Categories: SLOW TUNES, SACRED MUSIC Composer: Jonathan Newman
1861
1861 is a lyric hymn/fantasia for young concert bands, based on the beautiful 19th century Anglican hymn “Lead Me, Lord” (written in 1861 by Charles Sebastian Wesley). The hymn itself features a gorgeous melodic line over biting harmonies and striking counterpoint, and provides the pillars for this work. First is a soloistic treatment, followed with a dramatic full band tutti, and finally a section of evocative humming. Throughout are unique textures and colorful improvisitory accompaniments.
Category: SLOW TUNES Composer: David Del Del Tredici Arranger: Mark Spede
from FINAL ALICE
This moving piece is the lullaby-like concluding aria from Pulitzer Prize-winning composer David Del Tredici's Final Alice, the fifth of six large works for soprano and orchestra based on Lewis Carroll's Alice in Wonderland books. This arrangement for band is designed to be playable by a wide variety of groups, appropriate for large or small ensembles. The gentle melody, heartrending harmonies, and artful instrumental voicing give this piece a truly timeless feel. (6:00)
This striking orchestration of the Northern Irish melody that underlies the song “Danny Boy” offers intermediate bands an opportunity to explore the tune's soaring beauty through colorful phrasing and rich harmonic motion. The melody is passed around to each section, creating a true ensemble work. (3:20)
Category: SLOW TUNES Arrangers: Luther Henderson, Paul Murtha
Grade 4.
Canadian Brass Concert Band
Master arranger Luther Henderson created many of the signature arrangements performed by the Canadian Brass, including this classic. Paul Murtha has authentically adapted Luther's version for concert band with this well-crafted arrangement.
Already famous in its original brass band version.
Duration 3.30
Amazing Grace is one of the world's most loved hymn tunes and this glorious arrangement is sure to be popular with players and audiences alike.
Beautifully crafted, and eloquently scored, this reflective, yet powerful arrangement builds to a glorious climax perfectly blending the traditional melody with sumptuous new harmonies.
Categories: CHRISTMAS, SLOW TUNES Arranger: Michael Sweeney
Grade 1. Featuring the clarinets in their low register, along with Michael Sweeney's unique harmonic approach and a tasty percussion accompaniment, here is a splendid yet easy setting of this traditional Scottish melody. Sure to become a holiday gem for years to come. (Performer Level - Grade 1)
Grade 3. With the possible exception of Mozart, no other composer in the history of music ever surpassed Franz Schubert's genius for melodic writing. His lieder (art songs for voice and piano) were composed at an astonishing rate, and number in the hundreds. Some of Vienna's greatest singers were his closest friends, and he took pleasure in creating his songs for them. One of his most well-known songs, "Ave Maria," was composed in 1825 when he was 28 years old.
In my setting, I considered carefully the problem of translating piano music to the wind medium without compromising the dignity and beauty of the original. To have simply transferred the piano part literally to the winds would have resulted in a timid and thin sound. For me, the solution was to find and connect the multiple melodic layers implied by the piano figurations, creating a richer, more polyphonic texture suitable to the winds. I had lots of fun dissecting and re-assembling the piece, and I took occasional liberties in the process, but I never strayed far from the basic harmonic structure of the original, and I strove hard to preserve a Schubertian elegance and grace.
There are other differences between the two versions. In Schubert's setting, three verses of text are set to the same music. With the absence of the text in my version, it seemed sufficient to state the verse only twice, and it seemed necessary to find other ways to control and vary the dramatic flow. I took liberties with the octave placement of the melody, and rather than repeat the second verse literally, I constructed it as a subtle variation of the first. Finally, and perhaps most obviously, I changed the basic pulse of the original from the eighth-note to the quarter for greater ease on the eye.
Even without its text, Schubert's song sounds more devotional than virtually anything he ever composed. I kept this at the front of my mind throughout the creative process. Above all, I hope my setting reflects the profound sense of reverence and humility expressed in the original.
Category: SLOW TUNES Composer: Franz Biebl Arranger: Robert Cameron
Windependence – Master Level (Grade 4)
First published in Germany in 1964, Franz Biebl's Ave Maria was originally scored for 7-part men¹s choir. This expressive transcription is based on a mixed choir version in order to better match the registration of a wind ensemble. Layered woodwinds and brass create the effect of the choral version's overlapping male and female voices. (5:40)
Category: SLOW TUNES Composer: W.A. Mozart Arranger: Joseph Kreims
Windependence – Master Level (Grade 4)
Mozart composed this brief but deeply affecting work in June 1791. The present transcription follows Mozart's text literally, and uses the trumpets and trombones as substitutes for the chorus parts.
Philip Sparke writes : On 14th February 2001, my second son, Benjamin, was born. He has turned out to be a sheer delight and Ballad for Benny was written as a birthday present for him.
Opening gently, a short introduction leads to the main ballad theme, a gentle waltz melody played by clarinets and saxophones. This reaches a climax and leads to a bridge section, which features passages in thirds on flutes, clarinets and alto saxophones. This again builds to a climax, which reintroduces the main theme, this time played by the brass under a woodwind descant This full-band presentation of the theme subsides to a short coda, based on the bridge passage, which ends the piece quietly.
Categories: SLOW TUNES, SACRED MUSIC Composer: Travis Cross
Windependence – Master Level (Grade 4)
The well-known traditional Irish hymn is here thoughtfully arranged for wind band and optional vocal/choral part. The setting captures the humble, yet majestic, simplicity and deep faith represented by the hymn text, while providing an exceptional opportunity for combining band and chorus. (3:45)
Originally scored for brass choir, composer John Stevens brings us this marvelous version for full band featuring flowing melodies and counterlines in a rich chorale-like setting. The solo part at the beginning and end is scored for euphonium, but is cued for clarinet, trumpet or trombone. Great for teaching a lyric style of playing, and also as an effective performance piece.
The stunning artwork of Georgia O'Keeffe is no more apparent than in her famous 1921 painting entitled Blue and Green Music. Fittingly commissioned by the Patrick Marsh Middle School in Sun Prairie, Wisconsin (O'Keeffe's birthplace), Samuel Hazo does an amazing job of portraying subtle as well as bold colors into musical terms. Based on a single theme that is manipulated and varied throughout, the piece progresses from delicate mallet percussion effects up to climactic impact points for the entire ensemble. O'Keeffe explained her idea that “music could be translated into something for the eye.” And Mr. Hazo succeeds wonderfully in translating it back into something for the ear!
"A truly new exploration for the wind band... a new soundscape..the resulting texture & control of materials is sheer genius" Winds Magazine. An exercise in restraint, in muted tones, delicate textures, gentle colours and pastel shading. Performers actually have to listen - to themselves and their colleagues, and play quietly. 8 minutes.
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