Catari, Catari - S. Cardillo

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Catawba Crossing - William G. Harbinson

Named for the beautiful Catawba River, this piece begins with a brilliant fanfare, revealing the principle motive upon which the entire composition is based. Shifting tonalities and colorful scoring are the hallmark of the opening section. This is followed by an expressive con moto section that provides the piece with dramatic contrast. Once the opening theme returns, Catawba Crossing develops into a rousing march in 6/8 time, followed by a return to the opening material, bringing the piece to an exciting conclusion. An impressive choice for contest or festival performance.

Catch 'Em - Georges Sadeler

Catch me if you can - John Williams

(Feature for Alto Sax and Concert Band). Haunting and captivating describe John Williams' score to this hit movie featuring Leonardo DiCaprio and Tom Hanks. The music features an alto sax soloist and a wide variety of unique percussion and scoring devices. This superb arrangement includes the most striking musical themes from the soundtrack in a marvelous concert setting.

Catch Me If You Can - Tom Gaebel

Catch the Blues - Marc Jeanbourquin

Catch the Blues begins with a statement of the theme in a blues style. After a drum feature, the theme is repeated and then performed in a Dixieland variation. The lively character and jazzy style of this work will delight your audience!

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Catch the Wind - Mike Hannickel

Catcher Of Shadows - Philip Wilby

Catedrales - Bert Appermont

Cathedrals have always appealed to the imagination. Hundreds of years of manpower have been invested in their building and it is not for nothing that today they represent imposing symbols of architecture and history. The cathedral is also a great source of inspiration for compositions, drawing on a full palette of acoustic echo effects, Gregorian melodies and organ based choral themes.The work "Catedrals" opens with a five tone motif using double tonguing which resonates through space. Then comes a Gregorian antiphonal theme "Salve Regina" which is heard in the euphonium and later combines with the opening motif. The quicker passage that follows is basedentirely on the intervals in the motif which by now has added rhythmic variations and develops in different forms, including a fugue. The work then builds towards its first climax, from which unusual muted sounds emerge creating an atmosphere shrouded in mystery.Gradually, more melodious fragments are added to the Gregorian antiphonal theme which develops into an expansive choral, emulating the organ and which rises above the sound mass. The work grows more powerful and brilliant in sound until it culminates in a short and explosive finale wherein elements from the whole work come together.

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Catena - Tristan Keuris

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