DOCSLIB.ORG

Ecstatic Fanfare

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ecstatic Fanfare PERUSAL SCORE - NOT FOR PERFORMANCE USE STEVEN BRYANT Ecstatic Fanfare PERUSAL SCORE - NOT FOR PERFORMANCE USE Ecstatic Fanfare Instrumentation Flute I-II-III (III doubles Picc.) Oboe I-II Bassoon I-II Clarinet in Bb I-II-III-IV Bass Clarinet I-II Alto Saxophone I-II Tenor Saxophone Baritone Saxophone Trumpet in Bb I-II-III-IV Horn in F I-II-III-IV Trombone I-II-III Euphonium I-II Tuba I-II Contrabass Piano Timpani Percussion 1) Crotales (optional) 2) Glockenspiel 3) Vibraphone 4) Tam-tam, Triangle 5) Bass Drum PROGRAM NOTE Ecstatic Fanfare is based on music from movement I of my Ecstatic Waters. One day in May, 2012, I mentioned to my wife (conductor Verena Mösenbichler-Bryant) that it might be fun to take the soaring, heroic tutti music from that earlier work and turn it into a short fanfare “someday.” She goaded me into doing it immediately, and so in a panicked three-day composing frenzy, I created this new work, which was premiered by Johann Mösenbichler with the Polizeiorchester Bayern just three short weeks later, followed immediately by my wife conducting it with the World Youth Wind Orchestra Project at the Mid Europe festival in July, 2012. This has to be a record time for conception-to-premiere for a large ensemble work… All licensing (marching, recording, etc.) requests, orders, and general questions: [email protected] | www.stevenbryant.com TWITTER: @SBryantComposer | FACEBOOK: facebook.com/SBryantComposer Copyright © Steven Bryant / Gorilla Salad Productions (ASCAP) PERUSAL SCORE - NOT FOR PERFORMANCE USE Score (transposed) Steven Bryant Ecstatic Fanfare 2012 Ecstatic q = 128 œ ˙ bœ œ. œ œ œ œ œ œ œ œ œ bœ bœ œ bœ 1 & ∑ ∑ J ‰ Œ Œ Œ Œ Œ ∑ ∑ Œ f œ ˙ œ œ. œ œ bœ œ œ œ œ œ œ bœ bœ œ œ Flute 2 & ∑ ∑ J ‰ Œ Œ Œ Œ Œ ∑ ∑ Œ f 3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 bœ . Oboe œ œ j œ.œ œ œ œ œ 2 & ∑ ∑ ∑ œ bœ œ ‰ Œ Œ Œ œ œbœœ bœ œ Œ Œ ∑ ∑ Œ œ 1 f Bassoon 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 a2 1 œ ˙ œ œ œ.œ œ œ œ œ ∑ ∑ œ œ œ œ ‰ Œ Œ Œ œ œ œ Œ Œ ∑ ∑ Œ 2 & J Clarinet in B a2 b 3 f œ ˙ œ œ œ œ j œ.œ œ œ œ œ 4 & ∑ ∑ œ œ œ ‰ Œ Œ Œ œ œ Œ Œ ∑ ∑ Œ 1 f Bass Clarinet 2 & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 Alto Saxophone œ #œ. #œ #œ ∑ ∑ ∑ œ œ j ‰ Œ Œ Œ œ.