Ronan Bodisch

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Originally from the composer's first symphony for orchestra, this march has been arranged and adjusted for Concert Band (originally in C# minor, transposed to C minor)
This exciting and threatening march is the first movement to the composer's first symphony, but published as a standalone piece. Every section gets a chance to show out in this piece. This march is written in American March form with the trio repeated twice and dogfight repeated once. In the first strain, it's like your typical American march, with the soprano voices taking lead on the melody, and the middle and low voices playing the motor. The second strain give the low woodwinds, brass, and strings a bombastic melody with perpetual triplets. The first trio is a little non-traditional, as it is in a quasi-tango style (even more non-traditional as the horns carry the melody). Both dogfights (or "break strains" if you're not a Southerner) use harmonic sequences to create instability. The second iteration of the trio features the flute section... or should I say, the PICCOLO section, with a virtuous soli. After the second dogfight and final trio, the piece ends on a picardy third, as the last chord is V in the key of the second movement of the composer's symphony. For a performance guide, reach out to the composer @ ronanbodischband@gmail.com

March for the End of an Era

Concert Band Score & Parts

This is the version WITH harp. A version without harp is available as well. This dark and somber piece was inspired by the beautiful flower, the Black Orchid. Every section in this piece gets the opportunity to play a melodic/interesting part in this piece. I use some special harmonies using modal mixture and modulation to explore different key areas in this flowing piece. 

For a harmonic analysis and performance guide, reach out to the composer @ ronanbodischband@gmail.com

Black Orchid (with harp)

String Orchestra Score & Parts

This is the version WITHOUT harp. A version with harp is available as well. This dark and somber piece was inspired by the beautiful flower, the Black Orchid. Every section in this piece gets the opportunity to play a melodic/interesting part in this piece. I use some special harmonies using modal mixture and modulation to explore different key areas in this flowing piece. 

For a harmonic analysis and performance guide, reach out to the composer @ ronanbodischband@gmail.com

Black Orchid (no harp)

This exciting piece for orchestra will give thrills to all who perform and listen! This screamer (circus march) depicts any given Texas driver hamming it on the interstate going at least 80 in the left lane. The adrenaline that will pump through the performers will be similar to that of the driver. This march is different than most because the horns aren't playing straight upbeats the entire piece. In fact, they are even given the melody almost exclusively in the trio. The flute players also get to brush up on their piccolo skills by playing an exciting piccolo soli in the second iteration of the trio section. The low brass gets to blow their faces off in multiple sections of the piece. The woodwinds will probably regret their life choices after performing this, but at least it was fun... right? If not, GET OUT THE WAY!! Have fun yall.

GET OUT THE WAY!!!

This exciting and threatening march is the first movement to the composer's first symphony, but published as a standalone piece. Every section gets a chance to show out in this piece. This march is written in American March form with the trio repeated twice and dogfight repeated once. In the first strain, it's like your typical American march, with the soprano voices taking lead on the melody, and the middle and low voices playing the motor. The second strain give the low woodwinds, brass, and strings a bombastic melody with perpetual triplets. The first trio is a little non-traditional, as it is in a quasi-tango style (even more non-traditional as the horns carry the melody). Both dogfights (or "break strains" if you're not a Southerner) use harmonic sequences to create instability. The second iteration of the trio features the flute section... or should I say, the PICCOLO section, with a virtuous soli. After the second dogfight and final trio, the piece ends on a picardy third, as the last chord is V in the key of the second movement of the composer's symphony. 

For a performance guide, reach out to the composer @ ronanbodischband@gmail.com

Symphony No. 1 in C# Minor - Mvt. 1 - March

Full Orchestra Score & Parts

This exciting piece for concert band will give thrills to all who perform
  and listen! This screamer (circus march) depicts any given Texas driver
  hamming it on the interstate going at least 80 in the left lane. The
  adrenaline that will pump through the performers will be similar to that of
  the driver. 
    
    This march is different than most because the horns aren't playing straight
  upbeats the entire piece. In fact, they are even given the melody almost
  exclusively in the trio (along with the Euphoniums to amplify the horns). The
  flute players also get to brush up on their piccolo skills by playing an
  exciting piccolo soli in the second iteration of the trio section. The low
  brass gets to blow their faces off in multiple sections of the piece. The
  woodwinds will probably regret their life choices after performing this, but
  at least it was fun... right? If not, GET OUT THE WAY!! Have fun yall.

This intense and emotional piece draws inspiration from
  classical/romantic composers, such as Edward Elgar, while also mixing in
  modern elements.
    
