 | synthesized demo The syncopated drum and dance rhythms of the African bamboula became popular in Haiti in the 1700's, and later found their way into the American south, especially New Orleans. Louis Moreau Gottschalk of New Orleans composed his Bamboula—Danse Nègres in 1848 and played it in solo piano concerts all over the world. BAMBOULA is part of Creative Spirit's IN-TOUCH-WITH-ONE-ANOTHER world music series and one of our many GOTTSCHALK TRANSCRIPTIONS. DURATION: 6:30 | |
 | synthesized demo Based on a Creole folk song, En avan' Grenadie ("On Grenadiers!") that was sung by Louisiana Creoles during the Battle of New Orleans (1814), LE BANANIER became massively popular with the Parisian audiences who came to hear the young Louis Moreau Gottschalk in his solo piano recitals. The title means "The Banana Tree," and the piece is full of African-Caribbean influence, all above a musette-like accompaniment. LE BANANIER is part of Creative Spirit's IN-TOUCH-WITH-ONE-ANOTHER world music series and one of our many GOTTSCHALK TRANSCRIPTIONS. DURATION: 3:15 | |
 | synthesized demo A Christmas Carol was taken from Ives's 114 Songs, which he published himself in 1922. It was probalby composed around 1894. It is a simple, charming song, that nevertheless includes subtle phrasing and rhythmic shifts that give it an Ivesian flavor. Four Old Fashioned Hymns, also published by Creative Spirit, is a Grade III band transcription of three additional pieces from 114 Songs, along with A Christmas Carol. Also available, as a Grade IV band transcription, is Four Ecclectic Songs of Charles Ives. | |
 | synthesized demo Contrapunctus II for Wind Ensemble was completed in 2020 and is a transcription by the composer of his Sonata No. 4 for piano. This wind ensemble version is scored for flute, oboe, English horn, Bb clarinet, bass clarinet, bassoon, French horn, C trumpet, trombone, and tuba. It is a challenging, even virtuosic foray into colorful and continually evolving instrumental combinations, unified by a highly rhythmic texture with moments of lyricism. The work is in one movement. The cover artwork, “Wrapped in Red” by Barbara Ponder-Brooks is used with permission. DURATION: 15:00 | |
 | synthesized demo El Queléle (The White Hawk) from Old Spanish California. Grade 1.5 concert band, designed with young musicians in mind. Includes carefully detailed dynamics, articulation and phrasing that will challenge young players while also bringing this beloved traditional song to life. The GLOBAL ADVENTURES series presents folk and traditional music from around the world arranged for string orchestra (with optional parts for percussion, guitar, and piano) and for concert band. | |
 | synthesized demos Fare Thee Well, O Honey (Dink's Song) from the southern U.S.A. Grade 2.5 concert band, designed with young musicians in mind. This arrangement includes carefully detailed dynamics, articulation and phrasing that will challenge young players while also bringing this poignant old Texas folk song to life. DURATIONS—2:45 The GLOBAL ADVENTURES series presents folk and traditional music from around the world arranged for string orchestra (with optional parts for percussion, guitar, and piano) and for concert band. | |
 | synthesized demo The Cage, Walking, The Side Show, and Thoreau were selected from Charles Ives' self-published 114 SONGS, first distributed / published by Ives in 1922. These short songs, transcribed here for concert band, abound in colorful harmonies and playful rhythms, all in the sometimes daring and always distinctive musical language of this great American composer. These transcriptions offer a way to introduce young musicians to the remarkable music of one of America's greatest composers, Charles Ives. And they can also generate discussions about eccentricity, tolerance, thinking outside-the-box, and artistic iconoclasm. DURATION: 5:00 | |
 | synthesized demos Golondrinas Oaxaqueñas (The Swallows of Oaxaca) from Mexico. Grade 2 concert band, designed with young musicians in mind. This arrangement includes carefully detailed dynamics, articulation and phrasing that will challenge young players while also bringing this old popular song from Oaxaca to life. DURATION—4:30 The GLOBAL ADVENTURES series presents folk and traditional music from around the world arranged for string orchestra (with optional parts for percussion, guitar, and piano) and for concert band. | |
 | synthesized demoA rhythmic, patternistic work from the 1980's by Steven Paxton, HIRI CHANTS takes the players and the audience on a non-stop ride, propelled by a six-note ostinato moving through ever changing tonalities in a minimalist musical style. The title has a double reference: the Christian greeting/mantra "He is risen indeed" provides the six-note ostinato, and the celebratory textures created by overlapping rhythmic patterns and tonalities honor the inter-clan, communal festivals (sing-sings) of Papua New Guinea, where HIRI is one of four official languages. DURATION: 5:00 | |