œ œ œ œ Œ Œ ∑ ∑ Œ œ œ 2 & œ œ œ œ f Tenor Saxophone & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bari. Saxophone PERUSAL SCORE & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ecstatic 1 q = 128 NOT FŒ OR PERFORMANŒ Œ CE USE œ œ œ ˙ ˙. ˙ . 2 & œœœ ˙ ∑ œ œ œ. ˙ œœœ ˙. œ ∑ œ œ œ. ˙ œœœ ˙. Trumpet in B Œ ‰ Œ Œ Œ (4.) b 3 f f Œ Œ Œ Œ 4 & Œ ‰ œ œ œ ˙. ˙ ∑ ∑ œ œ œ œ œ œ ˙ œ œ œ ˙ ˙ Œ Œ œ œ œ. œ˙œ.œ ˙ œœ Œ Œ œ œ œ. ˙. f (3.) 1 f AVAILABLE FOR PURCHASE AT 2 & ∑ ∑ Œ Œ œœ ˙˙. ∑ ∑ Œ ˙˙ œœ ˙˙ ∑ ∑ Horn in F > > 3 f ƒ 4 & ∑ ∑ Œ Œ œœ ˙˙. ∑ ∑ Œ ˙˙ œœ ˙˙ ∑ ∑ > . > Wœ œ œ ˙W˙. W.˙ SfTEVENBRYANTƒ .COM œœœ bœœœ ˙ œ œœœ bœ œ œ ˙ 1 ? Œ ∑ œ œ œ. Œ Œ ∑ œ œ œ. f 2 œ œ œ œ œœœ ˙ œœœ ˙. œ œœœ ˙. Trombone ? Œ ‰ ‰ Œ ∑ œ œ œ. Œ Œ ∑ œ œ œ. f 3 bœ œ œ ˙ ? ∑ œ œ œ ˙ ˙ Œ ∑ Œ œ œ œ. bœœœ ˙ œ Œ Œ ∑ Œ œ œ œ. f 1 > > Euphonium bœœ ˙˙. b˙˙ œœ b˙ 2 ? ∑ ∑ Œ Œ ∑ ∑ Œ ∑ ∑ f ƒ 1 > > Tuba bœœ ˙˙. b˙˙ œœ b˙ 2 ? ∑ ∑ Œ Œ ∑ ∑ Œ ∑ ∑ 3 f ƒ Contrabass ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ bœ œ œ œ œ œ. œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ.œ œ bœ œ bœ œ œ & ∑ ∑ bœ œ Œ Œ Œ J ‰ Œ Œ Œ œ bœ œ Œ J ‰ Œ ∑ Œ Piano f ? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Timpani ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ É œ.œ œ É œ œ Crotales ∑ ∑ bœ œ Œ Œ ∑ ∑ Œ œ bœ œ Œ Œ ∑ ∑ Œ (optional) & f É bœ œ œ œ œ œ. É bœ œ œ œ œ œ Glockenspiel œ œ œ œ œ œ œ & ∑ ∑ bœ œ Œ Œ Œ œ bœ ‰ Œ Œ Œ œ. œ bœ œ Œ œ bœ ‰ Œ ∑ Œ œ J œ œ œ J œ f É bœ œ œ œ œ œ. É bœ œ œ œ œ œ Vibraphone œ œ œ œ œ œ œ & ∑ ∑ bœ œ Œ Œ Œ œ bœ ‰ Œ Œ Œ œ. œ bœ œ Œ œ bœ ‰ Œ ∑ Œ œ J œ œ œ J œ Tam-tam f Triangle & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bass Drum & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 3 4 5 6 7 8 9 10 Copyright ©2012 Steven Bryant / Gorilla Salad Productions (ASCAP) facebook.com/SBryantComposer | twitter.com/@SBryantComposer 1.1 www.stevenbryant.com PERUSAL SCORE - NOT FOR PERFORMANCE USE 2 Ecstatic Fanfare œ œ œ 14 œ œ œ. œ. œ bœ œ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ œ J œ J 1 & ‰ ‰ Œ ∑ ∑ ∑ Œ ‰ Œ Œ Ó œ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ bœ œ œ œ Ÿ~~~~~~~~~~~~~~~~~~~~~ Fl. œ œ œ œ b˙. œ ˙. N˙. ˙. ˙. ˙. 2 & J ‰ ‰ Œ ∑ ∑ Œ Œ œ Œ Ÿ~~~~~~~~~~~~~~~~~~~~~ 3 b˙. œ ˙. N˙. ˙. ˙. ˙. & ∑ ∑ ∑ ∑ ∑ Œ Œ œ Œ 1 œ œ œ œ Ob. œ œ œ œ œ œ œ œ œ. œ œ œ œ. 2 & bœœ œ œ œ œ œ œ œ œ J ‰bœ œ ‰ œbœ œ Œ ∑ ∑ ∑ Œ ‰bœ œ J Œ Œ Ó œ 1 Bsn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 œ œ 4 3 œ œ 4 3 œ œ#œ œ œ œ œ œ œ. œ #œ œ œ. 2 & œ œ œ œ œ œ œ œ œ J ‰ œ œ ‰ œ œ œ Œ ∑ ∑ ∑ Œ ‰ œ œ J Œ Œ Ó œ B Cl. b 3 œ œ Ÿ~~œ~~~~~~~~~~~~~~~~~~~ . œ œ œ#œ œ œ œ œ J œ œ œ œ œ œ ˙. ˙. #˙. ˙ #˙. ˙ 4 & œ œ œ œ œ œ ‰ œ ‰ œ œ Œ ∑ ∑ Œ Œ Œ 1 B. Cl. 2 & ∑ ∑ 4 ∑ 4 ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ 4 1 #œ œ #œ A. Sax. œ œ œ#œ œ œ œ œ J ‰ œ œ ‰ œ œ œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 & œ œ #œ œ œ#œ œ œ œ Ten. Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bar. Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 14 a2 1 Œ Œ 2 & œ ∑ ∑ œ. œ œœ œ. ‰ œ œ ˙ Œ j œ. Œ ∑ ∑ Tpt. Œ Œ a2 ˙ œ œ 3 Œ Œ & œ ∑ ∑ œ. œ. ‰ œ Œ Œ ∑ ∑ 4 œ Œ Œ œ œœ œ ˙ œ ˙ ˙ 1 Œ œ. Œ ∑ ∑ Œ Œ ˙ Œ j œ. œ ˙. ˙. Œ 2 & ˙˙ œ. œ. ˙˙. œœ ˙ œ œ ˙. ˙. Hn. > > > > 3 f œ ˙ j œ. œ ˙. ˙. 4 & Œ ˙˙ œ. œ. ˙˙. Œ ∑ ∑ Œ Œ œœ ˙ Œ œ œ ˙. ˙. Œ > > œ. > . f > œ œ. œ. œ œ b˙ œ ˙ 1 ? Œ Œ ∑ ∑ œ œœ ‰ œ ˙ bœ Œ ∑ ∑ œ œ. œ. œ ˙ œ b˙ œ ˙ Tbn. 2 ? Œ Œ ∑ ∑ œ œœ ‰ œ bœ Œ ∑ ∑ 3 ? œ œ. bœ. œ ˙ bœ Œ Œ ∑ ∑ œ bœœ ‰ œ b˙ œ ˙ Œ ∑ ∑ 1 > > Euph. b˙˙ bœ. >. > bœœ b˙ œ ˙ . œ œ 2 ? Œ œ ˙. Œ ∑ ∑ Œ Œ b ˙ œ Œ Œ ‰Nœ. œ J Œ 1 f>˙ > œ Tuba ? b˙ bœ. >œ. > bœ b˙ œ. œ œ 2 Œ ˙. Œ ∑ ∑ Œ Œ b ˙ œ ˙ Œ Œ ‰Nœ. J Œ f 4 3 4 3 Cb. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ bœ œ œ œ œ œ œ. œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œbœ œ. bœ œ œ œ. œ œ & œ bœ œ J ‰ ‰ Ó ∑ ∑ Œ Œ œ bœ œ J Œ Œ Ó Œ Pno. 4 4 4 4 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Timp. ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Crot. É œ. œ œ œ. œ Ö œ Ö & œ bœ œ Œ ∑ ∑ ∑ ∑ Œ Œ œ bœ œ J Œ Œ Ó œ Œ bœ œ œ . Glock. É œ œ œ œ œ É É œ œ œ œ. œ Ö œ Ö & œ bœ œ œ J ‰bœ œ ‰ bœ œ Ó ∑ ∑ Œ Œ œ œ. bœ œ œ œ œ. Œ Œ Ó œ Œ œ œ œ J œ Ñ bœ œ œ Vib. É œ œ œ œ œ É œ. œ œ œ. œ Ö œ Ö œ bœ œ œ J ‰bœ œ ‰ bœ œ É Ó ∑ ∑ Œ Œ œ œ. bœ œ œ œ . Œ Œ Ó œ Œ & œ œ œ J œ œ Ñ TT Tri. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ BD & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 11 12 13 14 15 16 17 18 19 20 PERUSAL SCORE - NOT FOR PERFORMANCE USE Ecstatic Fanfare 3 œ œ œ œ œ œ œ œ œ. œ. œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ J J J 1 & Œ Œ ‰ Œ Œ Œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ Fl. b˙. ˙. N˙. ˙. ˙. ˙. ˙. ˙. œ œ ˙ œ œ 2 & Œ Œ Œ J ‰ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~ 3 b˙. ˙. N˙. ˙. ˙. ˙. ˙. ˙. & Œ ∑ ∑ 1 Ob. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ. œ. œ œ œ œ œ œ œ ˙ œ 2 & bœ œ J Œ Œ ‰ J J J ‰ Œ 1 Bsn. 2 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 1 3 œ œ 4 3 œ œ 4 - œ œ œ œ œ #œ œ œ #œ #œ œ œ œ œ .
