SKU: FJ.BB205BCL
UPC: 674398213078. English.
Contents include: March Ceremonial; El rey de Fransia; Wallaby Walkabout; An Irish Ballade (Star of the County Down); Patriotic Salute: Old Joe Clark; Korobochka!; Holiday Sleigh Ride; Birus Kakatua; Armenian Anthem; V'la le bon vent; Noel Francais!; Blow, Ye Winds, Blow; A Scandinavian Folk Tale; The Chicken Dance.
SKU: FJ.BB205AP
UPC: 674398213214. English.
SKU: FJ.BB205CL2
UPC: 674398213061. English.
SKU: FJ.BB205MLT
UPC: 674398213191. English.
SKU: FJ.BB205BBC
UPC: 674398213160. English.
SKU: FJ.BB205TP1
UPC: 674398213122. English.
SKU: FJ.BB205TP2
UPC: 674398213139. English.
SKU: FJ.BB205CL1
UPC: 674398213054. English.
SKU: FJ.BB205TU
UPC: 674398213184. English.
SKU: ML.013759100
In this suite for symphonic band the arranger did not use the existing orchestral suites, but composed another suite of his own with those parts of the ballet music that suited well for a transcription. Romeo & Juliet - Part II. Introduction – The Duke’s CommandII. The Street AwakensIII. Morning DanceIV. Romeo at Friar Laurence’sV. Departure of the Guests (Gavotte)VI. Montagues & Capulets – Dance of the Nights Romeo & Juliet - Part III. Arrival of the GuestsII. The QuarrelIII. The FightIV. InterludeV. Tybalt recognizes RomeoVI. Mercutio Romeo & Juliet - Part IIII. Public MerrymakingII. Further public festivitiesIII. Meeting of Tybalt and MercutioIV. The DuelV. The Death of MercutioVI. Romeo decides to avenge MercutioVII. Finale: Cortège with Tybalt’s BodyEuropean parts free downloadIn deze suite voor harmonieorkest is Johan de Meij niet uitgegaan van de bestaande orkestsuites maar heeft hij een eigen suite samengesteld uit delen van het ballet die zich goed lenen voor een bewerking.Romeo & Juliet - Part II. Introduction – The Duke’s CommandII. The Street AwakensIII. Morning DanceIV. Romeo at Friar Laurence’sV. Departure of the Guests (Gavotte)VI. Montagues & Capulets – Dance of the Nights Romeo & Juliet - Part III. Arrival of the GuestsII. The QuarrelIII. The FightIV. InterludeV. Tybalt recognizes RomeoVI. Mercutio Romeo & Juliet - Part IIII. Public MerrymakingII. Further public festivitiesIII. Meeting of Tybalt and MercutioIV. The DuelV. The Death of MercutioVI. Romeo decides to avenge MercutioVII. Finale: Cortège with Tybalt’s BodyEuropean parts free downloadPour cette suite pour orchestre d'harmonie, l'arrangeur Johan de Meij ne s'est pas basé sur les suites d'orchestres existantes, mais il a composé une nouvelle suite en choisissant ces morceaux du ballet qui se prêtent bien à la transcription.Romeo & Juliet - Part II. Introduction – The Duke’s CommandII. The Street AwakensIII. Morning DanceIV. Romeo at Friar Laurence’sV. Departure of the Guests (Gavotte)VI. Montagues & Capulets – Dance of the Nights Romeo & Juliet - Part III. Arrival of the GuestsII. The QuarrelIII. The FightIV. InterludeV. Tybalt recognizes RomeoVI. Mercutio Romeo & Juliet - Part IIII. Public MerrymakingII. Further public festivitiesIII. Meeting of Tybalt and MercutioIV. The DuelV. The Death of MercutioVI. Romeo decides to avenge MercutioVII. Finale: Cortège with Tybalt’s BodyEuropean parts free downloadIn dieser Suite für Blasorchester ist Johan de Meij nicht von den bestehenden Orchestersuiten ausgegangen, sondern hat er mit welchen Teilen des Balletts, die für ein Arrangement gut geeignet sind, eine eigene Suite zusammengestellt.Romeo & Juliet - Part II. Introduction – The Duke’s CommandII. The Street AwakensIII. Morning DanceIV. Romeo at Friar Laurence’sV. Departure of the Guests (Gavotte)VI. Montagues & Capulets – Dance of the Nights Romeo & Juliet - Part III. Arrival of the GuestsII. The QuarrelIII. The FightIV. InterludeV. Tybalt recognizes RomeoVI. Mercutio Romeo & Juliet - Part IIII. Public MerrymakingII. Further public festivitiesIII. Meeting of Tybalt and MercutioIV. The DuelV. The Death of MercutioVI. Romeo decides to avenge MercutioVII. Finale: Cortège with Tybalt’s BodyEuropean parts free download
SKU: HL.4008969
UPC: 196288282181.
