As the name implies, this latin-fusion piece is written in the mid-tempo 88 BPM and combines intricately interlocking lines with heavy funk riffs. This tune highlights the technical flexibility of the ensemble while maintaining a solid groove. A modal solo section gives the improvising soloists in your ensemble a chance to shine.

Alba, a solemn, yet somewhat uplifting song, begins with a simple melody and floating chords that delay a resolution. The “B” sections serves as a disconnect that resolves back into the beginning melody. The solo section is simple and open to interpretation stylistically. The “B” section disconnects from the solos and this time drives us into an uplifting jam at the end. Alba can be heard on the Dave Longfellow’s self-titled 2009 release.

"Alone Within You" uses quotes from Debussy's Nocturnes to express a developing relationship between a young woman and an old boy. The piece traverses the emotional distance from passion, to resistance and fear, and finally back to passion. In the end, despite many attempts, the relationship never quite comes to a clean ending.

Like the other pieces in the DLE Series, this one requires a developed rhythmic maturity in order for all the parts to interlock. This piece includes a rock/funk solo section.

A funk-infused tune for steel band based loosely in the tonal framework of D major. The back line lays down a solid groove while the melody in the tenors weaves nimbly in and out of the key. A gradually intensifying jam capped off with a final push to the end complete the tune nicely.

A beautiful duet for double second (or double tenor) and quadraphonic. The challenge in this Debussy arrangement comes from the two performers' ability to form a musically symbiotic relationship.

“Bananas for Anna” showcases the more aggressive side of the DLE in this up-tempo songo. With the addition of an electric bass, we could really start to “lay in” to our latin repertoire. So, I wrote “Büf” (as the band later aptly referred to it) with a driving bass, complex melody, and montuno break-down in mind. To assure never a dull moment, our drummer, John James, incorporates the left-foot clave technique throughout the montuno sections.

This piece is more rhythmically complicated than harmonically and there are options for multiple solos, including percussion (as heard on The DLE: Vol. 1). Noun or verb, you’ll enjoy playing “bananas.”

This beautiful aria is often erroneously attributed to J.S. Bach due to its inclusion in the Notebook for Anna Magdalena Bach, but was most likely written by the German composer Gottfried Heinrich Stölzel. Commonly heard as an organ solo or vocal with organ accompaniment at weddings and other religious occasions, it translates perfectly to a 4-part steel pan ensemble. This is a short and sweet addition to your classical repertoire.

This piece is simply constructed from two contrasting sections. The first section is lyrical, harmonically ambiguous, and smoothly textured. The second has a repetitive melodic figure, straight-forward chord progression, and idiomatic strumming patterns. The two sections are connected by a brief but challenging “wind-down” phrase in the melody and drum set parts, and are combined in different proportions in each of the three macroscopic structures of the piece as a whole. The central structure allows plenty of room for exploration by a featured improviser. Bocardo can be heard on the Dave Longfellow Ensemble’s self-titled 2007 recording.

Old meets new as the only acoustic instrument family invented in the 20th century realizes one of the great works of the Italian Renaissance. Originally composed in the late 16th century for brass choir, this piece divides the ensemble in half and pits one choir against another in a call and response style known as antiphon. With 10 distinct parts, this piece places emphasis on individual musicianship within the larger ensemble.

This lively calypso packs a punch! Through great voicing and effective stops, this danceable melody will please your audience. This piece was commissioned specifically for beginning bands, and is a perfect choice for middle and high school steel bands!

One of Debussy's more recognizable and crowd-pleasing pieces, this arrangement is a challenging piece to perform not for its technical requirements, but more for its expressive demands (dynamics and tempo) and the ability for the ensemble to listen to one another. A conductor is recommended, but not absolutely necessary. It is also recommended to have a middle pan section that can accommodate the sweeping arpeggios found in the quadrophonic part. Most 4-pan configurations can accommodate this role.