Load more

Recommended publications
  • Children's Concert Series an INTERACTIVE CONCERT WITH
    Children’s Concert Series 2020–2021 AN INTERACTIVE CONCERT WITH MUSIC, DANCE, AND NARRATION Saturday, March 13, 2021 | 6:00 pm Virtual Family Concert 1 ver fifty years ago, a brave American man stepped out of a landing craft onto the surface Gerard Schwarz of the moon and made history. With the help of Conductor O the Demetrius Klein Dance Company and four exciting pieces of all-American music, Palm Beach Symphony Brenda Alford brings that indelible moment of Milky Way magic to the Narrator stage through an interactive concert in which students will literally take part in exploring such scientific concepts as Demetrius Klein Dance Company (DKDC) the Earth’s rotation, gravity and telescope viewing. All this choreography and dance while thrilling to a powerful Copland fanfare, the soaring themes of Star Wars and sharing the adventures of a very special resident of Earth’s satellite, Rocky de Luna, an Saturday, March 13, 2021 | 6:00 pm inquisitive moon rock. Virtual Family Concert With a special narrative accompanied by the music of Copland’s Lincoln Portrait, students will meet Rocky as she hitches a ride with two friendly NASA astronauts on the Program Apollo 11 lunar module en route back to Aaron Copland – Fanfare for the Common Man planet Earth. Neil Armstrong and Buzz Aldrin show Rocky some out-of-this-world John Williams – Princess Leia’s Theme from Star Wars views of the moon, help define the moon’s John Williams – The Imperial March (Darth Vader’s Theme) from Star Wars place in the solar system, describe how the moon Aaron Copland – Selections from Lincoln Portrait affects all life on Earth ..
    [Show full text]
  • A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
    MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones.
    [Show full text]
  • Finding Aid for Bolender Collection
    KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by
    [Show full text]
  • September 4, 2014 Kansas City Ballet New Artistic Staff and Company
    Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead.
    [Show full text]
  • The Stars Come Out
    Austin Symphonic Band presents tars The S e Out Com Sunday, April 2 • 4 PM AISD Performing Arts Center Richard Floyd, Music Director ASB Board of Directors and Officers Music Director: Richard Floyd Assistant Music Director: Bill Haehnel Executive Director: Amanda Turley President: Al Martin Past-President: Erin Knight President-Elect: Marty Legé Board of Directors: Keith Chenoweth Jim Crandall Donald McDaniel Kristin Morris Treasurer: Sharon Kojzarek Bookkeeper: Mark Knight Librarian: Karen VanHooser Concert Coordinator: Kevin Jedele Transportation Manager: Chuck Ellis Marketing Director: Thomas Edwards Graphic Artist: Karen Cross Webmaster: David Jones Archivist: Tim DeFries Austin Symphonic Band PO Box 6472 Austin, Texas 78762 (512) 956-7420 [email protected] austinsymphonicband.org facebook.com/ATXSymphonicBand twitter.com/AustinSymphBand instagram.com/ATXSymphonicBand ASB is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department. Visit NowPlayingAustin.com. Richard Floyd, Music Director RICHARD FLOYD is in his 55th year of active involvement as a conductor, music educator, and administrator. He has enjoyed a distinguished and highly successful career at virtually every level of wind band performance from beginning band programs through high school and university wind ensembles as well as adult community bands. Floyd recently retired as State Director of Music at The University of Texas at Austin. He now holds the title Texas State Director of Music Emeritus. He has served as Music Director and Conductor of the Austin Symphonic Band since 1985. Floyd is a recognized authority on conducting, the art of wind band rehearsing, concert band repertoire, and music advocacy. As such, he has toured extensively throughout the United States, Canada, Australia, and Europe as a clinician, adjudicator, and conductor including appearances in 42 American states and in nine other countries.
