61
Order Toll-Free! Call 1.800.345.6296 | jwpepper.com | [email protected]
Dramatic Overture—James Barnes.
Dramatic Overture is a lively, celebratory
piece commissioned to mark the 80th
anniversary of the band. It begins with a
stark, powerful introduction of the main
theme by the trombones and percussion,
soon joined by the other brass before the
music moves into a dance-like allegro
section. Dramatic brass statements,
scampering woodwinds and long, soaring
melodies dominate this allegro section
until the band slows once again, to present
a dramatic fanfare based on the basic
intervals of the opening theme. The work
then ends with a flashy, energetic coda.
11624524 Band Set & Score. . . . .105.00
The Edge—Joshua A. Idio. Described by
the composer as "fun to play, challenging
to learn, and well worth it to accomplish,"
this adventurous multigenre work combines
elements of jazz and rock with mixed
meters and agile parts to create a piece
that is sure to entertain!
11623121 Band Set & Score. . . . . .95.00
Elegy in the Baroque Style—James
Barnes. Cast in G minor, ELEGY IN THE
BAROQUE STYLE is a somber work
written in memory of the composer's mentor
and lifelong friend Kenneth Bloomquist. Its
emotional introduction eventually eases into
a baroque-style chaconne. A chaconne is a
set of variations based on a repeated chord
progression, as opposed to a passacaglia,
which is a set of variations over a ground
bass. In this case, the core of the piece
is structured over eleven repetitions
(variations) of the chord progression that is
initially stated in trombones and tubas. Each
variation is distinct in structure and scoring.
The work concludes with an extended coda,
finally settling on a low-voiced g minor chord
in low brass and bassoons.
11624525 Band Set & Score. . . . . .85.00
Essence of Memory—B.J. Brooks. The
music reflects the waves of memory that
one experiences when contemplating
the deepest of thoughts. First nebulous,
sometimes sharply focused, resonating
motifs, highs and lows. The four-chord
chaconne figure is the unifying core of the
work. It grounds the various melodies as
they enter and return, sometimes densely
paired, sometimes transparently isolated.
The themes are structured as an arch form
ABCBA, but as they recur, they are added
together, giving them more density, as if the
memories overlap, before the calmness,
first heard as an ethereal haze recurs.
11622764 Band Set & Score. . . . . .90.00
Evening Glow (from "Autumn
Triptych")—Eric Nathan. Evening Glow,
from Autumn Triptych, Eric Nathan (2008) 6'
for wind ensemble Instrumentation: Piccolo
1-2, flute 1-2, oboe 1-2, bassoon 1-2,
clarinet 1-3, bass clarinet, alto saxophone
1-2, tenor saxophone, baritone saxophone,
trumpet 1-3, horn 1-4, tenor trombone 1-2,
bass trombone, euphonium, tuba, timpani,
percussion 1-4, piano "Autumn Triptych"
was commissioned by the twelve member
schools of the Atlantic Coast Conference
Band Directors Association. It is inspired
by three paintings, each related to autumn:
Jackson Pollock's "Autumn Rhythm" (1950),
John Atkinson Grimshaw's "Evening Glow"
(c.1884), and Georgia O'Keeffe's "The Red
Maple at Lake George" (1926). My piece
does not seek to represent the paintings, but
instead uses the paintings as a springboard
for inspiration and musical form. It is my
sincere hope that viewing the paintings
will lend deeper insight into the meaning of
the music and the music in some way may
allow the viewer to see the art from a new
perspective. II. "Evening Glow" is inspired by
a painting of the same name by nineteenth-
century British painter John Atkinson
Grimshaw. I was immediately captivated by
the peaceful, yet sorrowfully longing quality
of the painting when I saw it during a visit
to the Yale Center for British Art (where it
resides in the Paul Mellon Collection). The
painting shows a woman standing alone,
looking down a winding road during the
dusk of a fall evening. As the road recedes
into the distance, the entire painting fades
away into the golden glow of the autumn
sunset. I saw the road as a metaphor for
time and for age. My piece puts two motifs
in conflict with each other: the motif of the
persistence of time with that of life. The two
are in constant struggle over the course of
the piece, until a chorale melody breaks
through at the end, suspending the moment
of Grimshaw's autumn sunset, if only briefly,
before allowing time to take over once again.
11624604 Band Set & Score. . . . .250.00
Falling Up (from "Autumn Triptych")—
Eric Nathan. The first in a triptych inspired
by three paintings, each related to autumn;
Falling Up is a reflection of Jackson
Pollock's "Autumn Rhythm" (1950), a
tangled sea of swirls of paint that merge into
a few larger circular rings embedded in the
painting. These rings become an organizing
principle; the overall form of of this work
consists of a series of rotations of the
original thematic material, where the order,
orchestration, and character of the material
vary in each rotation. Commissioned by the
12 member schools of the Atlantic Coast
Conference Band Directors Association.
11624602 Band Set & Score. . . . .235.00
Five Dances for Five Clarinets and
Band, Second Edition—Alfred Reed/
arr. Yasuhiro Murakami/ R. Mark Rogers.
