Fanfare Band - Grade 2.5

SKU: BT.GOB-000470-020

Composed by Timothy Travis. Set (Score & Parts). 73 pages. Gobelin Music Publications #GOB 000470-020. Published by Gobelin Music Publications (BT.GOB-000470-020).

The 'Admiral Spirit' is the pride of the Navy. The ship is at sea, there is no wind, the sun is shining. The crew are busy piloting the ship into port in prime condition. The admiral himself will inspect the vessel.
The first movement (Allegro Con Spirito) gives musical expression to the majestic ship and its toiling crew.
In the second movement (Andante), the ship sails into port. It has been polished and technically everything is in order. The admiral will be proud when he inspects the ship.
Third movement (Allegro Molto): the captain and his crew are nervous (modulations) while working at the 'finishing touch'. The Navy Band is ready to receive the admiral !. Hemay be proud of his flagship. De bemanning van het marineschip Admiral Spirit is druk bezig om het schip in optimale conditie de haven binnen te loodsen, de admiraal gaat namelijk het schip zelf inspecteren.
In het eerste deel (Allegro con spirito) horen we een verklanking van het majestueuze schip en de zwoegende bemanning. Hoe beeldend zijn de emmertjes water welke overboord gaan (trombones).
In het tweede deel (Andante) vaart het schip de haven binnen. Het schip is gepoetst en technisch is alles in orde.
Derde deel (Allegro molto): De kapitein en zijn bemanning zijn nerveus (modulaties) en er wordt aan de finishing touch gewerkt. De Navy Band staat klaar om de admiraal te ontvangen! De admiraal kan trots zijn op het vlaggenschip.
Een schitterend speelwerk voor de lagere afdelingen!
Dit werk is opgenomen in het Klein repertorium, fanfare - 5e divisie

De bemanning van het marineschip Admiral Spirit is druk bezig om het schip in optimale conditie de haven binnen te loodsen, de admiraal gaat namelijk het schip zelf inspecteren. De Navy Band staat klaar om de admiraal te ontvangen! De admiraal kan trots zijn op het vlaggenschip. Een schitterend speelwerk voor de lagere afdelingen!

Gobelin Music Publications.

Concert Band/Harmonie - Grade 2.5

SKU: BT.GOB-000350-140

Composed by Timothy Travis. Score Only. 36 pages. Gobelin Music Publications #GOB 000350-140. Published by Gobelin Music Publications (BT.GOB-000350-140).

The 'Admiral Spirit' is the pride of the Navy. The ship is at sea, there is no wind, the sun is shining. The crew are busy piloting the ship into port in prime condition. The admiral himself will inspect the vessel.
The first movement (Allegro Con Spirito) gives musical expression to the majestic ship and its toiling crew.
In the second movement (Andante), the ship sails into port. It has been polished and technically everything is in order. The admiral will be proud when he inspects the ship.
Third movement (Allegro Molto): the captain and his crew are nervous (modulations) while working at the 'finishing touch'. The Navy Band is ready to receive the admiral !. Hemay be proud of his flagship. De bemanning van het marineschip Admiral Spirit is druk bezig om het schip in optimale conditie de haven binnen te loodsen, de admiraal gaat namelijk het schip zelf inspecteren.
In het eerste deel (Allegro con spirito) horen we een verklanking van het majestueuze schip en de zwoegende bemanning. Hoe beeldend zijn de emmertjes water welke overboord gaan (trombones).
In het tweede deel (Andante) vaart het schip de haven binnen. Het schip is gepoetst en technisch is alles in orde.
Derde deel (Allegro molto): De kapitein en zijn bemanning zijn nerveus (modulaties) en er wordt aan de finishing touch gewerkt. De Navy Band staat klaar om de admiraal te ontvangen! De admiraal kan trots zijn op het vlaggenschip.
Een schitterend speelwerk voor de lagere afdelingen!
Dit werk is opgenomen in het Klein repertorium, harmonie - 5e divisie

Gobelin Music Publications.

