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Frosty The Snow Man
Frosty The Snow Man (Full Score)
Item number 8899130CC
Regular Price: $3.95, Our Price: $2.37
You will save 40%
Frosty The Snow Man - Concert Band
Item number 8899132CC, $38.95

Everybody's favorite snow man will make a grand appearance at your next winter concert with this sparkling, yet easy arrangement. Perfectly scored to sound full with just about any band, "Frosty The Snow Man" is sure to be an audience favorite.

Estimated Performance Time: 2:30

Technical Notes: The oboe, tenor sax and French horn parts are optional. The percussion part is for snare drum, bass drum, cymbals, and wood block.

Teaching aids for the director: The style of the original version of this popular seasonal favorites is a lilting two-beat swing. Although the syncopation patterns have been "squared off" in this version, it can still retain that original style by playing the few eigth note patterns as swing rather than straight. A brief demonstration of the difference between the two patterns by the director (or a competent student) playing just the introduction should suffice. Stress the fact that this is a subtle stylistic trait in "swing" playing that should not carry over to careless interpretation in other styles of music.

The bass part should be played slightly marcato throughout, except at measures 45-48 where they briefly have the bridge melody. This spot should be played more legato.

A few parts (1st clarinet, 2nd cornet and baritone saxophone) have an enharmonic reminder- D sharp = E flat. Use this example for a lesson review on enharmonics for the entire band, if needed.

The percussion part may be realized by one player on a drum set, or by three players - one on snare drum, one on bass drum and one on cymbals and wood block. Rehearse the snare drum at measures 5-8 and similar spots so the rhythmic figures are smooth and convincing.

Composer(s): This piece was composed by Steve Nelson and Jack Rollins.

Arranger(s): This piece was arranged by John Edmondson.

Publisher: This piece was published by Hal Leonard Corporation.

Series: This piece is part of the series "Hal Leonard Discovery Band Series".

   This product has a difficulty rating of 1.5 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 "Frosty The Snow Man", just click on the "Click to Buy!" button above. You will then have the option of placing your order online or ordering by mail or fax.

Return Policy: This product may be returned, unopened, within 30 days of purchase for a full refund, excluding shipping charges.
Other Images:
Front Cover
Front Cover Image 1
 (373kb)
Conductor Score
Conductor Score Page 1
 (194kb)
Conductor Score Page 2
 (192kb)
Instrumentation
Instrumentation Page 1
 (80kb)
Descriptive Page
Descriptive Page 1
 (156kb)
Parts Included:
1-Full Score
8-Flute
1-Oboe
6-1st B Flat Clarinet
6-2nd B Flat Clarinet
1-B Flat Bass Clarinet
4-E Flat Alto Saxophone
3-B Flat Tenor Saxophone
1-E Flat Baritone Saxophone
4-1st B Flat Trumpet/Cornet
4-2nd B Flat Trumpet/Cornet
4-French Horn
7-Trombone/Baritone B.C./Bassoon
3-Baritone T.C.
4-Tuba
4-Percussion


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Sketches On A Tudor Psalm
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Item number 8897255CC
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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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