Country Gardens is typical of Grainger's humor and literary style where as the Irish Tune from County Derry Grainger expresses his grateful acknowledgment to Miss J. Ross who has made a large collection of the popular unpublished melodies of the Country of Londonderry, which she has very kindly placed at his disposal. Molly on the Shore was originally set for strings four-some or string band (summer 1907), also set for symphony orchestra, theater orchestra, violin and piano (early 1914).
Category: BIGGIES - Grade 3.0 Arranger: Frank Erickson
Grade: 3.0
Country Gardens is typical of Grainger's humor and literary style where as the Irish Tune from County Derry Grainger expresses his grateful acknowledgment to Miss J. Ross who has made a large collection of the popular unpublished melodies of the Country of Londonderry, which she has very kindly placed at his disposal. Molly on the Shore was originally set for strings four-some or string band (summer 1907), also set for symphony orchestra, theater orchestra, violin and piano (early 1914).
Category: BIGGIES - Grade 3.0 Composer: Robert Sheldon
Grade: 3.0
A Prairie Portrait was inspired by the poetry of Carl Sandburg. The lyrical quality of the music is a testament to the loving words he wrote as a tribute to his birthplace. The pioneer spirit shines through the opening of the work, full of youthful optimism and energy. The lyrical section that follows represents the poet's "hankering" for another day and beautiful night on the prairie, giving us the warm feelings of love and security we all feel about the place we call home.
Category: BIGGIES - Grade 3.0 Composer: Robert Sheldon
Grade: 3.0
A Prairie Portrait was inspired by the poetry of Carl Sandburg. The lyrical quality of the music is a testament to the loving words he wrote as a tribute to his birthplace. The pioneer spirit shines through the opening of the work, full of youthful optimism and energy. The lyrical section that follows represents the poet's "hankering" for another day and beautiful night on the prairie, giving us the warm feelings of love and security we all feel about the place we call home.
Categories: BIGGIES - Grade 3.0, OPENERS - Grade 3.0 Composer: Johannes Brahams Arranger: James Curnow
Grade 3.0
Duration 4.20
In 1879 Johannes Brahms was given a degree of Doctor of Philosophy by the University of Breslau. For this special occasion, Brahms composed his Academic Festival Overture in an expression of gratitude to the university.
The entire overture is based on musical themes and ideas taken from a collection of German student songs. These songs represent many styles and moods and capture the spirit of the student body of the university. The best known of these songs is presented in a grand finale that draws the overture to an exciting conclusion.
This arrangement is designed as a telescopic view of the entire overture. All of the original thematic material is presented in its original order, with some limitations placed upon the development sections.
William Kamkwamba was raised in Malawi, an African country where magical thoughts prevailed but modern technology was a mystery. From books he read, young William imagined building a windmill that might, one day, bring electricity and water to his village and drastically change the lives of his neighbors. Hoping to someday study science, his country was debilitated by famine that forced William to drop out of school and forage for food as thousands throughout the country died of starvation. However, William's passion remained indefatigable and, using scrap metal, tractor parts, and bicycle halves, he ingeniously built a crude yet operable windmill that powered four lights and his radio. News of William's achievement soon spread beyond his country's borders, and the young boy who was once thought of as crazy became a hero to many around the world. (5:30)
William Kamkwamba was raised in Malawi, an African country where magical thoughts prevailed but modern technology was a mystery. From books he read, young William imagined building a windmill that might, one day, bring electricity and water to his village and drastically change the lives of his neighbors. Hoping to someday study science, his country was debilitated by famine that forced William to drop out of school and forage for food as thousands throughout the country died of starvation. However, William's passion remained indefatigable and, using scrap metal, tractor parts, and bicycle halves, he ingeniously built a crude yet operable windmill that powered four lights and his radio. News of William's achievement soon spread beyond his country's borders, and the young boy who was once thought of as crazy became a hero to many around the world.
