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#IDTitlecodeTitle NameMarketing CopyInstrumentation 
  
3521319497B6-80EC-4626-B2D5-81EC7D68CFCEB32726 Mallet StudiesMallet
352231969EE3-F322-4DDF-AC93-1496B565141250100252Just Passin ThruThe tuneful and memorable melodies in this march are just the kind that will have audiences wanting to whistle along. Performed at a steady tempo throughout, the piece progresses along undeterred to its rousing finish!Developing Band
352331A02D48-74F2-4852-909E-7F06CE7AC55310300112The Vibe Player's MethodVibraphone
352431A98827-1681-42BB-BCC7-B763A43EC1BAM291191Four Characteristic Pieces (Quatre Pieces Caracteristiques), Op. 5Clara Schumann (1819-1896), then Clara Wieck, wrote this collection of Four Characteristic Pieces (Qautre Pièces Caractéristiques), Op. 5 in 1835-1836, when she 16 or 17 years old. Op. 5 was performed frequently by the young Clara in concert, along with Op. 6 and Op. 7. Frederic Chopin particularly was "enchanted and enthusiastic" about Op. 5, prompting him to leave with a score after hearing it. Movements: 1. Impromptu: Le Sabbat, 2. Caprice à la Boléro, 3. Romance, 4. Scene Fantastique: Le Ballet des Revenants.Solo Piano
352531B8084E-56ED-47FE-9867-CCCA183A4FE8A246002Carmen SuiteThis suite of movements from Bizet's Carmen has been arranged by Graham Sheen for an ensemble of one flute, two oboes (2nd doubling on English Horn), two clarinets in A, two bassoons (with an optional part for contrabassoon or double bass) and two horns. Movements chosen for the suite are: I. Aragonaise, II. Habanera, III. Intermezzo, IV. Seguidille, V. Les Dragons D'Alcala, and VI. Les Toreadors.1.2(2d1EH).2.2(+OptCBsn): 2.0.0.0
352631BBF9DF-8509-4D09-A090-0C8D00535DCFS123MBDunford Special Fanfares No. 1(not set)Marching Band
352731C16416-EFCC-4FA2-A261-EC74B876C86210100129Fidelio OvertureLong a staple in the Ludwig Music catalog, directors wishing to have their bands experience the beauty and majesty of Beethoven's only opera are well served in the faithful rendering of this overture.Symphonic Band
352831C4580C-B649-4838-8E54-DA96155DB41BM807890The Summer KnowsThe theme from the film "Summer of '42" is familiar to nearly all. The robust sound of the string orchestra is a natural for this memorable and opulent melody.String Orchestra
352931C57338-ECAF-4489-A35F-00EA0A18154CX940035Thoughts of WhittierThis work for SATB a capella choir includes a piano part for rehearsal accompaniment, and has two sections: 1. The Mystic's Christmas and 2. An Easter Flower GiftSATB Chorus
353031C5D570-B602-4E37-B2D0-6E3D956B793CB107902King Cotton MarchKing Cotton is a military march composed in 1895 by John Philip Sousa, for the Cotton States and International Exposition (1895). The expression "King Cotton" in general refers to the historically high importance of cotton as a cash crop in the southern United States.Concert band
353131CB32FC-B029-4BB7-8E3D-57F3EA10E4A0S113Proudly We Play (out-of-print)Marching Band
353231CD527E-3C50-4EC7-BE1C-14D9622F049BM900302Sussex Mummers' Christmas Carol for BandAccording to the composer, this carol was "noted" by Miss Lucy Brodwood near Sussex from the singing of Christmas Mummers called Tipteers or Tipteerers during their play of "Saint George, the Turk, and the Seven Champions of Christendom." Grainger's setting of the caroll is here arranged for band by master orchestrator, Carl Simpson.Concert Band
353331CFBCA3-71BC-4084-BD7B-665902CC22C2X814029Beyond Babylon(not set)Soprano, Piano
353431D13318-B508-4217-BF5A-2A21479F901F10300207Drumming! plus Hummin' a TuneDrumming! plus Hummin' a Tune is a natural for the drummer who likes to play for "kicks." Each page of this timely book consists of short "snappy" drum solos (32 in total), arranged to tunes familiar to all ages. The purpose is to select a tune and hum it as you drum along. Teachers, student drummers, or the hobbyist will find this work loaded with interesting rhythmic patterns necessary for developing drummers... "swings" too.Drum Set
353531D3F0E9-1BDC-44B5-A7B7-410543482587SS261MusetteClement Lenom was oboist with the Boston Symphony and professor at the New England Conservatory of Music. His Musette Pastorale for oboe and piano or string quartet was dedicated to this friend Georges Longy.Oboe and Piano
353631D87F6E-6A6C-4EE3-B5B8-4770A88F9A22B399402Syncopated Clock, The (band version)concert band
353731DB8689-A89A-450D-A740-77FB9A275184R01598Canzona No. 2 from Tre Canzone: "Hor che'l ciel e la terra"The term "canzona" refers to a genre of Italian insturmental music first made popular in the sixteenth century where the composers either merely arranged or completely transformed French chansons, a form of song. In a similar fashion, Claude Baker's "Tre Canzone" provides reimaginings of three vocal compositions form the late Middle Ages, Renaissance, and early Baroque. The preexisting pieces form both the structural and programmatic bases of the composition and serve as points of departure for new musical ideas. Elements of the older music emerge quite clearly at times, while at others they are presented more subtlly. But the texts are the driving force of the work, capturing the essence of the poetry through non-vocal commentary with allusions to the original composers' settings. CANZONA NO. 2 for String Orchestra and Percussion provides a recasting of the second work in Claudio Monteverdi's eighth book of madrigals, Madrigali guerrieri ed amorosi (Madrigals of War and Love), published in 1638. Monteverdi's piece, "Hor che'l ciel e la terra," is a setting of a sonnet by Petrarch for six voices, two violins and continuo, and is unquestionably one of his greatest achievements. In this treatment of the madrigal by Claude Baker, he adheres to the general contruction of the original, making both distorted and literal references to Monteverdi's music, with the voices, violins, and continuo supplanted by a full string section and modest percussion complement of membranes, woods, and metals.0.0.0.0: 0.0.0.0: Timp.Perc(3): Str (at least 66442)
353831DBCDF6-AF9D-4B01-89B4-6D6CC2B3707FST78Old Woman, The3P, NARR
353931DC37A8-AB72-4867-8B30-EC336F125F87S37MBRocky Run(not set)Marching Band
354031E09DEC-EE7A-47E7-9D34-7EF7FB0EB085A164002Concerto for Piano No. 2 in A, S. 125Franz Liszt (1811-1886) started work on his Concerto for Piano and Orchestra No. 2 in A major, S. 125, in 1839 and 1840. Putting it through a series of revisions, he dedicated the concerto to his student Hans von Bronsart von Schellendorf. The composer conducted the first performance in Weimar on January 7, 1857 with Bronsart as soloist. Liszt completed a 4th revision in 1861. Less virtuosic than his first piano concerto, it is played without break and serves as a masterful example of thematic transformation. Instrumentation: 3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(1-2): Str (9-8-7-6-5 in set): Solo Piano. Reprint edition. Study score.3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(1-2): Str (9-8-7-6-5 in set): Solo Piano