Sheet music $13.00

Original

The Curse of El Rojo Grande. B-Flat Trumpet sheet music. Euphonium sheet music. Horn sheet music. Percussion sheet music. Timpani sheet music. Trombone sheet music. Tuba sheet music. Grade 3.

Translation

The Curse of El Rojo Grande. B-Flat Trumpet sheet music. Euphonium sheet music. Horn sheet music. Percussion sheet music. Timpani sheet music. Trombone sheet music. Tuba sheet music. Grade 3.

Original

The Curse of El Rojo Grande composed by Jason K. Nitsch. For concert band. Flute, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, Bassoon, Bb Trumpet 1, Bb Trumpet 2 , F Horn, Trombone 1, Trombone 2, Euphonium, T.C. Baritone, Tuba, Timpani. Chimes, Percussion 1. Band Music. Grade 3. Score only. Duration 3. 00. Published by C. Alan Publications. CN.15661. Your students and your audience alike will enjoy this ghoulish musical adventure. With a mysterious opening that utilizes the percussion for a "creepy" effect, the battle between good and evil ensues. Who will win. We leave that up to you. The Curse of El Rojo Grande was written for the Deer Park Junior High School Symphonic Band in Deer Park, Texas. The DPJH Mascot is the 'fawn' and you can find the school slogan adorned on the walls of the school, on notebooks, spirit signs and t-shirts. It simply reads 'Go Big Red. ' The words 'El Rojo Grande' are included in the title as my humorous attempt to incorporate this traditional community-rallying cry into the commission. The piece begins with a slow mysterious section in which each of the percussion elements should be utilized to their 'creepiest' effect. Except where noted, everything in the first section should be as smooth as possible, like a slow ominous fog rolling in. The gong roll in the first measure can be extended for maximum effect. The rhythmic activity at rehearsal measure 18 should provide a slight feeling of direction without distracting from the overall flow of the musical line. At rehearsal number 36 the ghouls of the night begin to appear and move with deliberate and unforgiving motion. The dynamics should be exaggerated for maximum effect beginning at rehearsal number 46. This continues in much the same manner until they 'Strike' in measure 62. The following measures contain the ultimate battle between good and evil. The pause before rehearsal number 78 is at the conductor's discretion and may be held as long as is theatrically effective. The battle rages on until one side finally overpowers their opponent. good or evil. I will leave that up to you. I hope that you, your students and your audience enjoy this ghoulish musical adventure.

Translation

The Curse of El Rojo Grande composed by Jason K. Nitsch. For concert band. Flute, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, Bassoon, Bb Trumpet 1, Bb Trumpet 2 , F Horn, Trombone 1, Trombone 2, Euphonium, T.C. Baritone, Tuba, Timpani. Chimes, Percussion 1. Band Music. Grade 3. Score only. Duration 3. 00. Published by C. Alan Publications. CN.15661. Your students and your audience alike will enjoy this ghoulish musical adventure. With a mysterious opening that utilizes the percussion for a "creepy" effect, the battle between good and evil ensues. Who will win. We leave that up to you. The Curse of El Rojo Grande was written for the Deer Park Junior High School Symphonic Band in Deer Park, Texas. The DPJH Mascot is the 'fawn' and you can find the school slogan adorned on the walls of the school, on notebooks, spirit signs and t-shirts. It simply reads 'Go Big Red. ' The words 'El Rojo Grande' are included in the title as my humorous attempt to incorporate this traditional community-rallying cry into the commission. The piece begins with a slow mysterious section in which each of the percussion elements should be utilized to their 'creepiest' effect. Except where noted, everything in the first section should be as smooth as possible, like a slow ominous fog rolling in. The gong roll in the first measure can be extended for maximum effect. The rhythmic activity at rehearsal measure 18 should provide a slight feeling of direction without distracting from the overall flow of the musical line. At rehearsal number 36 the ghouls of the night begin to appear and move with deliberate and unforgiving motion. The dynamics should be exaggerated for maximum effect beginning at rehearsal number 46. This continues in much the same manner until they 'Strike' in measure 62. The following measures contain the ultimate battle between good and evil. The pause before rehearsal number 78 is at the conductor's discretion and may be held as long as is theatrically effective. The battle rages on until one side finally overpowers their opponent. good or evil. I will leave that up to you. I hope that you, your students and your audience enjoy this ghoulish musical adventure.