Concert BAND
HAPPY BIRTHDAY
AROUND THE WORLD
Original Words and Music by
MILDRED J. HILL and PATTY S. HILL
Arranged and Adapted by RALPH FORD
INSTRUMENTATION
1 Conductor 2Baritone World Parts
3 1st C Flute 1Baritone Treble Clef Available for download from
www.alfred.com/worldparts
3 2nd C Flute 4Tuba
2 Oboe 3Mallet Percussion (Bells, 1st Horn in E b
3 1st B b Clarinet Marimba, Xylophone) 2nd Horn in E b
3 2nd B b Clarinet 1 Timpani 1st Trombone in B b Bass Clef
3 3rd B b Clarinet 3 Percussion 1 (Snare Drum, 2nd Trombone in B b Bass Clef
1 E b Alto Clarinet Bass Drum, Suspended 1st Trombone in B b Treble Clef
2 B b Bass Clarinet Cymbal) 2nd Trombone in B b Treble Clef
2 Bassoon 3 Percussion II (Suspended Baritone in B b Bass Clef
2 1st E b Alto Saxophone Cymbal, Crash Cymbals, Tuba in E b Bass Clef
2 2nd E b Alto Saxophone Finger Cymbals, Triangle) Tuba in E b Treble Clef
1 B b Tenor Saxophone 2 Percussion III (Tam-Tam, Tuba in B b Bass Clef
1 E b Baritone Saxophone Congas) Tuba in B b Treble Clef
3 1st B b Trumpet 2 Percussion IV (Cabasa,
3 2nd B b Trumpet Beaded Gourd,
3 3rd B b Trumpet Castanets)
2 1st Horn in F 2 Percussion V (Tom-Toms
2 2nd Horn in F [3 pitch], Cowbell
2 1st Trombone
2 2nd Trombone
PROGRAM NOTES
Beginning with a Broadway-style opening statement, “Happy Birthday Around the World” takes your band and your audience on a musical
journey around the globe. This arrangement is an ideal opportunity to expose your students to the concepts incorporated in various styles
through the use of one of the world’s most familiar melodies.
The melodic material undergoes several transformations as dictated by the origin of the style. Thorough use of major, parallel, and relative
minors and various meters provide many interesting variations. Following the introduction, the tune is presented as a traditional Viennese
waltz, followed by a Middle Eastern treatment. Then the melody is performed in a light calypso style, portraying the Caribbean Islands. This
is followed by a fiery pasa doble with the melody scored in the bass voices. After an old-fashioned street roll-off, a Dixieland band picks up
the tune. After a final twist as a groove representative of the African-American gospel style, the arrangement closes with a bold fanfare ver-
sion of the entire melody, suitable to use by itself for special occasions.
Be sure to use all percussion voices throughout the piece and pay careful attention to all articulation markings in the winds. Students and
audiences alike will enjoy this wonderful study in musical styles from various cultures around the world.
Please note: Our band and orchestra music is now being collated by an automatic high-speed
system. The enclosed parts are now sorted by page count, rather than score order. We hope this
will not present any difficulty for you in distributing the parts. Thank you for your understanding.