An innovative fusion of classical and funk emerges in Björn Vüllgraf's latest arrangement! The world-renowned “Air” by Johann Sebastian Bach, from Orchestral Suite No. 3, undergoes an exciting metamorphosis through Vüllgraf's masterful touch. This crossover version for solo flugelhorn and wind orchestra injects a fresh, funky vibe into the timeless masterpiece.
SKU: HL.4008970
UPC: 196288282198.
SKU: BT.AMP-451-140
English-German-French-Dutch.
Highdays and Holidays was commissioned by the South Berks Concert Band to celebrate its 40th anniversary in 2016. The band rehearses in the village of Mortimer, which has a long and fascinating history dating back to, and beyond, the BronzeAge. Mortimer is famous for The Mortimer Revel, an annual event which was apparently a fairly rumbustious and sometimes violent affair. Highdays and Holidays seeks to capture some of this festive event in the form of an energeticoverture, which explores a variety of moods including the somewhat chaotic atmosphere of the Revel.Highdays and Holidays is geschreven in opdracht van de South Berks Concert Band ter gelegenheid van hun veertigjarig bestaan in 2016. Het orkest repeteert in het Britse Mortimer, dat een lange, boeiende geschiedenis kent, die teruggaat totvoor het bronzen tijdperk. Mortimer staat bekend om The Mortimer Revel, een jaarlijks evenement dat kennelijk een vrij onstuimige en soms gewelddadige aangelegenheid was. Highdays and Holidays weerspiegelt dit feestelijke gebeuren in devorm van een energieke ouverture waarin verschillende sfeerbeelden worden opgeroepen en de soms chaotische taferelen van de Revel worden verklankt.Highdays and Holidays wurde 2016 von der South Berks Concert Band anlässlich ihres 40-jährigen Jubiläums in Auftrag gegeben. Die South Berks Concert Band probt in der Stadt Mortimer, die auf eine lange und faszinierende Geschichtezurückblickt, die bis weit in die Bronzezeit reicht. Die Stadt ist für The Mortimer Revel“ bekannt, eine jährlich stattfindende Veranstaltung, die anscheinend eine ziemlich wilde und manchmal auch heftige Angelegenheit war. Highdays andHolidays versucht einiges von dieser festlichen Veranstaltung in Form einer energiegeladenen Ouvertüre, in der die unterschiedlichen Stimmungen und die teils chaotische Atmosphäre des Festes erkundet werden, darzustellen.Highdays and Holidays fut commandé par le South Berks Concert Band pour célébrer son 40e anniversaire en 2016. Les répétitions de l’orchestre d’harmonie ont lieu dans le village de Mortimer qui a une longue et fascinante histoire qui remonteavant l’ ge du Bronze. Ce village est connu pour le Mortimer Revel, un évènement annuel qui était apparemment une occasion plutôt bruyante et parfois même violente. Highdays and Holidays cherche reproduire l’esprit de cet évènementfestif dans une ouverture énergique qui explore une variété d’humeurs ainsi que l’atmosphère parfois chaotique du Revel.
SKU: BT.AMP-451-010
SKU: BT.DHP-1074237-140
9x12 inches.