Alfred Reed composed Five Dances for
Five Clarinets in 1956 at the request of the
LeBlanc instrument company to introduce
the performance capabilities and tone of
each instrument of the clarinet family. The
five movements are based on musical styles
from around the world: 1. Hoe-Down (E-flat
Soprano Clarinet), 2. Sarabande (E-flat Alto
Clarinet or Basset Horn in F), 3. Guaracha
(Bass Clarinet), 4. Afro (E-flat Contra Alto
or B-flat Contra Bass Clarinet), and 5. Hora
(B-flat Clarinet). Previously, the score and
parts for Five Dances for Five Clarinets were
only available on a rental basis, and Reed
had not included the composition in his own
list of published works. Yasuhiro Murakami,
author of an annotated list of Reed's works,
created this edition based on Reed's
manuscript. This work may be performed
by one soloist on five different clarinets, by
five separate soloists, or a smaller number of
the movements may be played by one or by
multiple soloists. Each of the Five Dances is
also published with piano accompaniments
which are still in print. The detailed "Master
Plan Lesson" written by Donald McCathren
of LeBlanc for each movement are available
for digital download.
11624526 Band Set & Score. . . . .150.00
Going Home Sweet Home (An Aural
Interplay between Antonin Dvorak's
Going Home theme from his Symphony
No. 9 ("New World") and Home!
Sweet Home!)—Van B. Ragsdale.
Blending two well-known melodies of
historical significance in both American
and European music, this arrangement
demands expressive interpretation, with
emphasis on legato phrasing and dynamic
control. The piece includes a 12/8 section
that flows naturally from the preceding
material, transitioning from a waltz into an
easy swing. Evoking emotions of nostalgia
and longing, it captures the heartfelt journey
of returning home.
11622819 Band Set & Score. . . . .100.00
Majestic—James Barnes. MAJESTIC is an
energetic work intended to showcase the
dramatic potential and immense emotional
and rhythmic drive of the modern wind
band. Fanfare-like passages in the brass
intermix with virtuosic woodwind writing
and colorful percussion (including harp) to
make this short piece a virtual tour de force
of instrumental color and power.
11624532 Band Set & Score. . . . . .85.00
March of the Zouaves—Augusta Holmes/
arr. Robert Debbaut. This is a fresh and
invigorating work that will add sparkle to any
program. A rare work from a little known, yet
significant, French woman composer.
11624533 Band Set & Score. . . . . .75.00
Molly Pitcher (The American Legend
Series)—Steve Dunn. This piece is part of
the American Legends series and tells the
story of Molly Pitcher, a woman who took
over her husband's cannon crew duties
during the American Revolution after he was
injured in battle. The music includes themes
representing both the British and Continental
forces, with a dramatic shift as Molly steps
in to continue the fight, culminating in
a powerful conclusion. Performance
suggestions include using traditional snare
drums and cannon sound effects.
11622818 Band Set & Score. . . . .105.00
Mountains Rising Everywhere—Paul
Rudy. "Mountains Rising Everywhere"
is a deeply personal homage to Joseph
Schwantner's "And the Mountains Rising
Nowhere", which inspired the author to
pursue composition after hearing it in
college. Drawing on a transformative trip to
Alaska with Composing in the Wilderness,
the work captures the unexpected beauty
of nature, from towering mountains to
the delicate, intricate tundra underfoot,
reminding us that adventure is often found
in the most surprising places.
11622766 Band Set & Score. . . . .138.00
Mystic Summers (Flexible Instrument-
ation)—Josh Trentadue. Celebrate all of
the joyful, vigorous spirit of the summer
season in this marvelous, driving, and
energized piece!
11623157 Band Set & Score. . . . .100.00
Mystic Summers—Josh Trentadue.
Celebrate all of the joyful, vigorous spirit
of the summer season in this marvelous,
driving, and energized piece!
11623111 Band Set & Score. . . . .110.00
Normandy 1944—Jeremy S. Martin.
D-Day, June 6, 1944. A fateful day and the
turning point of World War II. A day that has
only gained importance and reverence over
the years. It was a day that we should never
forget; for lives that were lost and lives that
were saved through that sacrifice. This work
resounds with homage to fallen heroes.
11624535 Band Set & Score. . . . .115.00
Overture in D Minor—Emilie Mayer/arr.
Cody Myre. Introduce your wind ensemble
to the music of Emilie Mayer in this expertly
transcribed version of one of her most
popular overtures!
11618776 Band Set & Score. . . . . .90.00
Overture: The Charlatan—John Philip
Sousa/arr. Loras John Schissel. One of
many masterful but little-known Sousa
works, this overture is representative of the
composer at his melodic peak. The work
has drama, beauty, and a lively compound
meter lilt that will delight all.
11624069 Band Set & Score. . . . . .75.00
Prelude in G Minor (Op. 23, No. 5)—
Sergei Rachmaninoff/arr. Cooper Minnis. A
deep, brooding atmosphere in the opening
transitions to sweeping lyrical sections.
This arrangement for wind band maintains
the integrity of the original piano work while
embracing the tonal palette of the concert
band. Great for focusing on precision and
expression, with special attention to the
changes in dynamics and tempo that bring
out the work's emotional depth.
11622814 Band Set & Score. . . . .100.00
Concert & Contest | Advanced
Great Job!
"Keep up the outstanding
work! I appreciate the timely
efforts of all that you do."
Dean
