audiences alike will be invigorated by the many celebratory moments and thrilled at the eerie and downright scary moments! The Ankh of Eternity offers cultural and historical inclusion opportunities, improvisation, unique scales, rhythmic challenges, and a thrilling story. Conductor Notes: Measures 45-61: Kaff is the ancient Arabic art of hand clapping over improvised poetry. The Kaff Celebration section represents this art form. The improvising soloists should be designated by the conductor and should each be four measures long . Alternatively, soloists may copy the phrase in the second ending as a solo. The AYE! should be shouted joyously. The repeat may be omitted for performance time concerns, or, of course, repeated multiple times for more solos. Measures 64-73: Experiment with different cymbal noises, such as scrapes with a nail or coin, taps with triangle beaters, bowed cymbals, etc. Water-cymbal techniques should also be used. Fill a storage tub with water, and with the suspended cymbal still on the stand, hit the cymbal a couple times with a soft mallet, and lower the cymbal into the water for a glissando effect. The overall effect should be creepy cave-like echoes bending around corners.An Ankh is an ancient Egyptian hieroglyphic representing the word Life. The Ankh of Eternity depicts an epic journey through ancient lands to find the mythical Ankh of Eternity amulet promising eternal life. The piece journeys through the desert in a caravan, with a stop for a Kaff celebration, an Arabic hand-clapping folk art. The discovery of the tomb is spine chilling and eerie with special percussion effects. After the Ankh is discovered, swarms of locusts descend and our travelers run for their lives. They may have found eternal life, but will they be forever cursed?The Ankh of Eternity uses an Arabic or double harmonic-major scale. Performers have multiple soloing and improvising opportunities. Complex but repeating rhythms offer players a chance to practice getting in the groove. Players and audiences alike will be invigorated by the many celebratory moments and thrilled at the eerie and downright scary moments! The Ankh of Eternity offers cultural and historical inclusion opportunities, improvisation, unique scales, rhythmic challenges, and a thrilling story.Conductor Notes: Measures 45–61: Kaff is the ancient Arabic art of hand clapping over improvised poetry. The Kaff Celebration section represents this art form. The improvising soloists should be designated by the conductor and should each be four measures long . Alternatively, soloists may copy the phrase in the second ending as a solo. The AYE! should be shouted joyously. The repeat may be omitted for performance time concerns, or, of course, repeated multiple times for more solos. Measures 64–73: Experiment with different cymbal noises, such as scrapes with a nail or coin, taps with triangle beaters, bowed cymbals, etc. Water-cymbal techniques should also be used. Fill a storage tub with water, and with the suspended cymbal still on the stand, hit the cymbal a couple times with a soft mallet, and lower the cymbal into the water for a glissando effect. The overall effect should be creepy cave-like echoes bending around corners.
SKU: CF.YPS240
ISBN 9781491159637. UPC: 680160918225.
SKU: CF.YPS204F
ISBN 9781491152928. UPC: 680160910427.
Avalon–Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship.Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King!
SKU: CF.YPS204
ISBN 9781491152249. UPC: 680160909742. Key: D minor.
SKU: CF.CAS123F
ISBN 9781491154762. UPC: 680160913312. 9 x 12 inches. Key: D minor.
It was at a flute convention, of all places, where the composer learned how to beatbox. Greg Pattillo, the flutist of the ensemble Project Trio, taught a roomful of (mostly) flute players how to make a few sounds, and she couldn't believe how easy, and effective, it was! She figured, if a random bunch of adult flute players can do this, it should be a piece of cake for students. Inspired by this new-found knowledge, she composed 7th Street Beat, writing beatbox percussion into the parts of all the instruments. The sounds imitate percussive effects normally made by a drum set. The beatbox vocal lines are optional - they are reinforcements for the beatbox sounds in the string parts. Also optional (but highly recommended!) is the improvisation section starting at m. 49. Don't tell the students any rules about what notes to play or not play - simply offer them the opportunity to make up whatever they like, to show off their abilities and musical personalities!.It was at a flute convention, of all places, where the composer learned how to beatbox. Greg Pattillo, the flutist of the ensemble Project Trio, taught a roomful of (mostly) flute players how to make a few sounds, and she couldn’t believe how easy, and effective, it was! She figured, if a random bunch of adult flute players can do this, it should be a piece of cake for students.Inspired by this new-found knowledge, she composed 7th Street Beat, writing beatbox percussion into the parts of all the instruments. The sounds imitate percussive effects normally made by a drum set.The beatbox vocal lines are optional – they are reinforcements for the beatbox sounds in the string parts. Also optional (but highly recommended!) is the improvisation section starting at m. 49. Don’t tell the students any rules about what notes to play or not play – simply offer them the opportunity to make up whatever they like, to show off their abilities and musical personalities!
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.FPS147
ISBN 9781491147313. UPC: 680160904815. 9 x 12 inches.
As the title implies, Angel Echoes uses a lot of echo effects throughout, and is based on the interval of a descending perfect fifth. The piece begins with a lush statement of the subtle angel theme, which is used throughout the piece and ultimately as the climactic material later in the work. With teachable material steeped in musicality, this remarkable new work for developing ensembles will not disappoint.
SKU: CL.012-4119-75
SKU: HL.49016219
ISBN 9790001146449. UPC: 884088202538. 9.0x12.0x0.195 inches.
The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of 'twilight': air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds.The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this 'motto-like' opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning.The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, 'arcane' bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the 'elastic' character of the middle section.Benjamin Schweitzer.
SKU: CF.BPS149
ISBN 9781491163450. UPC: 680160922246.
The word synergize means to combine or coordinate the activity of two or more agents to produce a joint effort that is greater than the sum of their individual effects. Synergize! was written to portray this idea. The beginning of the piece starts with a groove in the low brass and percussion. The main theme is later introduced by the upper winds. The two ideas are synergized together to create this fun piece for young players.
SKU: CF.BPS149F
ISBN 9781491163856. UPC: 680160922642.