Bohemian Rhapsody was a massive worldwide hit for the pop groupQueen. It topped the charts in 1975 and again in 1991 and 1992. The song is somewhat unusual for a pop hit as it is in the style of a rock opera and pushed the boundaries of both pop music and promotional music video. This arrangement for concert band retains all the operatic gymnastics of the original and will be an extremely popular item at any concert! Bohemian Rhapsody, het klassieke popnummer van de Engelse groep Queen, gooit altijd hoge ogen in de strijd om de hoogste notering in hitlijsten aller tijden. In deze schitterende rapsodie worden pop, rock en opera-achtige elementengecombineerd. De arrangeur Masamicz Amano schreef een overtuigende bewerking voor harmonieorkest.Der Titel Bohemian Rhapsody, mit dem die Gruppe Queen 1975 und noch einmal 1991 und 1992 in vielen Ländern auf den ersten Platz der Charts schoss, sprengte besonders in stilistischer Hinsicht die Grenzen der damaligen - und heutigen - Pop- und Rockmusik mit Elementen aus der Oper bis hin zum Hard Rock. Auch in der Blasorchesterbearbeitung von Masamicz Amano ist die Bohemian Rhapsody sehr überzeugend! Sorti le 31 octobre 1975, Bohemian Rhapsody va propulser le groupe Queen au sommet des hit-parades anglais pendant deux mois et révéler au monde entier les textes et la voix uniques de Freddie Mercury, le chanteur, qui transforme chaque concert en un véritable show médiatique. Bohemian Rhapsody è una delle canzoni più famose della Band britannica Queen e della musica rock in generale. Scritta da Freddie Mercury, quando fu estratta come primo singolo dall’album A Night at the Opera il 31 ottobre 1975, Bohemian Rhapsody ottenne subito un enorme successo commerciale. La canzone rimane il terzo singolo più venduto di sempre nel Regno Unito.
SKU: MH.1-59913-070-X
ISBN 9781599130705.
Program Notes: Stylistically diverse -- tranquil, spirited pastoral, sensitive, energetic -- exhibiting a remarkable palette, the five movements of SINFONIA IX form a unique symphonic statement. Movement I, Prelude, is about contrasts: A lazy, smooth, motive in brasses alternates with, and then joins, an active and detached motive in woodwinds. The spirited Movement II, Morley's Ghost, is an intricate canonic collage and homage to that venerable theoretician & composer, Thomas Morley. By contrast, movement III, Dialog, speaks in a relaxed, lyrical, and pastoral language as it develops its gently rising and falling motives. Movement IV, Waltz, innocently celebrates the joys of childhood with a lilting melody and rondo form. For the rousing Finale, Movement V begins with a martial call of repeated-notes, heralding a headstrong journey of power and excitement. Like a number of the composer's other works, SINFONIA IX is based on earlier material: A brass sextet, written in 1966 when the composer was nineteen years old, forms the raw material for the first, third and fifth movements, while a later work, Martin's Waltz (a children's piece for flutes and clarinets composed in 1975) is the basis of the fourth movement. The second movement, however, is a fanciful contrapuntal commentary on Thomas Morley's 16th-century canzonet, Fire and Lightning. SINFONIA IX is dedicated to John Raforth, a distinguished band director and music educator at West High School in Madison, Wisconsin. The work was commissioned by his friends and former students, and was completed in 1977. Its first publication some twenty years later is a result of the increasing attention paid by university band directors to the earlier Sinfonias, particularly Sinfonia III (Hymns and Dances); Sinfonia V (Sinfonia Sacra et Profana); and now, Sinfonia IX. Whereas the first two works are wind ensemble compositions that have been championed equally by the concert band, Sinfonia IX is the composer's first college-level Sinfonia written especially for concert band. Ensemble instrumentation: 1 Piccolo, 8 Flute 1-2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bb Bass Clarinet, 2 Bassoon, 4 Eb Alto Saxophone, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 3 Trombone 1, 3 Trombone 2, 3 Baritone B.C., 2 Baritone T.C., 4 Tuba, 3 String Bass, 2 Timpani, 5 Percussion.
SKU: MH.1-59913-071-8
ISBN 9781599130712.