This explosive show stopper from Saint-Saëns' grand opera makes an excellent concert finale or competition piece for the advanced ensemble. Divided sections demand independence from the individual players while rendering a more accurate depiction of the composer's original timbral landscape than otherwise possible. A full complement of orchestral percussion makes this piece a memorable experience for performers and audience members alike.

This Spanish-tinged calypso from a forthcoming suite chronicling the adventures of Cervantes' Don Quixote is ideal for the intermediate to advanced ensemble. Caribbean syncopation coupled with traditional Iberian harmonies paint a picture of the heroic knight-errant in an epic struggle for his life and sanity.

The title Endymion & Diana is derived from characters of Roman mythology. This work is a chamber piece and should be played with neither percussive accompaniment nor doubling of parts. Because of this, this piece requires each player to navigate various rhythmic and dynamic complexities. This piece serves as a great recital piece or contrast piece during a concert.

Schubert's most famous art song based on Goethe's eerie text comes to life in this bomb arrangement. The drama between the father, boy, and earl king unfolds true to Schubert's original, with each character portrayed in a different register. Tension between the boy and the Erlking builds to a climax with a minor jam section perfect for a talented drumset or timbales player. But in the end, the child "war tot!"

Expiration Dating opens with a series of bell-tones in ascending perfect fourths. This leads to a light introductory groove in an A Major tonality, with horn-style hits in the inner parts. The primary, D Major melody of the piece is accompanied by rolling figures in the inner parts, a montuno-like bass line, and a highly linear drum set figure. After a return to the A Major and D Major sections for an improvised solo, the melody is repeated. The piece ends with an elaboration on the main theme of the melody and open vamp in the context of a B Minor turnaround. The inner parts become more rhythmically active for this final section, and the drum set part emerges as a fusion of those parts occurring in previous sections. Expiration Dating ends with a series of bell-tones in descending perfect fifths resolving to A Major. This provides a symmetric answer to the introductory phrase.

The title of the piece stems from the concept of entering into a relationship with someone when both parties understand at the outset that it will necessarily end at a predetermined time. The piece intentionally leaves the interpretation of personal attitude toward such an experience up to the performers and listeners. Expiration Dating is the opening track on the Dave Longfellow Ensemble’s self-titled 2007 recording.

This tune was originally commisioned for a Canadian/Caribbean Film called “Finder of Lost Children.” The first part of the piece is rather happy going with a chorus that plays with phrasing the same melody on and off the beat. But then—as in many families—once you scratch the surface, there are often hidden secrets. The middle part of the piece becomes a bit darker and more dramatic. Finally, the last part is a return to the main theme in order to, as a family member might say, “keep up the appearances.”

Written in a free, romantic style, this piece allows the soloist to show off both the emotional depth and the technical potential of the cello pan. The piece starts in a slow rubato and gradually builds in intensity throughout the work, reaching an emotional height in the final bars. This piece is ideal concert material for the intermediate to advanced soloist.

From Tchaikovsky's collection of piano music for children, these simple trios are ideal for the beginner's first foray into chamber ensemble playing. Included in this collection are No. 4 "Mama", No. 5 "March of the Wooden Soldiers", No. 6 "The Sick Doll" and No.15 "Italian Song."

Although one of Gossec's most popular works, this playful melody from the Classical period may be best recognized from its use by arranger Carl Stalling in several Warner Brothers cartoons. This piece gives the intermediate soloist a chance to showcase the delicate upper register of the tenor pan. Composed in a simple ternary form, the outer sections play with a simple grace note motive built on eighth notes while the middle section embellishes the melody with sixteenth note figures. The tempo, Poco allegro ma non tropo, keeps the whole piece accessible to the intermediate soloist.

This impressive march from Verdi's popular opera is great for showcasing the expressive flexibility of an ensemble. The Triumphal March, in the opera, marks the victorious return of the Egyptian army. At 12 minutes in it's entirety, this powerful piece works well as the cornerstone of a concert or competition set.