Category: BIGGIES - Grade 3.0 Composer: Larry Clark
Grade: 3.0
With noble proportion, this vivid new concert/contest work from the pen of Larry Clark dramatically enters the concert band arena. A fascinating musical aspect is to see how effectively the melodic material is introduced and develops throughout. Lyrical sections contrast strikingly with the very forceful themes that frame the composition. The driving climax brings balance and completeness. A work on the truly grand scale. (5:24)
Category: BIGGIES - Grade 3.0 Composer: Larry Clark
Grade: 3.0
With noble proportion, this vivid new concert/contest work from the pen of Larry Clark dramatically enters the concert band arena. A fascinating musical aspect is to see how effectively the melodic material is introduced and develops throughout. Lyrical sections contrast strikingly with the very forceful themes that frame the composition. The driving climax brings balance and completeness. A work on the truly grand scale. (5:24)
Category: BIGGIES - Grade 3.0 Composer: Larry Clark
Grade: 3.0
With noble proportion, this vivid new concert/contest work from the pen of Larry Clark dramatically enters the concert band arena. A fascinating musical aspect is to see how effectively the melodic material is introduced and develops throughout. Lyrical sections contrast strikingly with the very forceful themes that frame the composition. The driving climax brings balance and completeness. A work on the truly grand scale. (5:24)
Category: BIGGIES - Grade 3.0 Composer: Michael Daugherty
American Composer's Forum – BandQuest Series
Grade 3.0 Duration 4.30
Here is the first published work for young band from award-winning composer Michael Daugherty! Describing a stretch of Interstate 75 that crosses through Florida's Everglades National Park, Alligator Alley celebrates this noble beast that has remained largely unchanged from prehistoric times. The first theme (“Alligator's Theme”) features the woodwinds (predominantly bassoons) while the second theme (“Hunter's Theme”) is performed by the brass. Program notes and staging suggestions are included in this marvelously descriptive work. (4:30)
Category: BIGGIES - Grade 3.0 Composer: Frank Ticheli
Grade 3.0 Duration 3.15
PROGRAM NOTE I composed AMEN ! as a retirement gift to my lifelong friend, Tracy McElroy, in celebration of his lifelong achievements after thirty years of teaching instrumental music in Texas public schools. Back in the 70s in Richardson, Tracy and I played trumpet together in the Berkner High School Band, forging a close friendship that lasts to this day. Tracy’s teaching to generations of young people instilled in them not only his deep love of music, but his values of personal discipline and teamwork. His life’s work epitomizes the contributions of thousands of music educators in this country whose gifts to our society are enormous, perhaps incalculable.
AMEN! takes on an upbeat, somewhat bluesy, gospel style, suggesting an impassioned preacher sharing some bit of good news. After an introductory “call to order,” our preacher (here depicted by the clarinet section) gives us the main tune over a series of simple, bopping quarter-note chords. Later, the full ensemble bursts out in a fit of joy — the choir and congregation have joined in, dancing and shouting in full agreement. The good news is driven home in the concluding coda over a series of plagal (“Amed’) chord progressions, and one final joyful shout.
REHEARSAL NOTES Composed with young ensembles in mind, AMEN! is scored in a way that will allow effective performances by bands whose oboes, horns, low woodwinds and low brasses are limited either in number or technical ability. On the other hand, bands that have sufficient numbers of these instruments should be careful not to allow them to overstate their parts. For example, there is only one horn part, which, if played by four to six good players, will almost certainly create balance problems unless those players are encouraged to either play under the notated dynamics or to take turns playing...or both. The tempo marking (half-note = 120) should be closely followed, for while a tempo very slightly under this would be acceptable, going any faster could derail the music, making it sound rushed rather than boppy and light-hearted.
The clarinet cues provided in the horn part in measures 9 to 25 may be played by the horns f and only gf the clarinet section is weak and requires extra support. Otherwise, let the clarinets carry the day in these early bars. Also in measures 9 to 25, the saxophone choir’s quarter-note accompaniment is doubled in the trumpet, trombone, and euphonium parts. If the accompaniment sounds too strong here, try having the saxophones handle it all alone. The brasses can wait until measure 26 to enter, where the texture is fuller. In short, experiment, and try to find the best balance solutions for your ensemble.