    [Show full text]
  • Splanky Fanfare Band & Combo Neal Hefti
    Full Score Splanky Fanfare band & Combo Neal Hefti Easy Jazz Feel q = 147 arranged by Ad Lamerigts 4 Soprano Saxophone 1 4 mf mf 4 Soprano Saxophone 2 4 mf mf 4 Alto Saxophone 1 4 mf mf 4 Alto Saxophone 2 4 mf mf 4 Tenor Saxophone 1 4 mf mf 4 Tenor Saxophone 2 4 mf mf 4 Baritone Saxophone 4 mf mf 4 Soprano Cornet E b 4 mf mf 4 Flugelhorn 1 4 mf mf 4 Flugelhorn 2 4 mf mf 4 Flugelhorn 3 4 mf mf 4 Horn 1+3 in F 4 mf mf 4 Horn 2+4 in F 4 mf 4 Trumpet 1 in B b 4 4 Trumpet 2 in B b 4 4 Trumpet 3 in B b 4 4 Trumpet 4 in B b 4 plunger ready 4 Trombone 1 4 mf mf 4 Trombone 2 4 mf mf 4 Trombone 3 4 mf mf 4 Bass Trombone 4 mf mf 4 Baritone B b 4 mf 4 Euphonium B b 4 mf 4 Bass in E b 4 4 Bass in B b 4 4 Electric Guitar 4 4 4 Piano mf 4 4 4 4-string Bass Guitar 4 Rudimental style (just an indication) ride ride 4 Drums 4 4 Percussion 4 4 Glockenspiel 4 mf 4 Vibraphone 4 mf © Copyright 2019 ArtifexMusic, International Copyright Secured, All Rights Reserved. 2 8 AAA S. Sax.1 mf S. Sax.2 mf snap fingers A. Sax.1 snap fingers A. Sax.2 snap fingers T. Sax.1 snap fingers T.
    [Show full text]
  • George Balanchine August Bournonville Sasha Janes Jerome Robbins
    George Balanchine August Bournonville Sasha Janes THTHEAEATETERR 1716/1/187 Jerome Robbins FOR YOUR INFORMATION Do you want more information about upcoming events at the Jacobs School of Music? There are several ways to learn more about our recitals, concerts, lectures, and more! Events Online Visit our online events calendar at music.indiana.edu/events: an up-to-date and comprehensive listing of Jacobs School of Music performances and other events. Events to Your Inbox Subscribe to our weekly Upcoming Events email and several other electronic communications through music.indiana.edu/publicity. Stay “in the know” about the hundreds of events the Jacobs School of Music offers each year, most of which are free! In the News Visit our website for news releases, links to recent reviews, and articles about the Jacobs School of Music: music.indiana.edu/news. Musical Arts Center The Musical Arts Center (MAC) Box Office is open Monday – Friday, 11:30 a.m. – 5:30 p.m. Call 812-855-7433 for information and ticket sales. Tickets are also available at the box office three hours before any ticketed performance. In addition, tickets can be ordered online at music.indiana.edu/boxoffice. Entrance: The MAC lobby opens for all events one hour before the performance. The MAC auditorium opens one half hour before each performance. Late Seating: Patrons arriving late will be seated at the discretion of the management. Parking Valid IU Permit Holders access to IU Garages EM-P Permit: Free access to garages at all times. Other permit holders: Free access if entering after 5 p.m.
