| Inv#: | Title: | Comp./Arr. | Level: | Price: |
| 183915 | To God Be The Glory | Fred M. Hubbell | 3 | 55.00 |
| 183915.1 | Score-To God Be The Glory | 5.00 | ||
| 183915.5 | Parts-To God Be/Glory - (specify) | 2.00 | ||
| A fanfare introduction is used as a
bridge to various sections of To God
Be The Glory based on the gospel
hymn. The first chorus uses syncopation, and interesting
countermelodies. There is one eight measure contrapuntal
phrase for three solo instruments with ample cues. This
is an exciting opener for any concert. (Keys: F, Ab, and
Eb) |
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| 183901 | Dedicatory Overture | David E. Smith | 3 | 49.00 |
| 183901.1 | Score-Dedicatory Overture | 4.00 | ||
| 183901.5 | Parts-Dedicatory Overture - (specify) | 1.50 | ||
| Presented in a traditional band
overture, an introduction based on motives from the
themes starts the work. Then in character befitting each
of the hymns depicting dedication they are presented in
order: I Am Thine O Lord,
A Charge To Keep I Have,
He Leadeth Me,
and Take My Life and Let It Be.
The coda reaffirms the themes involved in a fanfare
style. |
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| 183908 | God Rest/Merry Gentlemen | George E. Strombeck | 3 | 49.00 |
| 183908.1 | Score-God Rest/Gentlemen | 4.00 | ||
| 183908.5 | Parts-God Rest/Gentlemen - (specify) | 1.50 | ||
| Written in a "theme and
variations" form, this creative work explores
several treatments of the favorite carol, building to a
very dramatic ending. This work also provides excellent
music education, passing through several keys and meters
in 5/4 as well as a unique 6/8 treatment. Your musicians
will love this arrangement! |
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| 183910 | The Simple Truth | George E. Strombeck | 3 | 32.00 |
| 183910.1 | Score-The Simple Truth | 3.00 | ||
| 183910.5 | Parts-The Simple Truth - (specify) | 1.50 | ||
| Arranged by William Broughton, well
known music writer, this arrangement explores the musical
moods of the old hymn All Your
Anxieties, All Your Cares. Mid-range
instruments (French horns, saxophones etc.) play a
predominant role balanced by interesting counterlines in
all parts, a fresh treatment of a great hymn. |
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| 183906 | Built On A Rock | Fred M. Hubbell | 3.5 | 59.00 |
| 183906.1 | Score-Built On A Rock | 6.00 | ||
| 183906.5 | Parts-Built On A Rock - (specify) | 3.00 | ||
| Built On A Rock
provides opportunity for a variety of compositional
treatments. The opening is presented as a three voice
canon, followed by a pyramiding of the first measure. A
slow section features three instruments in chaconne form.
Throughout the work the underlying theme is embellished
by woodwind runs and trumpet accenting devices. The piece
concludes in brilliant fashion. |
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| 183905 | Spirit of the Living God | David E. Smith | 3.5 | 42.00 |
| 183905.1 | Score-Spirit/Living God | 4.00 | ||
| 183905.5 | Parts-Spirit/Living God - (specify) | 1.50 | ||
| Presented as a tone poem, the
opening is in a reflective mood gaining strength until
the full band presents the theme with sweeping
counter-melodies. The middle section gains complexity
through multiple stretto lines leading up to a feeling of
strength and poignancy. The theme is once again presented
in a sweeping style and concludes in a sense of calm. |
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| 183920 | Heavenly Visions |
Billy Madison | 3.5 | 60.00 |
| 183920.1 | Score-Heavenly Visions | 6.00 | ||
| 183918.5 | Parts-Heavenly Visions -(specify) | 2.00 | ||
| Based on Revelation 21:1-3 “And I saw a new heaven and a new earth…And I heard a great voice out of
heaven saying…” This work is in a fast -slow- fast form and features the percussion section as well
as several different wind instruments playing short solos. The composition begins with a fast, exciting fervor that gives way to a more melodic (then contrapuntal) middle section. After a slight pause the excitement begins again with a variation of the opening section which builds to a very climatic ending. An original work. |
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| 183918 | Heavenly Love | George E. Strombeck | 3.5 | 60.00 |
| 183918.1 | Score-Heavenly Love | 6.00 | ||
| 183918.5 | Parts-Heavenly Love - (specify) | 2.00 | ||
| Commissioned by the band students at Olivet Nazarene University for the retirement
of their director, Dr. Harlow Hopkins, this arrangement includes his two favorite hymns: :"In Heavenly Love Abiding," and "It Is Well With My Soul."
Written in a chorale-preulde style, this delightful arrangement features the woodwinds with a creative motif throughout. Various treatments of the hymns
include a fugue, augmentation, stretti and imitative counterpoint, along with a dramatic and flowing treatment of the melody which reads in part,
"When peace like a river attendeth my way." |
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| Inv#: | Title: | Comp./Arr. | Level: | Price: | |
| 183902 | Fantasia/Traditional Carol | David E. Smith | 3.5 | 36.00* | |
| 183902.1 | Score-Fantasia/Trad. Carol | 6.00* | |||
| 183902.5 | Parts-Fantasia/Trad. Carol - (specify) | 2.00* | |||
| A free formed overture with
contrasting sections weaving through: The
First Noel, Hark
The Herald Angels, It
Came Upon A Midnight Clear, We
Three Kings, God Rest You Merry Gentlemen, Away In A Manger, and Joy To The World, concluding with a powerful ending.