This arrangement can be used for both holiday and perennial occasions. The majority of the piece is in a style called "Parang" which is a traditional style found in Trinidad most often found performed around Christmas time. The challenge exists in the ability of the performers to grasp the 3 over 2 feel in the 6/8 meter.

This piece was influenced by the bélé rhythms found in Martinique. The heavily syncopated 3/4 groove is accented by the accompanying pans and bass throughout the verse. The chorus continues the displacement of the groove accents while transforming into a swung 4-beat pattern. The verse is then repeated with the melody added to the bass part (on top of the original groove—good luck bass players!) and harmonized in the lead part. After a return to the chorus, the song transitions into a “2nd chapter” with a solo section and key-changing bridge. The chorus is once again revisited with a jam-out style syncopation section followed by the ending.

This piece requires a great deal of rhythmic maturity to make all the parts “lock-in” and groove. Until then, it may be “Just Out Of Reach.”

This lively refrain and variations from the French Baroque master gives the intermediate to advanced soloist a chance to show off the agility required of runs, turns and ornamental figures at a rapid pace. Played in a Vivace tempo, this piece is sure to impress.

This third movement from Beethoven’s beloved “Pastoral Symphony” depicts a scene of dancing and revelry among the countryfolk. Written simultaneously with Beethoven’s stormier Symphony No. 5 and debuted alongside the famous work in 1808, the “Pastoral Symphony” gives us a glimpse into Beethoven’s more serenely introspective side. Known for his love of taking long walks in the country, Beethoven may well have based this imagined merry country gathering on a chance encounter with just such an event.

One of Beethoven's most memorable and beautiful melodies, the Adagio Sostenuto from Sonata No.14 is sure to delight any audience. This arrangement inverts the original structure by placing the delicate moving line in the tenor section and giving the bulk of the melodic material to the more resonant double seconds. Multi-octave arpeggios are cascaded across the entire range of the ensemble to an enchanting effect.

Meaning "God Bless Africa" in the Xhosa language, this South African hymn carries a great deal of historical significance as the anthem of the global anti-Apartheid movement. This inspiring melody has since been adopted by several African nations as a national anthem. This arrangement overlays traditional European counterpoint in the pans onto a backdrop of syncopated African rhythm.

From Chopin's collection of Nocturnes for solo piano, this arrangement is great for showcasing the expressive flexibility of your ensemble as well as the technique of your middle pans. The piece starts with a slow eerie melody, resplendent with the lush harmonies expected from a Chopin work. Midway through, the tempo begins to build into a feverish agitato, arriving ultimately at a lively dancelike section in the enharmonically respelled key of the dominant, Ab Major. Following a brief cello cadenza, the piece concludes in the same subdued manner it began.

The melody is nice, easy and carefree, hence the title of the tune, with percussion adding a little drive to the rhythm during the 2nd verse. Then comes a laid back solo to fit the mood perfect for beginning steel pan players. Next, a nice bass and drum break down before the chords and melody come back in to take it out to the end. Ahhhhh…..Not A Care.

This piece is the first tune from The DLE album Vol. 1. It is written in a progressive style, with a nice Afro-Cuban groove. While alternating time signatures, this piece maintains its melodic feel and sense of flow. After an optional bass solo, the song drifts into a 5/4 section with an optional conga or drum set solo which builds back up into the original theme. The song then builds until the end when it finally fades and resolves.

The full steel band version of Number 2 takes this composition to the next level. Like the original combo piece, it is written in a progressive style, with a nice Afro-Cuban groove. While alternating time signatures, this piece maintains its melodic feel and sense of flow. This arrangement utilizes the full steel band to really provide a driving groove throughout. In lieu of the optional bass solo, as in the combo arrangement, the bass solo if fully orchestrated with variations. After recapping the melody, this arrangement then kicks it into high gear at the end with a nice “call and response” variation between the high pans and a new ending!

