SKU: 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.
SKU: HL.49018995
ISBN 9783795754945. UPC: 888680927080. 9.5x12.5x2.0 inches.
These exercises and pieces will help wind ensembles focus their concentration on the perception and implementation of refined playing techniques. Practicing music playfully will help students get the hang of contemporary music. Basic Steps will cover the following topics: Warm-up, intonation, chord colours, articulation and rhythm with a particular emphasis on the genre of Swing. This will be accompanied by compact orchestra etudes as well as short pieces. Set of parts - 1 Piccolo, 2 Flute 1, 2 Flute 2, 1 Oboe, 1 F English Horn, 1 Oboe, 1 Eb Clarinet, 3 Bb Clarinet 1, 3 Bb Clarinet 2, 3Bb Clarinet 3, 1 Eb Alto Clarinet, 1 Bb Bass Clarinet, 1 Eb Alto Saxophone 1, 1 Eb Alto Saxophone 2, 1 Bb Tenor Saxophone 1, 1 Bb Tenor Saxophone 2, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 3 Bb Trumpet 4, 1 F Horn 1, 1 F Horn 2, 1 F Horn 3, 1 F Horn 4, 1 Trombone 1, 1 Trombone 2, 1 Trombone 3, 1 Trombone 4 (Bass Trombone), 1 Baritone 1, 1 Baritone 2, 1 Baritone 1 (Bb Tenorhorn 1), 1 Baritone 2 (Bb Tenorhorn 2), 3 Tuba, 1 E-Bass-Tuba, 1 E-Bass, 1 Percussion (Xylophone), 1 Percussion 1 (Bongos, Congas, Pandeiro), 1 Percussion 2 (Tambourine, Cabassa). 1 Percussion 3 (Triangle, Cabassa), 1 Percussion 4 (Shaker), 1 Drums, 1 Harmonic Reference - wind band.
SKU: PE.EP68748
ISBN 9790300762289.
Shawn Okpebholo's Heritage, in the Edition Peters Concert Band Series, evokes moods, events and sounds (including West African drumming and indigenous melodies) from an ethnomusicological research visit the composer undertook to Nigeria. One of the primary musical themes of the work is an adaptation of a song that comes from the Esan people, a small ethnic group in the southern part of Nigeria and the tribe to which the composer has deep historical and family ties.
The Esan language is poetic in nature and, at various moments in the work, the musicians chant the text from an Esan song:
Ekine leleyea do obhimen la doeki nalo.(My investment in you is paid off. Because of your hard work, your future is bright)
Heritage is a revised version of a work previously entitled This is Africa, which was commissioned by Professor Marcellus Brown and the Boise State University Symphonic Winds for the 2011 National CBDNA Convention and is dedicated to the memory of Dr Harry Begian.
Orchestration:
1 Piccolo, 2 Flute 1, 2 Flute 2, 1 Oboe 1, 1 Oboe 2, 1 Clarinet in E-flat, 3 Clarinet 1 in B-flat, 3 Clarinet 2 in B-flat, 3 Clarinet 3 in B-flat, 2 Bass Clarinet 1 and 2, 1 Bassoon 1, 1 Bassoon 2, 1 Alto Saxophone 1, 1 Alto Saxophone 2, 1 Tenor Saxophone, 1 Baritone Saxophone, 1 Trumpet 1 in B-flat, 1 Trumpet 2 in B-flat, 1 Trumpet 3 in B-flat, 1 Trumpet 4 in B-flat, 1 Horn 1 in F, 1 Horn 2 in F, 1 Horn 3 in F, 1 Horn 4 in F, 1 Trombone 1, 1 Trombone 2, 1 Bass Trombone, 1 Euphonium 1, 1 Euphonium 2, 2 Tuba 1 and 2, 1 String Bass, 1 Percussion 1, 1 Percussion 2, 1 Drum Kit, 1 Bongos, 1 Congas, 1 Horn 1 in E-flat, 1 Horn 2 in E-flat, 1 Horn 3 in E-flat, 1 Horn 4 in E-flat, 1 Trombone 1 (B-flat treble clef), 1 Trombone 2 (B-flat treble clef), 1 Bass Trombone (B-flat treble clef), 1 Euphonium 1 (B-flat treble clef), 1 Euphonium 2 (B-flat treble clef), 2 Tuba 1 and 2 (B-flat treble clef), 2 Tuba 1 and 2 (E-flat treb.
