Bryce; Gershwin for Brass - arr S. Atlanta newspapers carried rave reviews of the band's performances. The Sousa Band brought the Exposition out of the red and the same officials who had tried to cancel Sousa's engagement pleaded with him to extend it. King Cotton was named the official march of the Exposition. King Cotton was one of Sousa's personal favorites and it has become one of his most popular marches. Sousa liked to make up nonsensical lyrics for the private amusement of children. One of his soprano soloists, Marjorie Moody, copied some of the lyrics and explained that they fit the second strain of the march: The sun was a-shining in the sky.
The sky was black and blue. And everybody laughed with glee, And whispered, "Is it he or she? Throughout this century, the works of Eric Coates have been a mainstay of England's light concert music field. Knightsbridge March , the famous third movement of his London Suite , has a distinctive background. The Suite had been published for nearly a year when, quite by chance, the March was chosen as the signature tune for the BBC's In Town Tonight radio program. It immediately commanded great attention, and within the first few weeks of the program's debut, 20, letters had been received at the Broadcasting House requesting the name of the signature music.
Sales of the March mounted with astounding rapidity, record companies were besieged with orders for it, and Mr. Coates's presence was in demand at every conceivable type of entertainment. The March's title is derived from the elegant Knightsbridge section in London where the Royal Guards barracks and stables are situated. In this stunning new arrangement by John Cacavas, the listener is allowed an intimate glimpse of the pomp, pageantry, and color long associated with the scarlet-coated guardsmen of Buckingham Palace.
Lexington Overture for Band by Paul W. It was a skirmish between British Regular troops, who had marched from Boston, and about seventy American Minutemen. The initial alarm was given by the famous ride of Paul Revere, but it was the bell in the belfry on the town green in Lexington that gave the local alarm as the British approached. The drummer boy William Diamond beat assembly for the minutemen as they formed on the green to stand against the British. No one knows who fired the first shot, but in the end there were eight American dead.
This overture was written in commemoration of that battle. It attempts to convey musically the agitation of the times, the approach of the distant British, the defeat of the moment and the faith of the American people in ultimate victory. Mancini Spectacular arranged by Warren Barker. Manhattan Beach by John Philip Sousa. March "Grandioso" by Roland F. Seitz adapted and arranged for Concert Band by Alfred Reed. March "Independentia" by Roland F. Belsterling scored by Harry L. Alford edited by James Jurrens. This piece stand high among the great regimental marches of the world and towers among those by French masters of the form.
Its crisp fanfares contrasting with lyrical woodwind melodies make it a favorite of bands everywhere.
Saint-Saens arranged by M. Marching Down Broadway arranged by Warren Barker. The Marriage of Figaro Overture by W. Mozart arranged by Earl Slocum. Martinique Beguine for Band by Robert Washburn. Selections from Mary Poppins words and music by Richard M. Sherman and Robert B. Sherman arranged by Ted Ricketts.
Men of Harlech arranged by Robert Farnon. This famous march celebrates the defiance of the Welsh forces under Dafydd ap Jevan in defending Harlech Castle against the English in After a stately introduction, one hears the familiar opening strains of this famous tune. Through several key changes and marvelous counter-melodies, the march courses as a mountain road through the Welsh countryside. After the final statement of the melody accompanied by one of the most prominent counter-melodies, one is treated to a rousing and very final coda.
Hungarian composer Hidas has written a light-hearted and tuneful work for the wind band, using very traditional techniques while combining syncopation with often chamber music-like scoring. He is one of the many outstanding middle European composers contributing wonderful pieces to the wind repertoire.
Minuteman Concert March by Robert H. Morceau de Concert was a title which Saint-Saens used frequently for solo works composed to display the capabilities of various instruments and the virtuosity of his associates. In Opus 94, written in , the horn was the solo instrument. In keeping with the two versions which the celebrated French composer wrote - one for horn with orchestra and the other with piano - this work was transcribed to be played with solo euphonium with either band or piano accompaniment.
It is technically demanding for the soloist and requires great musicality and endurance. National Emblem March by E. Bagley arranged by Loras Schissel. Carl Teike is known the world over to aficionados of the march as the composer of the great classic Old Comrades.
In both of these marches, the concept of a deliberate and euphonious style, liberally sprinkled throughout with the fanfare resource of soprano brass and laced with arching counter melodies, produces an essay in the German march style that harkens back to another day, when King Friedrich Wilhelm III of Prussia brought a high sense of order to German marches by issuing the following order: In order to assist the regiments of the Army in the choice of good military music, I have commanded a collection of proven musical pieces to be prepared, and a set of them is to be supplied to each regiment.
The spirit of the parade ground certainly is in evidence in the performance of this work.
