God So Loved the World (Concert Band - Score and Parts) - Stainer, John - Horner, Kevin

The Crucifixion, an oratorio composed by John Stainer in 1887 was designed in such a way that most church choirs would find it accessible. Also, it helpfully includes five hymns so that the congregation can contribute also. Whilst the text for this work was written by W J Sparrow Simpson, who worked with Stainer in an earlier work entitled 'Mary Magdalene', that used in this setting of 'God, so loved the world' is literal from John 3 verse 16 in the scriptures. This movement of 'The Crucifixion' is the most popular and widely used.

God So Loved the World (Concert Band - Score Only) - Stainer, John - Horner, Kevin

The Crucifixion, an oratorio composed by John Stainer in 1887 was designed in such a way that most church choirs would find it accessible. Also, it helpfully includes five hymns so that the congregation can contribute also. Whilst the text for this work was written by W J Sparrow Simpson, who worked with Stainer in an earlier work entitled 'Mary Magdalene', that used in this setting of 'God, so loved the world' is literal from John 3 verse 16 in the scriptures. This movement of 'The Crucifixion' is the most popular and widely used.

God Still Lives - Bach, Johann Sebastian

Freely transcribed by Alfred Reed. Developed from one of the "69 Sacred Songs and Airs,'' this is a stately proclamation of faith and joy superbly transcribed by on of the masters! Alfred Reed's arrangement take this Bach classic to the next level and will leave your audience's in complete amazement! A wonderful selection from the first note to the last!

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God's Country (Concert Band - Score and Parts) - Galante, Rossano

From the most statuesque mountain ranges to our grandest waterfalls, this composition musically depicts the picturesque landscapes that have existed since the beginning of time. Soaring melodic lines, epic brass fanfares, and emotionally charged harmonies will take your performers on an unforgettable journey through God's Country.Duration: 6:00

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Goddess of Fire

A magnificent programmatic work for symphonic band that is an offering to Pele, the Goddess of Hawaii's volcanoes. The work opens with primordial, mysterious sounds representing the foreboding volcanoes of Hawaii. We are then introduced to Pele as a tall, beautiful young woman. This is one of the forms she can take and it represents her powers of creation and beauty. This gives way to the active and destructive Pele, often taking the form of an old woman, wrinkled and bent with age. The following lyrical section of the piece is the full statement of Pele's theme of creation and beauty. As this theme settles, we begin to hear the ground pop and crack letting us know that new lava is beginning to bubble and flow. Suddenly and violently, one of her volcanoes erupts, creating massive chaos and destruction. After the eruption subsides, Pele's theme of creation and beauty returns again. A wonderful addition to any concert or festival performance by mature bands. Exceptional in every respect!

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Goddess of Jeju Island (Concert Band - Score and Parts) - De Haan, Jacob

This work is based on an old folksong from Jeju, an island off the coast of South Korea. The song tells of the legend of the origins of the island through a volcano, the embodiment of a goddess. Along with various treatments of the folksong melody Jacob de Haan weaves into his work a repeating majestic theme to honour the goddess and powerful robust passages symbolising the powerful forces of nature that brought forth the island.Duration: 9:15

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GODFATHER, The (Speak Softly, Love) (Intermediate Concert Band) - Rota, Nino - Woodfield, Ray

Medium

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Godzilla Eats Las Vegas (Concert Band - Score and Parts) - Whitacre, Eric

Note from Composer:It took me seven years to get my bachelor's degree from the University of Nevada, Las Vegas. By the time I graduated I was ready to eat Las Vegas.Tom Leslie asked me to write another piece for the group as I was leaving, and I thought it would be a blast to do something completely ridiculous. The players are called upon to scream in terror, dress like Elvises (Elvi), and play in about thirty different styles from mambo to cheesy lounge music. The audience follows a script that I wrote simulating a campy, over the top Godzilla movie (is there any other kind?).I wrote the bulk of the piece while in my first year at Juilliard, and no kidding, I used to act out the script every morning devouring animal crackers, wreaking havoc all over the breakfast table. The script was originally twice as long, and had an entire subplot devoted to a young scientist and his love interest. As I started to finish the piece, however, it didn't seem that funny and that story (along with an extended Elvis tribute) ended up on the cutting room floor.The idea that this piece is being played all over the world in such serious concert venues is the single funniest thing I have ever heard. It has been played on the steps of the Capitol by the United States Marine Band, by the Scottish National Wind Symphony (they play in kilts, so help me God), and I have a video of a Japanese audience visibly confused and shaken by the whole experience. Can you imagine? I'm laughing my head off even as I write this!Godzilla Eats Las Vegas! was commissioned by the University of Nevada Las Vegas, Thomas G. Leslie, conductor, and received its premiere November 28th, 1996.The performers are encouraged to go crazy: wear showgirl costumes, Elvis costumes, act out scenes on stage, use video and lighting - anything to get a laugh.

GODZILLA EATS LAS VEGAS (Concert Band Extra Score) - Whitacre, Eric

Extra score only

Godzilla, Selections from (Concert Band - Score and Parts) - Desplat, Alexandre - Story, Michael

From composer Alexandre Desplat's spectacular score to the blockbuster film Godzilla, this arrangement is designed for students in their second and third year of band. Containing "Godzilla (Main Title Theme)," "The Power Plant." "Golden Gate Chaos" and "Back to the Ocean" it's infused with the drama of the epic film score. The arrangement opens with an eerie mysterious introduction and alternates between forceful and melodic themes to a dynamic conclusion. Stunning!Duration: 5:30

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