| Royal Coronation Dances Concert band - Intermediate Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8). ISBN 9781599130545. Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Joe Hisaishi Works 2 - Studio Ghibli Medley Concert band Yamaha
Concert Band SKU: YM.GTW01101395 NSB: New Sounds in Brass for Concert ...(+)
Concert Band SKU: YM.GTW01101395 NSB: New Sounds in Brass for Concert Bands. Composed by Joe Hisaishi. Studio Ghibli. Anime Song; J-Pop. Book. Yamaha Music Media #GTW01101395. Published by Yamaha Music Media (YM.GTW01101395). ISBN 9784636110524. 8.25 x 11.75 inches. New Sounds in Brass is a series for concert bands that collects arrangements of various musical genres, including Studio Ghibli, Disney, anime titles, and J-Pop, arranged by the best ensemble arrangers in Japan. This collection features four particularly popular pieces composed for Hayao Miyazaki's animated films from the works of renowned Japanese composer and maestro Joe Hisaishi. The first half opens with the delightful and lively The Village in May and the charming stroll of Hey Let's Go from My Neighbor Totoro. The second half transitions into the melancholy and leisurely sounds of Day of the River from Spirited Away and the wistful Departure from Kiki's Delivery Service. Arranged by Kazuhiro Morita Duration: 7 minutes and 30 seconds Difficulty: ★★★ Solos: Oboe, Flute Ensemble: 1st Flute (1), 2nd Flute & Piccolo (1), Oboe (1), Bassoon (1), Clarinet in E-flat (1), 1st Clarinet in B-flat(3), 2nd Clarinet in B-flat(3), Bass Clarinet in B-flat(1), 1st Alto Saxophone in E-flat(1), 2nd Alto Saxophone in E-flat(1), Tenor Saxophone in B-flat(1), Baritone Saxophone in E-flat(1), 1st Trumpet in B-flat(1), 2nd Trumpet in B-flat(1), 1st Horn in F (1), 2nd Horn in F (1), 1st Trombone (1), 2nd Trombone (1), Euphonium (1), Bass in C (1), String Bass (1), Drums (1), Glockenspiel (1), Vibraphone & Xylophone (1) Medley: The Village in May, Hey Let's Go, Day of the River, and Departure. $79.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Fanfare Ode and Festival Concert band [Score] - Easy Manhattan Beach Music
By Bob Margolis (After Claude Gervaise). Concert band. Suitable for middle schoo...(+)
By Bob Margolis (After Claude Gervaise). Concert band. Suitable for middle school and high school bands. Level: Grade 2. Conductor Full Score. Duration 4:00. Published by Manhattan Beach Music.
(1)$16.50 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
1 |