The "Roaring Twenties" were carefree and irresistible times. Fanciful technological developments - like the automobile, radio and sound motion pictures - were in their infancy and contributed to the excitement and jubilance of the day. Post-World War I "return to normalcy" was more of a call to stay out all night and party, for Americans were a people of few cares and great enthusiasms for wing-dings, carousing and mirthful sprees. Peter Finley Dunne's Mr. Dooley philosophized about almost anything from behind the bar at his fictitious pub, and people flocked into movie houses to see - and hear - the first talkie, The Jazz Singer.
While conservative Republicans retained control of congress and "Silent Cal" Coolidge occupied the White House, Americans were whooping it up with daffy abandon. Men in raccoon coats and baggy pants escorted women in knee-length dresses with feather boas and cloche hats. Fashion was all-important and fads came as quickly as they went, but no one seemed to care - life was just too good to have many cares.
The opening Ragtime depicts its prosperous and carefree spirit. Blues rhapsodizes wistfully and whimsically in roaring twenties fashion. Manhattan Mayhem cleverly creates a typical busy street scene at a midtown intersection, perhaps at Fifth Avenue and Thirty-fourth street, as cars weave in and around, police whistles shriek in attempted jurisdiction, and a barrage of pedestrians scurry onward.
Bellini arranged by L. The Nutmeggers was the first of several popular marches by Osterling to be published and to catch the fancy of the bandsmen and their audiences. All have a unique, lively, and cheerful sound. The title for this march came from one of the two nicknames of Osterling's home state, Connecticut. The early Connecticut traders were said to have sold wooden nutmegs for real ones.
This military academy march, written in , consists of songs sung by the cadets at West Point, linked by well-known bugle calls. Old Ironsides March by J. Overture "" by P. Tschaikowsky arranged by Mayhew L. Palomar Symphonic March by Robert H. Passacaglia in C Minor music by J. Bach transcribed by L. This is the main musical theme from the film The Patriot.
This is one of the rare pieces which was transcribed from the original orchestral version to the band version by the composer himself. Many will recognize this as one of the most popular instrumental tunes of the 's. Peacemaker March by Karl L. King arranged by James Swearingen. Plymouth Trilogy is in a lighter vein than most other works by the composer.
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It is tuneful throughout the course of its three contrasting movements. The Overture is a simple march which presents its melodic material in a fragments before assembling them into a complete theme, heard first as a saxophone solo. Reflection and Carrousel transform thematic material from the Overture to create, respectively, contemplative and carefree sprightly movements. The Carrousel, in particular, summarizes the straight-forward tonal and melodic character of the suite. This centennial tribute to George Gershwin is an overture on themes for the America musical masterpiece.
Prelude and Rondo by David R. Alford edited and with revisions by Frank Erickson. King arranged for Concert Band by John Boyd. One of Broadway's newest and most lavish productions is based on E. Doctorow's novel of the same title. It is heralded as a truly American musical. Recorded by Sinatra arranged by Warren Barker. The passing of Frank Sinatra was the end of one of the longest and most prolific eras in American popular music.
It has been argued that Sinatra almost single-handedly put an end to the big band era. Prior to his arrival, the band was the attraction and the singer merely another member. Frank changed that forever. This concert piece for flute soloist and band is divided into three sections. A fast opening theme provides the soloist with a rhythmic melody that evolves into a slower and more expressive middle section.
Here too the band has ample opportunity to display a full and warm sensitivity with the music. This section concludes with a brief cadenza for solo flute supported by sustained woodwind harmony. The final section is quick and light-hearted, becoming an energetic finale to this original composition.
Sousa was a devoted horseman, a dedicated rider, hence his musical interest in the colorful cavalry units of the U. The galloping figure, the rhythm of massed hooves resulting from the motions of horses on the move presented him with the six-eight patterns that are so compellingly set forth in this wonderful march. Interestingly enough, Sousa's love of horses led him to purchase a beautiful black Arabian steed which he called Aladdin.
No magic servant, this horse threw him, wrenching his right shoulder and causing him thence-forwards to adopt a conducting style in which he swung his arm from the elbow rather than the shoulder. You will also find various tutorials and covers of the songs for faster and easier learning. Menu Search Account My Cart.
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It is performed by Alfredo Javaloyes. The style of the score is 'Classical'. Catalog SKU number of the notation is This score was originally published in the key of. This score was first released on Thursday 1st January, and was last updated on Thursday 1st January, The arrangement code for the composition is. Minimum required purchase quantity for these notes is 1. Please check if transposition is possible before your complete your purchase. After you complete your order, you will receive an order confirmation e-mail where a download link will be presented for you to obtain the notes.
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