This duet composed in a Son Montuno style is well suited for a pair of intermediate to advanced players. The performers simulate traditional cascara and palitos patterns by playing the rim and skirt of the pans while maintaining the melodic and harmonic material above the rhythmic density. An added Latin percussion section complements this piece nicely.

This challenging arrangement of Bizet's beloved ouverture is fertile ground for the ambitious Double Seconds soloist. This piece demands a mastery of the triple-stop and quadruple-stop from the soloist as well as strong independence between the hands.

This is an exciting adaptation from Leoncavallo's most famous opera, Pagliacci or, "Clowns." The energetic melody laid out by the front line and the montuno accompaniment in the back line effectively capture the bitter emotions brooding inside of Pagliaccio as he discovers his wife's transgressions. This piece works great as a closer and provides a wonderful opportunity to introduce your students and audience to the Bomb tradition.

The notes to this piece are not too challenging, though there are a few chromatic runs in the back line, and the scored articulations and dynamics require a certain level of musical nuance. The engine room parts are provided for the scratcher, iron, cowbell, timbales and congas. The tenor bass part to this score is optional.

“Pan For Ya!” was written with me thinking of playing in Trinidad’s Panorama competition. I wanted to write a piece to give people who have never experienced Panorama a small taste (tease if you will) of what they are missing. I wanted to keep it short and sweet but still have the excitement of a tune played in the world’s greatest steel band competition.

The tune starts out with a short but powerful intro that leads right into the hook of the tune. The verse turns the beat backwards to change and funk up the feel to contrast the smooth and driving rhythm of the chorus. The second verse changes the voicing where the seconds take over the melody and the tenors go into solo passages that weave in and out of the melody.

This leads back into the hook again that then gives way to a classic Panorama breakdown heavy on percussion with a simple but powerful melody that ends in a Panoramic type chromatic run that leads you back into the chorus. Then a varied intro that gives way to the big ending that gives the tune a nice explanation point!

The Pan Hymnal is designed to offer the church steel band a selection of hymns to be used in church services throughout the liturgical calendar, and hymns appropriate for Epiphany, Easter, Ascension, Trinity Sunday, Pentecost, Advent and Christmas are included, along with hymns for Black History month, harvest and general worship. Most of these arrangements were made to accompany the singing congregation, although they can also be used as preludes, anthems, musical interludes or postludes.

The Pan Hymnal is designed to offer the church steel band a selection of hymns to be used in church services throughout the liturgical calendar, and hymns appropriate for Epiphany, Easter, Ascension, Trinity Sunday, Pentecost, Advent and Christmas are included, along with hymns for Black History month, harvest and general worship. Most of these arrangements were made to accompany the singing congregation, although they can also be used as preludes, anthems, musical interludes or postludes.

The Pan Hymnal is designed to offer the church steel band a selection of hymns to be used in church services throughout the liturgical calendar, and hymns appropriate for Epiphany, Easter, Ascension, Trinity Sunday, Pentecost, Advent and Christmas are included, along with hymns for Black History month, harvest and general worship. Most of these arrangements were made to accompany the singing congregation, although they can also be used as preludes, anthems, musical interludes or postludes.

The Pan Hymnal is designed to offer the church steel band a selection of hymns to be used in church services throughout the liturgical calendar, and hymns appropriate for Epiphany, Easter, Ascension, Trinity Sunday, Pentecost, Advent and Christmas are included, along with hymns for Black History month, harvest and general worship. Most of these arrangements were made to accompany the singing congregation, although they can also be used as preludes, anthems, musical interludes or postludes.

The Pan Hymnal is designed to offer the church steel band a selection of hymns to be used in church services throughout the liturgical calendar, and hymns appropriate for Epiphany, Easter, Ascension, Trinity Sunday, Pentecost, Advent and Christmas are included, along with hymns for Black History month, harvest and general worship. Most of these arrangements were made to accompany the singing congregation, although they can also be used as preludes, anthems, musical interludes or postludes.