SKU: MH.1-59913-060-2
ISBN 9781599130606.
Ensemble instrumentation: 1 Piccolo 1, 1 Piccolo 2, 3 Flute 1, 3 Flute 2, 1 Oboe 1, 1 Oboe 2, 1 Bassoon 1, 1 Bassoon 2, 3 Solo and Bb Clarinet 1 - top of divisi, 3 Bb Clarinet 1 - bottom of divisi, 6 Bb Clarinet 2, 2 Eb Alto Clarinet, 2 Bb Bass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 2 Solo and Bb Trumpet 1 - top of divisi, 2 Bb Trumpet 1 - bottom of divisi, 2 Bb Trumpet 2 - top of divisi, 2 Bb Trumpet 2 - bottom of divisi, 2 F Horn 1, 2 F Horn 2, 3 Trombone 1, 3 Trombone 2, 1 Euphonium 1 treble clef, 1 Euphonium 2 treble clef, 1 Euphonium 1 bass clef, 1 Euphonium 2 bass clef, 3 Tuba 1, 3 Tuba 2, 1 Snare Drum 1 and Cymbals 1, 1 Snare Drum 2 and Cymbals 2, 1 Orchestra Bells, 1 Chimes and Xylophone.
SKU: PE.EP68707
ISBN 9790300761626. 303x232 inches.
The Penguin Cafe Orchestra, founded by Simon Jeffes, created an instantly recognisable sound world, beautifully crafted to convey simple wonder and joy. Phillip Littlemore's arrangement for concert band of their famous Music for a Found Harmonium perfectly captures the exuberance of this uplifting music.
SKU: MH.0-931329-37-X
ISBN 9780931329371.
Alien Visitors: A sly eye at sci-fi, Margolis poses the question, why are they here? From menacing semitone motives to whooshing tone clusters to violent outbursts from the woodblocks (their shining moment!) and angry timpani pounding, Alien Visitors is an all-out slugfest. It's us vs. them, and we need help! Suitable for advanced middle school, high school, community and college bands. Ensemble instrumentation: 1 Piccolo, 5 Flute 1, 5 Flute 2, 2 Oboe, 4 Bassoon and String Bass, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 4 Bb Bass Clarinet, 5 Eb Alto Saxophone 1 & 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 2, 2 Horn in F 1, 2 Horn in F 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (Bass Clef), 2 Euphonium (Treble Clef), 4 Tuba, 1 Timpani, 2 Percussion 1 (one player), 2 Percussion 2 (one player), 2 Percussion 3 (one or two players).
SKU: YM.GTW01101607
ISBN 9784636112986. 8.25 x 11.75 inches.
Japanese New Music movement from the 1970s and 1980s has recently gained attention from music lovers around the world, and has become established as city pop. Among these many famous songs, we have created a medley of 5 songs that are popular among the younger generation and overseas. Please enjoy the nostalgic yet sophisticated melodies. Instrumentation: Conductor×1; Piccolo×1; 1st Flute×1; 2nd Flute×1; *Oboe×1; *Bassoon×1; Clarinet in E♭×1; 1st Clarinet in B♭×3; 2nd Clarinet in B♭×3; 3rd Clarinet in B♭×3; *Alto Clarinet in E♭×1; Bass Clarinet in B♭×1; 1st Alto Saxophone in E♭×1; 2nd Alto Saxophone in E♭×1; Tenor Saxophone in B♭×1; Baritone Saxophone in E♭×1; 1st Trumpet in B♭×1; 2nd Trumpet in B♭×1; 3rd Trumpet in B♭×1; 1st & 2nd Horns in F×2; 3rd & 4th Horns in F×2; 1st Trombone×1; 2nd Trombone×1; 3rd Trombone×1; Euphonium×2; Tuba×2; Electric Bass Guitar×1; *Electric Guitar×1; Drums×1; Timpani×1; Vibra slap, Tambourine, Cowbell & Wind Chime×1; Conga, Claves & Bongo×1; Xylophone & Glockenspiel×2; Vibraphone×1 The composition can also be performed without the instruments marked with *. Performance time: Approximately 7 minutes 55 seconds Difficulty Level: 3Songs in the medley: SPARKLE 〜 Plastic Love 〜 Kimi wa Tennenshoku 〜 Fly-day Chinatown 〜 Stay with Me.
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