    Performance Notes: Dissonance is very common in this piece. It will not
  help the orchestra if the players cower away from it, rather than play it
  confidently. Don't second-guess whether or not the right notes are being
  played. Be sensitive to whoever has the moving line, as it is passed around
  the orchestra. At measure 22, the Violas and Cellos should soar above the
  violins. At measures 26-30, everyone in the orchestra should be playing as
  loud as humanly possible (go crazy, go bananas), while still remaining
  sensitive to the moving melodies; this is the composer's signature theme. Be
  mindful of the key change at measure 35 (F Maj/D Min to B-Flat Maj/G Min). In
  the end, Violins, Violas, and Cellos should decrescendo to literally nothing
  on the tremolos. The basses should emphasize pizzicato, but play it lightly,
  rather than thunderous. The chords in the Harp and Piano should also be
  brought out.

Elegie

The second movement from Ronan Bodisch's "Concerto in E Major"
  published as a stand-alone piece to be used for Christmas orchestra concerts.
  This will give an exceptional bassist the chance to wish the crowd a Merry
  Christmas in their own expressive style. 
    
    Performance Notes: This movement is the composer's take on the Christmas
  carol "In the Bleak Midwinter." The cadenza provided is a
  suggestion to the performer but can be substituted with an original cadenza
  written by the soloist. This movement builds up into the dramatic section at
  Letter P, which is meant to be played as loud as possible by both the soloist
  and orchestra; it is the composer's signature theme. Merry Christmas, and
  have fun performing this piece!

Fantasia on "In the Bleak Midwinter"

Also known as "Der Holle Rache kocht in meinem Herzen," (The
  Vengeance of Hell Burns in my Heart), this aria from "The Magic
  Flute" is sung by the Queen of the Night, expressing her anger toward
  her nemesis, Sarastro. She gives her daughter, Pamina, a knife, and orders
  her to kill Sarastro with it. However, Pamina is in love with Sarastro, and
  doesn't want to assassinate him. Nonetheless, the Queen of the Night
  threatens to disown Pamina if she follows through. 
    
    
    
    This arrangement for flute is just as challenging and demanding (if not
  more) as the original version for soprano solo.

Queen of the Night Aria

<p>Even though I don't really enjoy Christmas all that much, (people used to call me "The Grinch"), I do enjoy the music that plays during this time, whether it be good ol' "Sleigh Ride" by Leroy Anderson, or even the traditional carols, such as "Silent Night," and "In the Bleak Midwinter." In fact, I love that music so much that I like to re-orchestrate it, and fantasize it to my liking. For example, in the first concerto I wrote for String Bass Solo, I wrote a version of "In the Bleak Midwinter." I wanted to revisit that song, so I decided to orchestrate a version for concert band, as I spent a lot of my musical career playing in a wind band. The opening of this piece begins with a woodwind chorale, introducing the theme of the song. The solo Horn interjects with bell tones, and passes along the spotlight to the Flutes and Oboes at letter A, where they sing the main theme. At measure 12, some tenor voices (Bassoon, Horn, Euphonium, and String Bass) take over for the woodwinds before passing the theme back to them. At letter B, we hear a brass chorale performing a variation of the original theme. The low brass play "Dies Irae" at measure 27, and sustain into 29 in a unison before splitting off. When the upper brass come back in, the whole section should crescendo together to build up into the next section. At letter C, the whole band now plays together, singing another verse of the original theme. This time, however, the Horns (and Tenor Sax) have a special line that keeps the motion going - this part should be heard above the ensemble, but not so much that it covers up the main theme. The sound should calm down a lot going into D, where the horns have a smooth, gentle 5/4 variation of the main theme. Each iteration should get a little bit louder. If needed, one person on a part is permissible. As more voices in sections D and D.5 are added, the overall sound of the ensemble should get louder and more full. The bars before letter E should grow dramatically. Letter E is my signature theme, which I like to throw in all of the pieces that I write (it makes it feel more personal to me). The Oboes, Bassoon 1, Trumpets and Horns play part 1 of the theme, while Bassoon 2, Saxes, Euphonium, and String Bass play part 2 of the theme. Those sections should all be heard equally, but above the rest of the ensemble, which is playing supporting themes. The end of the section ends in a dissonant chord, this is the biggest part of the piece and should be as loud as humanly possible (but with a good sound). The Bassoon solo at section F calms us down, while the woodwinds play one last iteration of the main theme from "In the Bleak Midwinter." The chord at the end should go all the way down into nothing. A true niente is hard to achieve, so it will take some work for everyone to get it all the way. If needed, one person on a part is permissible.</p>

