Kevin Tam

Audio Available

Component

Delivery

Eprint Folders

Format

Grade

Instrument

Item Sequence

Large Print Edition

Marketed Status

Minimum Sell Quantity

MINTS Data Available

Product Line

Prop65

Score Available

Video Available

110th Street Rumba

Concert Band Score & Parts

George Gershwin's fabled composition combined with Ferde Grofe's
  interpretation, from the same duo whom collaborated on the "Rhapsody in
  Blue" comes a more lighthearted piece which hints at a bit of Sousa!

Strike Up the Band

A delightful setting of the Irish National Anthem which Victor Herbert Whipped up for orchestra and has lay dormant for years. This short work finally finds its place in the Concert Band setting over 100 years later. Ideal for use on an Irish Heritage celebration, St. Patrick's day or any other multicultural concert. Be one of the first band to play this in over 100 years.

Soldiers of Erin

This arrangement derives directly from the original 1925 Paul Whiteman score, and aims to retain the sound and intent of the original while taking advantage of Grofe's own later enhancements to the work. Some examples of these nuances include the ascending eighth notes in the opening of Old Creole Days, and the French Horn countermelodies at the culmination of Mardi Gras. The Whiteman Orchestra employed the use of four alto saxophones and these parts have been retained as written for the original Whiteman players. In modern band ensembles it is recognized that not all groups will have four players available and so the 3rd and 4th alto sax. parts are cued or doubled as needed. As the original Whiteman score also utilized two pianos, these parts too have been retained and combined for single player as an optional part, with optional piano solos marked at measures 76 and 83 in Huckleberry Finn. The piano part does add a third element to this work, some rhythmic textures and jazz infused accents and flourishes that were only ever realized in the Whiteman piano parts. An optional gong at the end of Mardi Gras is also marked as per the original and is very evocative of the context of the Mardi Gras theme.

Mississippi Suite - No 4 Mardi Gras

Preceding Porgy and Bess, Blue Monday was Gershwin's first foray into the idiom, and his brilliance shines bright in this now 100-year old composition which gives great hint at some of his great works to come. With an optional vocal part, this arrangement begs to be explored by a new generation after being unpublished for nearly a century. Combined with the interpretation of Ferde Grofe who arranged the Rhapsody in Blue, this interpretation of the longer score is right in line with the symphonic jazz that was the motivation for Paul Whiteman to commission the Rhapsody from Gershwin.

Blue Monday Blues

A light-spirited dance featuring collected cowboy and American folk tunes from the turn of the century, this hitherto unpublished arrangement by John Philip Sousa was created as a companion piece to Guion's "Turkey in the Straw." A classic example of the old cowboy and fiddler's tunes played at reunion dances in the frontier West.

Sheep and Goat

In "The Band Came Back," Sousa's musical brilliance shines brightly. His score explores every aspect and nuance of a concert band's capability, section by section drilling down into the characteristic nature of each instrument. Always the showman, he carries out this musical feat beginning with only one instrumentalist on stage.  The others gather onstage in sections, playing thematic passages as they enter.

The Band Came Back

In time for the 100th anniversary of the 1915 Pan Pacific Exposition for which it was commissioned, this expansive work is available for the first time in the Concert Band Setting.  It pays tribute to the friendship between France and America with intertwining themes of  La Marseillaise and the Star Spangled Banner.

Hail! California

The grand experimental concert performed at Aeolian Hall in 1924 which featured the 'Rhapsody in Blue' premiere, also brought the premiere of the final concert work by another American music master - Victor Herbert. His 'Suite of Serenades' was commissioned by Paul Whiteman for the same concert and would prove to be his final composition. Herbert, a founder of ASCAP, felt like he broke new personal ground in this score by stepping into Whiteman's new concept of symphonic jazz.

Suite of Serenades

Parts

Nicknamed "the Girl Gershwin," Tin Pan Alley jazz pianist Dana
  Suesse was also a composer of film scores and Broadway show tunes. The
  Nocturne's first theme, a restless, major/minor feeling, captured the spirit
  of the Jazz Era; the second 
    
    theme was an obvious candidate for a popular ballad. Premiered at Paul
  Whiteman's 1932 "Experiment" in Modern Music concert at Carnegie
  Hall.

Jazz Nocturne

Concert Band Part

In 1926, Sousa composed his humoresque "A Mingling of the Wets and the Drys", a fantasy on Prohibition wherein takes place a musical conversation between a drinker and a non-drinker. In the course of discussion, they sit down for "Tea for Two" and we hear familiar tunes such as the Irving Berlin's "The Near Future" (How Dry I Am) and the "Old Oaken Barrel". In the end, the musical debaters agree to disagree and finish with a round of "Auld Lang Syne". To his credit Sousa declines to takes sides in this disagreement himself.

A Mingling of the Wets and the Drys - A Prohibition Fantasy

For the first time, having never been published, this arrangement brings Sousa's private companion piece to his published version of Turkey in the Straw to the Concert Band. According to the composer: "the 'Sheep and Goat' like 'Turkey in the Straw' was written, whistled, sung, or played once upon a time by someone, somewhere in America. D. W. G. 1922

Sheep and Goat, Walkin to Pasture

The original score for "Whirligig" was housed in the archives
  of the now defunct Paramount Theatre of the Arts Music Library in Oakland,
  CA. Set in neat copyist hand, this work was originally titled
  "Scherzette" but that notation was crossed out on all 
    
    parts with "Whirligig" stamped over them. This piece was one of
  her shorter orchestral novelties, meant to entertain in a rhythmic and
  structural difference in shorter form. Suesse, well known for her concertos
  and Suites, did not produce that many shorter works.