SKU: BT.DHP-1094726-140
Anton Karas grew up in a modest household in Vienna and became a self taught zither vituoso. He wrote the legendary Harry Lime Theme for the 1949 British film noir The Third Man. The melody became so popular, many people began calling The Third Man “The Zither Movieâ€! Toshio Mashima carefully turns this typically Viennese melody into a creative piece for concert band. Anton Karas, der aus einfachen Wiener Verhältnissen stammte und es als Autodidakt zu großer Virtuosität an der Zither brachte, schrieb das legendäre Harry-Lime-Thema“ für den Agentenfilm Der dritte Mann. Die Melodie war so populär, dass manche den Film gar The Zither Film“ nannten. Toshio Mashima setzte die stimmungsvolle, typisch wienerische Melodie geschickt für Blasorchester um. Tout le monde se souvient du Troisième Homme (1949) et de cette étrange et fascinante musique qui fut la révélation du film. Anton Karas (1906-1985), son compositeur et interprète, traversa le monde du spectacle comme un véritable météore. Sa bande originale jouée la cithare lui apporta la gloire et la richesse. Le thème du film se classa durant onze semaines en tête des meilleures ventes de disques aux États-Unis entre avril et juillet 1950. Le film fut couronné du Grand prix du Festival de Cannes 1949 et de l’Oscar de la meilleure photographie 1951.Il film Il Terzo Uomo (1949) è ricordato anche per l’affascinante colonna sonora che fu una vera e propria rivelazione. Anton Karas (1906-1985), compositore ed interprete, attraversò il mondo dello spettacolo come una meteora. La colonna sonora originale, eseguita alla cetra, gli portò gloria e ricchezza. Il tema del film fu in vetta alle classifi che delle vendite di dischi negli Stati Uniti tra aprile e giugno 1950 e il film ottenne il massimo riconoscimento a Cannes (Grand Prix du Festival) nel 1949.
SKU: BT.DHP-1094726-010
SKU: HL.44007611
UPC: 884088266325. 9x12 inches. English-German-French-Dutch.
A Monmouth Overture was composed in 2007 for the Haberdashers' Symphonic Winds, as part of Philip Sparke's year as composer-in-residence at the Monmouth school. The work is based around the 15th century âAgincourt Song,â written in honor of Henry V's victory over the larger but outdated French army. Henry V was born in Monmouth in 1387, giving this wonderful overture its historical title. Bring a piece of history with a modern twist to your concert program. Duration: 4:30.
SKU: CF.YPS105
ISBN 9780825884870. UPC: 798408084875. 9 x 12 inches. Key: Bb major.
Based on our popular New Bennett Band Book series, we have compiled march-style warm-ups in a separate publication so they may be used by all bands wishing to learn from them. These innovative warm-ups and fundamental drills are the ultimate method of teaching and reinforcing the March style.How To Use the March Warm-upsPlaying in a march style can present difficulties for young students. The most prevalent problem is that students have a tendency to play every note too short. Conversely, accented notes are usually played incorrectly with too much tongue. Do marches contain short notes? Absolutely, but these shortest of notes should be reserved for notes that precede an accent or notes that are specifically marked with a staccato. Think of unmarked notes as being separated, but not short and certainly not clipped or stopped with the tongue. Accented notes should be played with more weight using air and more length, and not just a harder tongue. Accents are given to show emphasis to a note and should be thought of in this manner.The warm-up exercises provided in this collection should give you many opportunities to stress the above-mentioned comments on march performance style. The following gives an explanation on the purpose and use of each of these exercises.No. 1 – Basic Chords and ModulationsOne of the challenges of playing marches with young students is successfully performing the key change at the Trio. This exercise presents the three basic chords (tonic, subdominant and dominant) in each of the three keys in this collection of marches. You can also use this exercise to teach and reinforce the style of accented notes. You may want to have your band play major scales in succession by fourths to reinforce the concept of modulation to the subdominant that occurs at the Trio (i.e. the B≤-major scale, then the E≤-major scale, then the A≤-major scale). I might suggest getting the students to try continuing the pattern all the way around the circle of fourths.No. 2 – March Style in B≤ MajorThis exercise contains many opportunities to teach and reinforce the difference between staccato and accented notes. The melody voices move up and down the B≤-major scale, while other instruments play chords commonly found in the marches in this collection. These include diminished chords, secondary dominant chords (i.e. the V of the V) and other common chromatic chords that Fillmore often used.No. 3 – Cakewalk Rhythm in B≤ MajorThe simple syncopated rhythm in this exercise is common to many marches. This drill gives you the opportunity to teach/ reinforce the standard ar-ticulation and natural accent of this