    [Show full text]
  • Fanfare for the 16Th Empire Flex
    Fanfare for the 16th Empire For Concert Band, Grade 1.5 By Randall D. Standridge (ASCAP) Instrumentation 1 - Full Score 4 - Bb Trumpet 1 8 - Flute 4 - Bb Trumpet 2 2 - Oboe 6 - F Horn 5 - Bb Clarinet 1 8 - Tromb./Euph. B.C./Bassoon 5 - Bb Clarinet 2 2 - Euphonium T.C. 2 - Bb Bass Clarinet 4 - Tuba 8 - Eb Alto Saxophone 2 - Bb Tenor Saxophone 2 - Eb Baritone Saxophone 2 - Mallets 1: Bells 2 - Mallets 2: (optional) Chimes 2 - Timpani (3) 3 - Percussion 1&2: Snare Drum, Bass Drum/Wind Chimes 2 - Percussion 3: Crash Cymbals/Triangle/Suspended Cymbal Full Set - $60.00 Extra Conductor Score - $8.00 Extra Part - $4.00 Randall Standridge Music, LLC - 26 County Road 472 - Jonesboro, AR 72404 - 870-926-3479 www.randallstandridge.com - [email protected] ​ ​ Fanfare for the 16th Empire By Randall D. Standridge Program Notes For those of you that are unaware, I was a band director for twelve years. During my time in that occupation, I created many works that had specific educational goals, but would also fit into our concert repertoire as, what I hoped, would be engaging pieces for both the players and the audience. I always struggled to find music that introduced new concepts in achievable, yet meaningful, ways. Fanfare for the 16th Empire is a concert fanfare for young ensembles that serves many purposes. It is primarily ​ intended as a tool to develop young players’ abilities to correctly time, articulate, and perform sixteenth notes. Secondly, it is intended to be an exciting work that makes the students run to rehearsal, slinging their bookbags across the room in their hurry to get their instruments out and get seated, ready to play.
    [Show full text]
  • Slatkin Conducts Porgy & Bess
    CONCERT PROGRAM Friday, November 11, 2016, 8:00pm Gemma New, conductor Leonard Slatkin, conductor ST. LOUIS SYMPHONY YOUTH ORCHESTRA COPLAND Fanfare for the Common Man (1942) (1900–1990) GRIEG Peer Gynt Suite No. 1, op. 46 (1875) (1843–1907) Morning Åse’s Death Anitra’s Dance In the Hall of the Mountain King WAGNER Prelude to Die Meistersinger von Nürnberg (1867) (1813–1883) Leonard Slatkin, conductor INTERMISSION BEETHOVEN Symphony No. 3 in E-flat major, op. 55, “Eroica” (1804) (1770–1827) Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto This concert is sponsored by Whole Foods Market. The St. Louis Symphony Youth Orchestra is supported in part by the G.A., Jr. and Kathryn M. Buder Charitable Foundation. The St. Louis Symphony Youth Orchestra is supported in part by Esco Technologies Foundation. 23 AARON COPLAND Fanfare for the Common Man BY ELI MENNERICK, TROMBONE To many, the works of Aaron Copland embody the American musical sound. During the 1930s and 1940s especially, Copland deliberately composed “populist” music accessible to the general public. Unsurprisingly, his most widely- known works come from this period, includ- Born ing Appalachian Spring, Billy the Kid, Rodeo, and November 14, 1900, in Fanfare for the Common Man. These composi- Brooklyn tions are characterized by a lean, open sound, Died reflecting both American democratic ideals and December 2, 1990, in North the natural grandeur of the country. Fanfare for Tarrytown, New York the Common Man provides a particularly good First Performance example of this unique style. March 12, 1943, Eugene In 1942, during World War II, the conduc- Goossens conducting tor Eugene Goossens commissioned fanfares YO Premiere from multiple prominent American composers May 21, 2000, David Amado in order to encourage support for the war effort.