 | synthesized demos Movement 1: At a Wedding Movement 2: In the Countryside Movement 3: Farewell Gustav Mahler composed his SONGS OF A WAYFARER in 1885, setting his own poems for voice and piano, and then orchestrating them in 1890. Three of them have been transcribed for band in this publication: At a Wedding (I."Wenn mein Schatz Hochzeit macht"), In the Countryside (II."Ging heut Morgen übers Feld"), and Farewell (IV."Die zwei blauen Augen von meinem Schatz" — also used by Mahler in the slow movement of his First Symphony). All of the songs have the flavor of folk music, with pentatonic melodies and gentle, simple harmonies. But in Mahler's hands this musical language becomes evocative and almost impressionistic, full of contrasts between simple joy and tragic sorrow—and always nostalgic in a Mahleresque way. These adaptations/transcriptions by Steven Paxton provide a way to introduce band musicians to the music of a great European master composer who did not himself compose for band. DURATION: 11:30 | |
 | synthesized demo The Collection, At the River, and A Christmas Carol were selected from Charles Ives self-published 114 SONGS, first distributed / published by Ives in 1922. These short songs, transcribed here for concert band, combine quotations from familiar hymns with abundant original harmonic and rhythmic material, all in the sometimes daring and always distinctive musical language of this great American composer. These transcriptions offer a way to introduce young musicians to the remarkable music of one of America’s greatest composers, Charles Ives. And they can also generate discussions about eccentricity, tolerance, thinking outside-the-box, and artistic iconoclasm. DURATION: 5:30 | |
 | synthesized demo Dance, march, and even early ragtime-like rhythms (before ragtime was a thing) abound in this high-stepping work of Gottschalk's, originally composed for piano when he was living in Rio de Janeiro in 1869. The subtitle, Caprice, refers to the playful character of the music, and the word "pasquinade" literally means "a lampoon." PASQUINADE is part of Creative Spirit's IN-TOUCH-WITH-ONE-ANOTHER world music series and one of our many GOTTSCHALK TRANSCRIPTIONS. For a three-movement suite including it along with Gottschalk's BAMBOULA and LE BANANIER, see CREOLE DANCES. DURATION: 4:15 | |
 | synthesized demo The pericón is a folk dance of Argentina, Uruguay, Paraguay, and Chile, and is widely considered (along with the tango) to be the national dance of both Uruguay and Argentina. This version, entitled Pericón Nacional, was composed and published in 1886 by Uruguayan Gerard Grasso and became widely known and beloved throughout South America. It was based on earlier dance music widely performed by the traveling Podestá-Scotti Troupe, who themselves inherited it from a centuries-old folk dance tradition. This transcription for band was created by Steven Paxton, especially for school ensembles, and is part of Creative Spirit's IN-TOUCH-WITH-ONE-ANOTHER world music series. DURATION: 4:30 | |
 | synthesized demo A challenging, thoughtful major work for concert band by Steven Paxton. Rhythmic and melodic patterns and layers build to a near chaotic climax, followed by a minimalistic, evocative, calm resolution. Think drought, approaching storm, gentle and welcome rain. DURATION: 10:00 | |
 | synthesized demo Joseph Weber composed his Symphony for Band (also titled Symphony #1 for Band) in 1956 for Edwin C. Kruth and the San Francisco State College Symphonic Band, revising it in 1962. It is rhythmic and colorful, with hints of Bernard Herrmann film scores, but also foreshadows the patternistic, minimalist works of Terry Riley, La Monte Young, and other San Francisco composers with whom Weber was associated throughout the 1960's. This performance edition was created by Steven Paxton for Creative Spirit's JOSEPH WEBER ARCHIVES series. DURATION: 13:00 | |
 | <tlok> is a framework for a performance, providing 17 events, arranged in a circle, and intended to be performed in order by an ensemble of any size. A conductor provides left-hand and right-hand signals to influence certain aspects of how the performance unfolds. Organizers of a performance also have an option of creating their own customized series of events, adding to the existing 17, and/or eliminating those that are impractical or inappropriate for their particular ensemble. The performance of <tlok> offers a way to introduce aleatory, group improvisation, and indeterminacy to an ensemble, and can also provide (1) an avenue for reducing or eliminating performer inhibitions, and (2) a technique for exploring creativity. DURATION: 3:00 to 5:00 |
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