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| 183911 | The Love of God | George E. Strombeck | 3.5 | 30.00 | |
| 183911.1 | Score-The Love of God | 3.00 | |||
| 183911.5 | Parts-The Love of God - (specify) | 1.50 | |||
| A dramatic portrayal of God’s
Love, there is a sense throughout of the
"uplift" we can experience by the presence of
that Divine Love in our lives, as depicted by the use of
unusual harmonies and modulations. The effective use of
chromaticism, throughout brings us to that realization,
and perfectly matches the moods of the text, The
Love Of God. |
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| 183914 | Crown Him With Many Crowns | J. Harold Moyer | 3.5 | 60.00 | |
| 183914.1 | Sc.-Crown Him/Many Crown | 6.00 | |||
| 183914.5 | Parts-Crown/Many Crown( - (specify) | 3.00 | |||
| This prelude is based on the hymn
tune by George Elvey often used with the text: Crown
Him With Many Crowns. In the opening
section band members sing the first stanza accompanied by
a few woodwinds. The piece then becomes rhapsodic moving
between thematic snatches and full episodes. Shifting to
a new meter of 3/4, new material is introduced. A
fughetta section prepares the conclusion where the low
brass states the theme once again while decorated with
numerous fanfare devices- coming to a very powerful
ending. |
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| 183917 | Christ The Lord Is Risen Today | J. Harold Moyer | 4 | 60.00 | |
| 183917.1 | Sc.-Christ The Lord Is Risen Today | 6.00 | |||
| 183917.5 | Parts-Christ/Lord Is Risen Today( - (specify) | 2.00 | |||
| This prelude, based on the familiar Easter hymn, begins with a subdued introduction, reminding us of a pre-dawn Easter morning. Thematic motives move us to the first theme statement, followed by a variation featuring bright antiphonal syncopated patterns. The next section builds toward the final triumphant presentation of the theme. |
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| 183913 | Psalm 47 | Robert Champagne | 4 | 65.00 | |
| 183913.1 | Score-Psalm 47 | 6.00 | |||
| 183913.5 | Parts-Psalm 47 - (specify) | 3.00 | |||
| A fantasia depicting the joy and
praise experienced in this scriptural text. It opens with
a brass fanfare leading into a narrative and response
(both spoken) followed by an ABA development into the
main theme. Harmonically, open 4ths and 5ths exist while
rhythms of three against two comprise the development
section. There are metrical changes and some solo work.
An original composition. |
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| 183903 | A Messiah Suite | David E. Smith | 4 | 40.00* | |
| 183903.1 | Score-Messiah Suite | 6.00* | |||
| 183903.5 | Parts-Messiah Suite - (specify) | 3.00* | |||
| A true transcription in four
movements with key adjustments to fit the band idiom.
Included are: Glory To God,
Pastoral Symphony,
With His Stripes We Are Healed,
and And The Glory Of The Lord. |
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| 183904 | Portrait/Birth of Christ | David E. Smith | 4 | 30.00* | |
| 183904.1 | Score-Portrait/Birth of Christ | 5.00* | |||
| 183904.5 | Parts-Portrait/Birth/Christ (Sp.) | 2.00* | |||
| A free styled tone poem that opens with many percussion statements including mallets. The central section is a chorale-antiphonal styled section based on Bach’s Puer natus in Bethlehem. The third section has a highly imitative counterpoint building in excitement proclaiming the Savior’s birth. | |||||
| Inv#: | Title: | Comp./Arr. | Level: | Price: |
| 183907 | Christmas Chorale Prelude & Fugue | George E. Strombeck | 4 | 44.00 |
| 183907 | Score-Christmas Chor. Pre/Fug | 5.00 | ||
| 183907.1 | Parts-Christmas Ch/P&F - (specify) | 2.00 | ||
| Written
in a chorale fugue style (alla J.S. Bach), this two-part
work is based on the old Scandinavian carol How
Brightly Shines The Morning Star.
The first section features the woodwinds with an
interesting obligato over the brass theme. The entire
fugue section is built over the augmented bass theme,
making this a true "chorale fugue." |
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| 183909 | Journey Of The Wise Men | George E. Strombeck | 4 | 39.00 |
| 183909.1 | Score-Journey of the Wise Men | 5.00 | ||
| 183909.5 | Parts-Journey/Wise Men - (specify) | 2.00 | ||
| Based
on the familiar carol We Three Kings
Of Orient Are, this tone poem
depicts the long journey of the wisemen from the east,
over mountains and desert until the star brings them to
the Christ-child, where they worship Him. The unique
motivic development wonderfully portrays this journey
with the quiet ending depicting their awe. |
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| 183919 | Battle Victorious | George E. Strombeck | 4 | 65.00 |
| 183919.1 | Score-Battle Victorious | 5.00 | ||
| 183919.5 | Parts-Battle Victorious - (specify) | 2.00 | ||
| Written
in the traditional sonata form this tone poem depicts the
spiritual battle of the Christian against the powers of
evil. The first theme of Sound The
Battle Cry serves as a call to arms.
The second theme shows preparation by way of the cross
with Lead Me To Calvary.
Suddenly, the Development section thrusts the themes into
battle using devices such as the fugue, stretti,
imitation, inversion, and augmentation. As with the
promised victory, the themes reappear together in a
glorious Recapitulation. Eph. 6:11. |
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| 183912 | They'll Know/Christian/Love | George E. Strombeck | 4.5 | 40.00 |
| 183912.1 | Score-They'll Know/Christian/L. | 5.00 | ||
| 183912.5 | Parts- Know/Christian/Lv. - (specify) | 2.00 | ||
| Back
in the 1970’s this was the "most popular"
Christian song with young people, as it expressed the
true meaning of the Christian lifestyle. Written in a
"rhapsodic" style with free treated variations,
including 5/4 and 6/8 times, along with very unusual
rhythmic counterpoint, this creative work will be a
highlight with audiences and performers! |
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| 581901 | DEMO TAPE Yg/Con/Adv. Band | 1-4 | 3.00 | |