The Pan Hymnal is designed to offer the church steel band a selection of hymns to be used in church services throughout the liturgical calendar, and hymns appropriate for Epiphany, Easter, Ascension, Trinity Sunday, Pentecost, Advent and Christmas are included, along with hymns for Black History month, harvest and general worship. Most of these arrangements were made to accompany the singing congregation, although they can also be used as preludes, anthems, musical interludes or postludes.

Probably Elgar's best remembered and most played composition from it's use in graduation ceremonies, this march highlights the ability of the ensemble to present contrasting expressive moods in a single piece. From the rousing scherzo introduction to the familiar tempered and lyrical trio section, this piece draws on the expressive depth of the steel orchestra.

A solo for Cello Pan utilizing a Rondo form composed in a neo-Baroque style. A solid command of technique is required in this swirling refrain and variations. This piece also includes a brief fugato section to display the soloists' control of multi-voice counterpoint. Moving nimbly across the full 2 octave range of the the cello pan, this piece is great program material for the advanced soloist.

This Sarabande is a slow dance movement from Bach's first Partita for solo violin. The majority of the melodic material rests in the Tenor part while the counter lines and Bach's austere harmonies are voiced across the range of the Cello and Double Seconds. While not terribly technically demanding of the players, the challenge in this movement lies in the unity of expression required of the players by this nature of work.

The "Double"—or quicker embellished variation movement following the Sarabande—is possible to be played, in appropriate transposition, by most solo pan instruments. However, this arrangement takes the original work and extrapolates the three primary voices conceived in Bach's counterpoint and places them in the hands of the trio. By introducing the two additional voices into the piece, implied harmonies and voice exchange figures may be more fully realized than is possible by a single player. Bach's intricate interlocking lines in compound-triple meter demand rhythmic acuity from all three players.

This series was commissioned specifically to provide quality steel band music for beginning steel bands. The six pieces in this collection represent a variety of styles, composers and difficulty and can serve as an entire semester's repertoire.

The first two pieces, Pa Bailar (cha-cha) and Hope (reggae and soca), were composed by composer, performer and educator Jeff Narell. These two tunes are Level 1 difficulty and make great first tunes for middle and early high school steel bands. The groove is really nice, and they could easily be taught by rote

The next two pieces were composed for Engine Room Publishing by Danish composer Sune Borregaard. You Got Me Going is a jazz band styled piece with a great melody and features an easy solo section suitable for beginning players. Catch Me is an exciting medium-tempo calypso. These two pieces are Level 2 difficulty.

The last two pieces were composed by composer and educator Adam Grisé. Working is a medium-tempo soca with nuanced dynamics and features a jam section with rich inner voicing. Finally, Floating Serenade introduces students to classical music on pan. It is written in a major key, with just a few accidentals in rounded binary form. These last pieces are also Level 2 difficulty.

An exciting piece with recurring themes, this serves as a great tool for an intermediate ensemble to work on stark dynamic contrasts. Rated a 3 overall, there are occasional runs that would warrant a 3+ rating. Tempo can be at the discretion of the director, but not to fall below conducting in "one."

This three movement sonata for cello pan highlights the resonant beauty of the instrument while exhibiting its potential as a solo instrument. Written in a neo-Baroque style influenced by the solo string works of J.S. Bach, this sonata in part or whole is sure to please at your next concert or recital.

The national anthem is a must to have in the repertoire of any serious performing ensemble. This arrangement takes a traditional military band approach with plenty of pomp and fanfare, sure to stir the listeners at your next performance.

This piece is a duet written for the double seconds and 5 octave marimba. It begins with the marimbist performing a disjointed comping pattern, followed by a playful melody on the upper register of the double seconds, eventually leading the performers into a calypso groove setting up the first theme. With driving rhythms, interplay between both parts, sharp dynamic contrasts, solo sections to showcase each performer and tricky “licks,” this piece will be sure to excite the listener and performer alike.