In the Bleak Midwinter

<p>Even though I don't really enjoy Christmas all that much, (people used to call me "The Grinch"), I do enjoy the music that plays during this time, whether it be good ol' "Sleigh Ride" by Leroy Anderson, or even the traditional carols, such as "In the Bleak Midwinter." In fact, I love that music so much that I like to re-orchestrate it, and fantasize it to my liking. For example, in the first concerto I wrote for String Bass Solo, I wrote a version of "In the Bleak Midwinter." I wanted to revisit that song, so I decided to orchestrate a version for concert band, as I spent a lot of my musical career playing in a wind band. The opening of this piece begins with a woodwind chorale, introducing the theme of the song. The solo Horn interjects with bell tones, and passes along the spotlight to the Flutes and Oboes at letter A, where they sing the main theme. At measure 12, some tenor voices take over for the woodwinds before passing the theme back to them. At letter B, we hear a brass chorale performing a variation of the original theme. The low brass play "Dies Irae" at measure 27, and sustain into 29 in a unison before splitting off. When the upper brass come back in, the whole section should crescendo together to build up into the next section. At letter C, the whole band now plays together, singing another verse of the original theme. This time, however, the Horns (and Tenor Sax) have a special line that keeps the motion going - this part should be heard above the ensemble, but not so much that it covers up the main theme. The sound should calm down a lot going into D, where the horns have a smooth, gentle 5/4 variation of the main theme. Each iteration should get a little bit louder. If needed, one person on a part is permissible. As more voices in sections D and D.5 are added, the overall sound of the ensemble should get louder and more full. The bars before letter E should grow dramatically. Letter E is my signature theme, which I like to throw in all of the pieces that I write (it makes it feel more personal to me). The Oboes, Bassoon 1, Trumpets and Horns play part 1 of the theme, while Bassoon 2, Saxes, Euphonium, and String Bass play part 2 of the theme. Those sections should all be heard equally, but above the rest of the ensemble, which is playing supporting themes. The end of the section ends in a dissonant chord, this is the biggest part of the piece and should be as loud as humanly possible (but with a good sound). The Bassoon solo at section F calms us down, while the woodwinds play one last iteration of the main theme from "In the Bleak Midwinter." The chord at the end should go all the way down into nothing.</p>

This dramatic orchestration of the Texan folk song "The Yellow Rose of Texas" opens with a calm version of the composer's signature, and enters into a 12/8 variation of the folk song that every Texan knows well, with the violins carrying the melody, and the lower strings offering a flowing accompaniment. At rehearsal mark B, the cellos and basses serenade the audience with a new rhythmic variation on the theme, using duple rhythms in triple meter, leading the orchestra into a forte hit with deceptive harmonic motion. After calming down, the violas introduces a new theme, and at the end of their soli, bring us into a new key and intermezzo. At Letter E, the basses play a pizzicato variation of the original theme, but this time in a minor key. Proceeding the bass soli, the original theme makes another cameo, with the violas and cellos playing swift runs to embellish the theme.

Fantasia on a Texan Folk Song

Score & Parts

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This beautiful piece by Franz Strauss was originally written for French
  Horn Solo and Piano. It is common that a lot of horn solos are also available
  for Cello Solos, but not many (if any at all) are available for String Bass
  Solo. It has been arranged by Ronan Bodisch for any bass player that would
  like to explore other genres and composers of music, rather than the few
  standard bass composers that all bassists know well.

Nocturno, Op. 7

String Bass Solo with Piano

Nocturno

This famous classical concert band piece written in 1911by composer Gustav Holst has been arranged for String Orchestra! This four-movement suite will give new challenges to any advanced ensemble, and will expose the musicians to the concert band style of music. The work contains multiple references to multiple English folk songs.

Second Suite in F for Military Band

The penultimate movement of Stravinsky's "The Firebird" has now been arranged for String Bass and Piano. The soloist part is derived from the well-known bassoon solo in the beginning and end, and the middle is from the main melodic material as played by the upper strings. The pianist plays a condensation of the orchestral score.

The soloist part is written in Solo Tuning (F#-B-E-A), and will sound a whole step higher than it is written (C# Minor = Eb Minor). The piano accompaniment part is written in concert pitch.

Lullaby (Berceuse) from "The Firebird"

String Bass Solo

Global Sections - CORE [DO NOT TOUCH]*

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