Crazy Train - Bob Daisley

Every section of the band will have fun with this easy arrangement of Ozzy Osbourne's iconic rock anthem. From the signature bass line riff to the driving rock pulse, this is sure to be a hit with all audiences.

Creamy and Crispy - Marc Cunningham

This composition of Marc Cunningham has four parts, and takes place on a sunny day in a picturesque town. 1. Promenade Many people walk through the city. The band passes through the streets. People are strolling along the avenues and amorous couples are sitting on a park bench. 2. Lovey Dovey One of these couples is knee-deep in love. 3. Crispy and Creamy Here the contrasts between a crisp staccato section in two-four time signature and a smooth legato section in three-four time signature are depicted. Is Crispy the boy and Creamy the girl? 4. Farewell In the last particle the couple says goodbye. We still think back tothe walk through the city. It sounds a little less happy now. Not everyone is good at saying goodbye, sometimes a tear flows.

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Creatore's Band - Iasilli

Creature Feature - Rob Romeyn

An absolute beginning band showstopper, "Creature Feature" will be the hit of any concert program! Each section of the band has the opportunity to play memorable melodic themes and be inspired to create dynamic contrast. This fun, spooky and catchy novelty tune is designed to be performed in the second semester of study. You will want to save this for the end of rehearsal - your students will want to play this one over and over!! Scary sounds and frightful fun!

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Crebula - Lorenzo Pusceddu

Credentium - Jan van der Roost

A spectacular dive via an extended chromatic scale immediately submerges us in a charged and somewhat archaic-feeling atmosphere. Trumpets, horns and trombones resound in rhythmic patterns, buttressed by restless motifs in the percussion. A second theme, in the woodwinds, begins much calmer but is quickly pushed aside by that same brass offensive. This introduction is the musical expression of the sometimes tumultuous early history of the town of Peer in Belgium. It closes with a D scale played over two octaves and repeated three times, symbolizing the church steeples that dominate the townscape. Peer has the credentials of a town, and people should know about it.There followsa rhythmic, turbulent passage: in the course of history, Peer has not been spared the ravages of war, arson, occupation, epidemic and other evils. In contrast, a slow, pastoral, lyrical part expresses the periods of peace and prosperity the town has known, as well as the serene geographic setting that still characterizes the place. Various instruments in groups are developed in solo style while the accompaniment displays vast, painterly images of sound. Now and then an exotic intonation is heard: a variety of peoples and cultures have left their mark on the town.This episode of tranquility and peacefulness comes to a sudden end when, via a surprising, almost chaotic transitional passage, we are in effect transported back to our own time. A hopeful, festive march expresses the confidence in the future that the Royal Concert Band of Peer exudes. This confidence is wholly justified: under the direction of conductor Willy Fransen, the 95 members of the concert band have experienced an extended period of good fortune, and the 75 musicians of the youth band - and the 45 little musicians of the mini-band - are involved in thriving operations.

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Credo - Fisher Tull

As implied by the title, Credo is in the nature of a profession of faith. Organized in a tripartite form, the opening section presents a four-note motif contrasted with a chorale-like melody in the woodwinds. The slower middlesection is more contrite and reflective, the polyphonic texture in the woodwinds being imitated by a similar setting in the brasses. The final section employs development of the material from the first section in a fugal settingleading to a climactic affirmation followed by a resolute ending. (5:30)

Credo - James Barnes

If you have a large percussion section, Credo might be a perfect piece for your young band. It is very carefully scored and cross-cued, so that almost any size band can perform it. Composed in sonatina form, it is highly energetic and tuneful, and the bass instruments have lots of fun, easy things to play. Credo is very safely scored, with Piccolo, 2nd Oboe, 2nd Bassoon, Contra-Alto Clarinet, 3rd Trombone and Double Bass parts optional. Ranges are very reasonable; the only sixteenth notes in the piece are in the snare drum.

Credo - Serge Lancen

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Credo - William Owens