Whirligig

This arrangement derives directly from the original 1925 Paul Whiteman score, and aims to retain the sound and intent of the original while taking advantage of Grofe's own later enhancements to the work. Some examples of these nuances include the ascending eighth notes in the opening of Old Creole Days, and the French Horn countermelodies at the culmination of Mardi Gras. The Whiteman Orchestra employed the use of four alto saxophones and these parts have been retained as written for the original Whiteman players. In modern band ensembles it is recognized that not all groups will have four players available and so the 3rd and 4th alto sax. parts are cued or doubled as needed. As the original Whiteman score also utilized two pianos, these parts too have been retained and combined for single player as an optional part, with optional piano solos marked at measures 76 and 83 in Huckleberry Finn. The piano part does add a athird elementa to this work, some rhythmic textures and jazz infused accents and flourishes that were only ever realized in the Whiteman piano parts. An optional gong at the end of Mardi Gras is also marked as per the original and is very evocative of the context of the Mardi Gras theme.

Mississippi Suite - No 1. Father of Waters

The grand experimental concert performed at Aeolian Hall in 1924 which featured the premiere of 'Rhapsody in Blue', also brought the premiere of the final concert work by another American music master - Victor Herbert. His 'Suite of Serenades' was commissioned by Paul Whiteman for the same concert and would prove to be his final composition. Herbert, a founder of ASCAP, felt like he broke new personal ground in this score by stepping into Whiteman's new concept of symphonic jazz.

This arrangement derives directly from the original 1925 Paul Whiteman score, and aims to retain the sound and intent of the original while taking advantage of GrofAas own later enhancements to the work. Some examples of these nuances include the ascending eighth notes in the opening of Old Creole Days, and the French Horn countermelodies at the culmination of Mardi Gras.
The Whiteman Orchestra employed the use of four alto saxophones and these parts have been retained as written for the original Whiteman players. In modern band ensembles it is recognized that not all groups will have four players available and so the 3rd and 4th alto sax. parts are cued or doubled as needed. As the original Whiteman score also utilized two pianos, these parts too have been retained and combined for single player as an optional part, with optional piano solos marked at measures 76 and 83 in Huckleberry Finn. The piano part does add a athird elementa to this work, some rhythmic textures and jazzinfused accents and flourishes that were only ever realized in the Whiteman piano parts. An optional gong at the end of Mardi Gras is also marked as per the original.
While not necessary for performance, inclusion of these optional parts is highly recommended to achieve the full original intent and textures.

Mississippi Suite - No 2. Huckleberry Finn

A Lost Humoresque by Sousa which exhibits each section of the band in a soloistic manner. These works were never published and held in reserve for the Sousa Band to show off its talent. Described in a vintage Sousa program this humoresque folds out: "The members of the band, having taken umbrage at a sharp criticism of their leader, conclude to rebel. The oboe initiates the revolt by rising in his place, playing I'm Going Back to Dixie, and leaving the stage. The others follow in pairs, trios, quartettes, etc. each playing a familiar good bye or farewell song. Finding, after all the fuss, that the leader remains perfectly calm and unconcerned and recalling also that pay-day comes on the morrow, they all suddenly and precipitately march back to their duty, playing, as an index of their repentance, the emotional old song Annie Laurie."

Good-Bye

This arrangement derives directly from the original 1925 Paul Whiteman score, and aims to retain the sound and intent of the original while taking advantage of Grofe's own later enhancements to the work. Some examples of these nuances include the ascending eighth notes in the opening of Old Creole Days, and the French Horn countermelodies at the culmination of Mardi Gras. The Whiteman Orchestra employed the use of four alto saxophones and these parts have been retained as written for the original Whiteman players. In modern band ensembles it is recognized that not all groups will have four players available and so the 3rd and 4th alto sax. parts are cued or doubled as needed. As the original Whiteman score also utilized two pianos, these parts too have been retained and combined for single player as an optional part, with optional piano solos marked at measures 76 and 83 in Huckleberry Finn. The piano part does add a third element to this work, some rhythmic textures and jazz-infused accents and flourishes that were only ever realized in the Whiteman piano parts. An optional gong at the end of Mardi Gras is also marked as per the original. While not necessary for performance, inclusion of these optional parts is highly recommended to achieve the full original intent and textures.

Mississippi Suite - No 4. Mardi Gras

This arrangement derives directly from the original 1925 Paul Whiteman score, and aims to retain the sound and intent of the original while taking advantage of GrofAas own later enhancements to the work. Some examples of these nuances include the ascending eighth notes in the opening of Old Creole Days, and the French Horn countermelodies at the culmination of Mardi Gras.
The Whiteman Orchestra employed the use of four alto saxophones and these parts have been retained as written for the original Whiteman players. In modern band ensembles it is recognized that not all groups will have four players available and so the 3rd and 4th alto sax. parts are cued or doubled as needed. As the original Whiteman score also utilized two pianos, these parts too have been retained and combined for single player as an optional part, with optional piano solos marked at measures 76 and 83 in Huckleberry Finn. The piano part does add a athird elementa to this work, some rhythmic textures and jazz infused accents and flourishes that were only ever realized in the Whiteman piano parts. An optional gong at the end of Mardi Gras is also marked as per the original.
While not necessary for performance, inclusion of these optional parts is highly recommended to achieve the full original intent and textures.

Mississippi Suite - No 3. Old Creole Days

Global Sections - CORE [DO NOT TOUCH]*

Favicon

Need Help? Contact Us or call 1-800-345-6296    Live Chat

Header

Don't have a business account? Create one

Products