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Dakota
Concert Band Music Marching/Pep Band Music Jazz Band Music Small Ensemble Music Method Books Theory Books, Staff Paper, Reference Books Band Director Accessories Instructional Videotapes and DVD's Solo Instrumental Recordings Small Ensemble Recordings Large Ensemble Recordings	Click on the image above to see a larger version. Dakota Dakota 1. The Great Spirit, 2. Buffalo Hunting, 3. Smoking The Pipe, 4. The Ghost Dance (Full Score) Item number 8896488CC, $18.00 Dakota (1. The Great Spirit, 2. Buffalo Hunting, 3. Smoking The Pipe, 4. The Ghost Dance) - Concert Band Item number 8896489CC, $89.00 "Dakota". written by the talented composer Jacob De Haan, portrays the life, culture and traditions of the Sioux Indians in five movements. They are: "The Great Spirit", "Buffalo Hunting", "Smoking The Pipe", "The Ghost Dance", and "Pilgrims At Wounded Knee". This historical piece, based on an old Indian melody from South Dakota, is sure to be enjoyed by all! Estimated Performance Time: 8:10 Technical Notes: The keyboard percussion part is for glockenspiel and xylophone. The 1st percussion part is for snare drum, tenor drum, tom tom, suspended cymbal and tambourine. The 2nd percussion part is for suspended cymbal and bass drum. Composer(s): This piece was composed by Jacob De Haan. Publisher: This piece was published by De Haske. Series: This piece is part of the series "De Haske Performance Series".    This product has a difficulty rating of 2.5 on a scale of 1 through 6, with 6 being hardest. Click here to see how we grade our band sets. How to purchase this item: To purchase "Dakota", just click on the "Click to Buy!" button above. You will then have the option of placing your order online or ordering by mail, fax or phone. Return Policy: This product may be returned within 30 days of purchase for a full refund, excluding shipping charges. Other Images: Front Cover Front Cover Image 1  (261kb) Conductor Score Conductor Score Page 1  (172kb) Conductor Score Page 2  (223kb) Conductor Score Page 3  (167kb) Conductor Score Page 4  (174kb) Instrumentation Instrumentation Page 1  (86kb) Descriptive Page Descriptive Page 1  (136kb) Descriptive Page 2  (175kb) Parts Included: 1 - Full Score 5 - 1st And 2nd Flutes, Piccolo 2 - Oboe 2 - Bassoon 1 - E Flat Soprano Clarinet 5 - 1st B Flat Clarinet 5 - 2nd B Flat Clarinet 5 - 3rd B Flat Clarinet 1 - B Flat Bass Clarinet 2 - 1st And 2nd E Flat Alto Saxophone 2 - B Flat Tenor Saxophone 1 - E Flat Baritone Saxophone 2 - 1st B Flat Trumpet 2 - 2nd B Flat Trumpet 2 - 3rd B Flat Trumpet 2 - 1st Horn In F 2 - 2nd Horn In F 2 - 1st Trombone 2 - 2nd Trombone 2 - 3rd Trombone 2 - Euphonium T.C. 2 - Euphonium B.C. 4 - Tuba 1 - Keyboard Percussion 2 - 1st Percussion 2 - 2nd Percussion 1 - Timpani	Quick Search Manage My Account Log In (Optional) Track An Order Gift Certificates Free Downloads Make An Account Related Band Products Monterosi Village Sketches Dakota More ... Related Audio CD Products Monterosi Village Sketches Dakota More ...

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Sketches On A Tudor Psalm - Concert Band Item number 8897255CC, $125.00 This piece is dedicated to the Sam Houston State University Symphonic Band in Huntsville, Texas with Ralph L. Mills, conductor. "Sketches On A Tudor Psalm," composed in 1971, is based on the sixteenth century setting of the Second Psalm by Thomas Tallis. The original version was in the Phrygian mode with the melody in the tenor voice. A modern adaptation is still used today in Anglican services. Its popularity is evidenced by its employment by Ralph Vaughan Williams for the basis for his Fantasia for String Orchestra in 1910. The introduction sets the harmonic character by emphasizing the juxtaposition of major and minor triads. The theme is first presented by solo alto saxophone, continued in horns, and followed by a fully harmonized version from the brass. The variations begin to unfold in an Allegro section with a melody in the clarinets which was constructed from the retrograde of the theme. Subsequently, fragments of the theme are selected for rhythmic and melodic transformation. Finally, the opening harmonic sequence returns in highly punctuated rhythms to herald the recapitulation of the theme beginning in the low woodwinds and culminationg in a fully scored setting of the climactic measures. A coda continues the development as the music builds to a triumphal close on a major chord.

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