SYMPHONIC WARM-UPS FOR BAND (Timpani) - Smith, Claude T.

Claude Smith's contemporary approach to teaching technique, tone and style is written in a variety of keys and meters and is divided into three sections: I. Scale Studies II. Etudes III. Chorale Studies. The etudes and chorales are in progressive order of difficulty so bands of all levels can find appropriate starting places and progress from there. It's the perfect way to begin every rehearsal.

SYMPHONIC WARM-UPS FOR BAND (Trombone 1) - Smith, Claude T.

Claude Smith's contemporary approach to teaching technique, tone and style is written in a variety of keys and meters and is divided into three sections: I. Scale Studies II. Etudes III. Chorale Studies. The etudes and chorales are in progressive order of difficulty so bands of all levels can find appropriate starting places and progress from there. It's the perfect way to begin every rehearsal.

SYMPHONIC WARM-UPS FOR BAND (Trombone 2) - Smith, Claude T.

Claude Smith's contemporary approach to teaching technique, tone and style is written in a variety of keys and meters and is divided into three sections: I. Scale Studies II. Etudes III. Chorale Studies. The etudes and chorales are in progressive order of difficulty so bands of all levels can find appropriate starting places and progress from there. It's the perfect way to begin every rehearsal.

SYMPHONIC WARM-UPS FOR BAND (Trumpet 1) - Smith, Claude T.

Claude Smith's contemporary approach to teaching technique, tone and style is written in a variety of keys and meters and is divided into three sections: I. Scale Studies II. Etudes III. Chorale Studies. The etudes and chorales are in progressive order of difficulty so bands of all levels can find appropriate starting places and progress from there. It's the perfect way to begin every rehearsal.

SYMPHONIC WARM-UPS FOR BAND (Trumpet 2) - Smith, Claude T.

Claude Smith's contemporary approach to teaching technique, tone and style is written in a variety of keys and meters and is divided into three sections: I. Scale Studies II. Etudes III. Chorale Studies. The etudes and chorales are in progressive order of difficulty so bands of all levels can find appropriate starting places and progress from there. It's the perfect way to begin every rehearsal.

SYMPHONIC WARM-UPS FOR BAND (Tuba) - Smith, Claude T.

Claude Smith's contemporary approach to teaching technique, tone and style is written in a variety of keys and meters and is divided into three sections: I. Scale Studies II. Etudes III. Chorale Studies. The etudes and chorales are in progressive order of difficulty so bands of all levels can find appropriate starting places and progress from there. It's the perfect way to begin every rehearsal.

Symphonie Fantastique, Suite from (Concert Band - Score and Parts) - Berlioz, Hector - Story, Michael

Including three movements from Berlioz's five-movement Symphonie Fantastique, originally composed in 1830, "A Ball," "March to the Scaffold," and "A Witches' Sabbath", this masterwork is revered as one of the most vivid program pieces in classical music, and remains to this day one of the most popular works of the Romantic period. Carefully scored for the contemporary concert band.Duration: 6:45

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Symphonie No.100 (Concert Band - Score and Parts) - Haydn, Joseph - Posch, Gerard

Duration: 5:45

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Symphonium

This creative work by Ed Huckeby incorporates an intriguing combination of memorable melodic lines, dramatic harmonies and syncopated rhythms which make it refreshingly unique. From the bold opening, through the lively melodic themes and slower lyrical sections, to the dramatic conclusion, this exciting piece exudes excitement and enthusiasm and is sure to become a band literature standard. A real winner for concert or contest performance.

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Symphony Ad 78 (Concert Band - Score and Parts) - Jacob, Gordon

A powerful work. An opening fanfare leads directly to an Allegro risoluto, which exudes determination and forthrightness. The second movement follows without a break and is a continuous plaint in which the melody seems forever seeking resolution like a troubled soul searching for respite. Only in the closing bars does peace seem to take over. The final movement, marked Allegro non troppo, starts with a cheering fanfare that leads to a bright and breezy romp, with a rustic feel about it. When the fanfare reappears we are suddenly immersed in exaltations of joy that really give a feeling of optimism as we proceed to the end of the piece via a short Coda.