There are two simple pedal-changes in the timpani part (from Bb to C, and then back again from C to Bb). While I am well aware that many young timpanists have little experience or confidence when it comes to the art of pedal manipulation, I believe that the sooner they learn it, the better. Fortunately, the required pedal change occurs on one of the easiest drums to manipulate (the 28” drum, which is positioned right in front of the player’s foot), and at one of the easiest melodic intervals (a whole—step). The tutu outburst at measure 58, marked Joyous, should be played with great passion and energy. ‘the timpani part, marked Pounding!” is not intended for shy or squeamish types, nor should anyone in the ensemble restrain the energy. To the extent that you can control the tone quality and intonation, go for it! The splash cymbal strike in measure 83 must be performed on a true splash cymbal in order to achieve the desired humorous effect. Do not simply use a small suspended cymbal. The cymbal must not be any larger than about 7 inches in diameter.
The music in measures 132—154 represents a brief, lyrical respite from the passion and energy of the rest of the work. Players should play this section with their most legato, singing, expressive sound possible. If desired, the tuba]bass clarinet passage at measures 148 to 151 may be played as a solo by one tuba player (and no bass clarinet). ‘The ritardandos in this work (and in most all of my works, for that matter) should not be anticipated, nor should they be initiated suddenly. I prefer that conductors begin ritardandos subtly at first, almost unnoticeably, decreasing the tempo more dramatically towards the second half of the ritardando, and then still more dramatically toward the end of the ritardando. In short, I view ritardandos and accelerandos not as strictly linear tempo changes, but as exponential ones. Based on this fact, it would not be unreasonable for a conductor to finish the mo/to ru. at measure 175 with something akin to a shortfermata. Above all, students should be reminded that this piece is a fan celebration. A joyful energy should be audible and even visible to the audience. ‘That means that both the players and their conductor should strive to show real emotion rather than sitting frozen in their chairs — they should take chances, break out of their individual shells, and remember just why they chose in the first place to become musicians.
Category: BIGGIES - Grade 3.0 Composer: Brian Balmages
Grade 3.0 Duration 5.10
Flying is a favorite activity of lucid dreamers, who are able to become aware that they are dreaming and then control their actions while inside the dream. Among the Clouds takes us into the minds of these dreamers as they drift off to sleep and wake up in a world where they own the skies. After a slow, enchanting opening conveys the sense of drifting off to sleep, the aggressive theme of the fast section begins the amazing flight. This theme develops in several ways before coming to an invigorating conclusion. Highly accessible and exciting for medium level bands!
Category: BIGGIES - Grade 3.0 Composer: Philip Sparke
Spirit of the Sequoia Grade 3.0 Duration 8.15
This work was commissioned by Dr. Robert Oertli from Möhlin, Switzerland, and is based on an earlier composition called Spirit of the Sequoia. The piece is inspired by how the human spirit can gain from setbacks: we become stronger after adversity. Sparke used the Californian redwood tree as a metaphor for this basic idea. The remarkable life cycle of these amazing trees involves them dropping seeds to the ground, which require heat to open their shells and germinate; the seeds require destruction in order to procreate. This piece is particularly suitable for younger bands - one of the last wishes of the initial commissioner.
Category: BIGGIES - Grade 3.0 Composer: Michael Brand
Grade 3.0 Duration 5.47
You can listen to an extract of this work on your computer, by clicking on the "MORE DETAILS" button on the right - this will reveal the audio extract(s) for you to sample - and you can also view the score of this work here.
Categories: New & Recent Titles, BIGGIES - Grade 3.0 Composer: Brian Beck
Grade 3.0 Duration 2.46
Prepare yourself because things are about to get weird! Multiple changes of time signatures, funky rhythms, and unexpected jazz harmonies are all set to an ultra-cool, fast-rock backbeat. This will definitely make an impression on any concert.
Category: BIGGIES - Grade 3.0 Composer: Claude T. Smith
Grade 3.0 Duration 5.00
Master composer Claude T. Smith graced the band world with many wonderful pieces, and this classic continues to be one of his most performed works. The opening theme sparkles with rhythmic vitality and harmonic devices that still sound fresh today. The contrasting Andante segment is lush and tender before returning to the fast main theme. A rewarding composition not to be overlooked!
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