    [Show full text]
  • Fanfare Anatomy of a Reunion—’69 4 UMBAA Concert Band
    UNIVERSITY OF MICHIG AN BAND ALUMNI ASSOCIATION: YESTERDAY, TODAY, AN D T O M O R R O W Spring 2010 Volume 61, Issue 2 Inside this issue Starting Out Right .......... 2 Did You Know? .............. 2 Alumni Pep Band’s 18th ... 2 A2APB Goes Pro ............. 3 fanfare Anatomy of a Reunion—’69 4 UMBAA Concert Band ...... 6 Alumni Update .............. 7 Are YOU MGS? ............... 7 The Maize Album ........... 8 Fifth Annual UMBAA Golf Outing UMBAA’s 2010 golf outing will be held at the incredible University of Upcoming Events Michigan Golf Course. The number of golfers has been steadily growing since our very first golf outing (we are definitely labeling this growth July 1—deadline for Fall rate as a success). MFanfare submissions At the 2009 event our teams had the pleasure of group tours of the August 1 — UMBAA Golf newly renovated Michigan Football locker room, and more fun is Outing, UM Golf Course planned for this year. October 15-16 — Blast This year’s golf outing takes place on Sunday, August 1, 2010. Register From The Past 2010 Friday now, and check our website for more details! www.umbaa.org/golf evening BBQ & rehearsal, Saturday morning rehearsal, Saturday afternoon game, post game reception. Watch for the next issue of MFanfare for more information. Above The winning team of the 2009 UMBAA Editor’s Note: golf outing keeps it all in the family: L to R: UMBAA Golf Outing 2009 attendees enjoyed tours of the Michigan Football Locker Room. Casey Zaski, Faye Zaski, Cheryl Zaski and Rick Zaski This issue of Mfanfare is a little late and a little small, For more information, email [email protected] due to the vagaries of a Calling all 1980 and 1990 Michigan Band Alums! volunteer organization.
    [Show full text]
  • An Annotated Bibliography of Works for Solo Bass Trombone and Wind Band Erik Thomas Shinn
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 An Annotated Bibliography of Works for Solo Bass Trombone and Wind Band Erik Thomas Shinn Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN ANNOTATED BIBLIOGRAPHY OF WORKS FOR SOLO BASS TROMBONE AND WIND BAND By ERIK THOMAS SHINN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2015 Erik Shinn defended this treatise on April 13, 2015. The members of the supervisory committee were: John Drew Professor Directing Treatise Douglass Seaton University Representative Christopher Moore Committee Member Paul Ebbers Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii For my parents Thomas and Kelly iii ACKNOWLEDGMENTS This project was foremost inspired by Thomas Everett, founding member and first president of the International Trombone Association, instigator of more than thirty new compositions featuring the bass trombone, and author of Annotated Guide to Bass Trombone Literature. Without his leadership, the state of the bass trombone as a solo instrument would surely not be what it is today. Throughout the research and writing process, I received assistance from numerous professors, composers,
    [Show full text]
  • The Magic Flute), K
    Firebird! – May 14, 2017 Overture to Wolfgang Amadeus Mozart Die Zauberflöte (The Magic Flute), K. 620 1756-1791 Public taste is fickle. By the late 1780s, Mozart’s star in Vienna was dimming rapidly. The change in popular musical taste, general economic decline and his own inability to manage his finances combined to make him emotionally frantic and scrambling for commissions. Since there was no more demand for Mozart’s Akademien (self-promoting subscription concerts), and his most successful librettist, Lorenzo da Ponte, had left Vienna, he turned for a joint operatic venture to one of the most colorful (and successful) dramatists and theater directors of the era, Emanuel Schikaneder. Mozart and Schikaneder knew each other both professionally and as fellow Freemasons. Schikaneder’s libretto contains many elements of the Freemason philosophy and ritual in its emphasis on human enlightenment. It promotes its high-minded ideology through a fairytale plot and characters, in addition to moments of incredible silliness. The Magic Flute is a dramatization of the battle between the forces of good (light) and evil (darkness), symbolized by the high priest of Isis, Sarastro, and the Queen of the Night. In order to win the hand of the Queen’s daughter, Pamina, whom Sarastro has abducted and detained “for her own good,” Prince Tamino must undergo trials by fire and water. He succeeds with the aid of a magic flute, while his companion, the comic bird-catcher Papageno, bungles through lower level trials to win himself a wife, Papagena. Most operatic overtures of this period contain no themes from the operas themselves.
    [Show full text]