rhythmic pattern. Again, this exercise uses an ascending and descending major-scale pattern as the melodic basis, accompanied by chords commonly found in American- style marches.No. 4 – The March Scale in B≤ MajorI call this exercise “The March Scale,†because often in marches (and especially in these marches) the descending half-step is part of the melodic material. These chromatic figures give the melodies of many marches their charm and flow. Thus, I devised this exercise and others like it in E≤ major and A≤ major to familiarize students with these patterns. I would suggest playing the pattern in a variety of ways different from what is written. Here are some other possibilities:• Tongue one, slur three• Slur two, tongue two• Tongue two, slur two• Tongue one, slur two, tongue oneGradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the marchNo. 5 – March Style in E≤ MajorThis is a similar to exercise No. 2, but with a different rhythmic pattern. Emphasize the difference between accented and unaccented notes. Also, play the exercise with line direction moving the musical line forward. Experiment and play the exercise with different dynamic choices and with hairpins up and down in different ways.No. 6 – More March Style in E≤ MajorExercise No. 6 comprises more rhythmic patterns and harmonic materials in E≤ major to teach and reinforce the march style. This exercise em-phasizes the sixteenth-note rhythm, as notated in the third measure of the exercise. Young stu- dents have a tendency to “crush†the sixteenths; consequently, they lack clarity. It would be a good idea to work this rhythmic figure on a scale pattern with all of the instruments in the band as an additional warm-up exercise.No. 7 – The March Scale in E≤ MajorSee the information for No. 4 and apply it to this exercise. Use all of the various articulations described above as well.No. 8 – March Style in A≤ MajorSee the information for No. 2 and apply it to this exercise.No. 9 – Cakewalk Rhythm in A≤ MajorSee the information for No. 3 and apply it to this exercise.No. 10 – The March Scale in A≤ MajorSee the information for No. 4 and apply it to this exercise.Other Ideas for March PerformanceA rehearsal practice that has worked very well for me is to start out by having the band play the march very slowly at about Œ = 60 in a chorale/legato style. The slow tempo is a fine opportunity to work on clarity of harmonic move- ment and to work on the balance and blend of the tutti band sound. This will pay great dividends toward improving the sound of your band. Gradually increase the tempo to the march tempo and the articulation style will fall right into place.Another important consideration is the performance of the bass line and the bass-drum part. Too often, the bass drum and bass instruments play their parts with equal emphasis on both beats in the measure. This is incorrect, and frequently makes the march.
SKU: BT.DHP-1185978-010
Composer Satoshi Yagisawa is very popular in Asia, and has a great reputation in Singapore in particular. He composed this piece in 2017 as a commission from the Yishun Primary School Concert Band. The title Inspire! comes from the initials of the classroom names at the school: Independence, Nation-Loving, Sincerity, Perseverance, Integrity, Respect and Excellence. The piece is imbued with positivity and belief in the future for the young generations to come.Componist Satoshi Yagisawa is enorm populair in Azië, en dan met name in Singapore. Hij schreef dit werk in 2017 in opdracht van de Singaporese Yishun Primary School Concert Band. De titel is gebaseerd op de initialen van de namen van de klaslokalen in de school: Independence, Nation Loving, Sincerity, Perseverance, Integrity, Respect en Excellence (Onafhankelijkheid, Liefde voor het land, Oprechtheid, Volharding, Integriteit, Respect en Uitmuntendheid). Het werk ademt optimisme en verklankt een positief geloof in de toekomst van jonge generaties.Der Komponist Satoshi Yagisawa ist in Asien sehr beliebt, ganz besonders auch in Singapur. Er komponierte dieses Stück im Jahr 2017 als Auftragswerk für die Yishun Primary School Concert Band in Singapur, wo der Komponist großes Ansehen genießt. Der Titel Inspire! ergab sich aus den Initialen der Namen der Klassenräume in der Schule: Independence, Nation Loving, Sincerity, Perseverance, Integrity, Respect und Excellence. Das Stück strahlt eine positive Stimmung und den Glauben an die Zukunft für die kommende junge Generation aus.Le compositeur Satoshi Yagisawa jouit d’une très grande popularité en Asie, surtout Singapour. Il a composé cette œuvre suite une commande de l’orchestre Yishun Primary School Concert Band de Singapour. Le titre Inspire! est tiré des initiales du nom anglais des salles de classe de l’école : Independence, Nation-Loving, Sincerity, Perseverance, Integrity, Respect and Excellence - Indépendance, Amour de la patrie, Sincérité, Persévérance, Intégrité, Respect et Excellence. Cette composition crée une ambiance de positivisme et de foi en l’avenir pour les générations futures.
SKU: BT.DHP-1185978-140
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