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La Fiesta Brava (Paso
Doble)
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John
Edmondson
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A Stirring Spanish march that moves from
woodwind flourishes to full band passages.
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Ashokan
Farewell
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Jay Ungar Arr. Paul
Lavender
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The piece used as the theme music for The Civil
War is called Ashokan Farewell. Ashokan Farewell as
named for the Ashokan field Campus of the State
University of New York. Ashokan is the name of a
town, most of which is now under a magical body of
water. Ashokan Farewell is written in the style of
a Scottish lament or Irish Air.
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The White Plume
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John Phillip
Sousa
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John Phillip Sousa had collaborated with Edward
M. Taber on a song intended to give support to the
presidential campaign of James Gillespie Blane who
was known as the "plumed knight." Blaine was the
republican candidate and lost to Grover Cleveland
in the election. In 1884, while director of the
Marine Band, Sousa rearranged the song as a march
and called it "The White Plume".
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Gospel Echoes
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Fred J.
Allen
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Churches of all denominations thrive in this
part of the Bible Belt, and the singing associated
with worship and old fashioned tent revivals is
familiar to the residents of East Texas. It is
still common to find people in this region who read
the "shape notes" used to teach singing in the 19th
century American churches and schools. Songs in
this genre are melodic and heartfelt, and
frequently have moving parts in the alto and tenor
lines at the cadences: this composition for band
has these features. This piece was inspired by an
original gospel song composed by Carlisle band
student Amanda Curtis. Though not an arrangement of
her song, "Gospel Echoes" displays the same flavor
in its style. Fred J. Allen is the Director of
Bands at Stephen F. Austin. Mr. Allen wishes to
point out that the title "Gospel Echoes" has two
meanings. Not only does it describe the music which
echoes through the legacy of East Texas, but it
also can be read as a short declarative sentence:
the "good news" in the Bible echoes, or resonates,
in the lives of the musicians playing the
piece.
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Campbell River Sketches
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Mark
Williams
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Mark Williams is one of our better writers of
band literature. He has composed a piece that
touches the British folk-song style with its
melodious opening in the Ballad then progressing to
the "March" with a rollicking jig-like flavor. The
rhythmic motif in the introduction sets the feel
for an exciting piece.
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Pollywogs Lake Talk
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Barry
Ulman
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Sax Quartet featuring Jennifer Riggs, Juan
Cedillo, Roshell Lewis and Zavyon Rettig
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Come Back to
Sorrento
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Harold L. Walters (special
arr.)
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- featuring Mr. Wallace
Read
- This Italian folk song melody was written
for the trumpet in this special arrangement by
Harold L. Walters
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- BATTLE HYMN OF THE
REPUBLIC
- (A Symphonic Portrait)
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adapted and arranged by
Theodore Maki
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It began life in the 1850's as a hymn,
presumable of the high-spirited revival type, to
judge from its famous "Glory, Hallelujah!"
Migrating northward, it entered the repertoire of
an army regimental glee club stationed at Boston
Harbor. At news of the hanging of John Brown at
Harper's Ferry in 1859 new words were improvised,
and the former hymn became a marching song known as
"John Brown's Body." It was taken up by other
regiments and finally reached Washington, D.C.
where Julia Ward Howe, hearing it in December of
1861, was inspired to write the thrilling lyric
that was to give the song its name. "The Battle
Hymn of the republic" was published as a poem in
The Atlantic Monthly in February, 1862, and it was
largely on the strength of the first woman ever
elected to the Academy of Arts and Letters. William
Steffe is usually listed as the composer of this
beautiful melody but the difficulty is that nobody
is sure who did write it. One thing is certain,
whoever wrote it achieved something which is the
subconscious goal of every composer alive: to
create something imperishable. This song cannot
die, for it has taken root in too many American
hearts. Theodore Maki, an outstanding arranger, has
lavished all his skill in creating this symphonic
portrait of the immortal "Battle Hymn of the
Republic."
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