Concert Band/Harmonie - Grade 2.5

SKU: BT.GOB-000350-010

Composed by Timothy Travis. Set (Score & Parts). 84 pages. Gobelin Music Publications #GOB 000350-010. Published by Gobelin Music Publications (BT.GOB-000350-010).

The 'Admiral Spirit' is the pride of the Navy. The ship is at sea, there is no wind, the sun is shining. The crew are busy piloting the ship into port in prime condition. The admiral himself will inspect the vessel.
The first movement (Allegro Con Spirito) gives musical expression to the majestic ship and its toiling crew.
In the second movement (Andante), the ship sails into port. It has been polished and technically everything is in order. The admiral will be proud when he inspects the ship.
Third movement (Allegro Molto): the captain and his crew are nervous (modulations) while working at the 'finishing touch'. The Navy Band is ready to receive the admiral !. Hemay be proud of his flagship. De bemanning van het marineschip Admiral Spirit is druk bezig om het schip in optimale conditie de haven binnen te loodsen, de admiraal gaat namelijk het schip zelf inspecteren.
In het eerste deel (Allegro con spirito) horen we een verklanking van het majestueuze schip en de zwoegende bemanning. Hoe beeldend zijn de emmertjes water welke overboord gaan (trombones).
In het tweede deel (Andante) vaart het schip de haven binnen. Het schip is gepoetst en technisch is alles in orde.
Derde deel (Allegro molto): De kapitein en zijn bemanning zijn nerveus (modulaties) en er wordt aan de finishing touch gewerkt. De Navy Band staat klaar om de admiraal te ontvangen! De admiraal kan trots zijn op het vlaggenschip.
Een schitterend speelwerk voor de lagere afdelingen!
Dit werk is opgenomen in het Klein repertorium, harmonie - 5e divisie

Gobelin Music Publications.

Fanfare Band - Grade 4

SKU: BT.GOB-000841-020

Composed by Harrie Janssen. Set (Score & Parts). 50 pages. Gobelin Music Publications #GOB 000841-020. Published by Gobelin Music Publications (BT.GOB-000841-020).

The Dutch composer Harrie Janssen composed Adventures of the Beaume to mark the 50th anniversary of his parents wedding.
The composer of the march his memories of the family home, and in particular the occupation of his parents.
The Janssen family earned a living as inland carriers.
Beaume was the name of the ship of his parents.
The first part of the march describes the adventures they experienced before the lock, to reach the port of Antwerp. To get here was by the law of the strongest and brutal. The father of the composer had in this much support from the oldest daughter of the family.
The themes in the trio reflect the carefree youth,the pleasant atmosphere and the warmth and dedication in Janssen's home.

De Nederlands componist Harrie Janssen schreef 'Adventures of the Beaumé' ter gelegenheid van het 50 jarig huwelijksjubileum van zijn ouders.
De componist heeft met de mars zijn herinneringen aan het ouderlijk huis, en metname aan het beroep van zijn ouders weergegeven.
De familie Janssen verdiende de kost als binnenvaart schippers.
'Beaumé' was de naam van het vrachtschip van zijn ouders.
Het eerste deel van de mars beschrijft de avonturendie ze meemaakten voor de sluis, om de haven van Antwerpen te bereiken. Om hier door te komen gold het recht van de sterkste en brutaalste. De vader van de componist had hierin veel steun van de oudste dochter van het gezin.
De thema's in het trio weerspiegelen de onbekommerde jeugd, de plezierige sfeer en de warmte en toewijding in huize Janssen.

Concert Band/Harmonie - Grade 4

SKU: BT.GOB-000879-010

Composed by Harrie Janssen. Set (Score & Parts). 12 pages. Gobelin Music Publications #GOB 000879-010. Published by Gobelin Music Publications (BT.GOB-000879-010).

The Dutch composer Harrie Janssen composed Adventures of the Beaume to mark the 50th anniversary of his parents wedding.
The composer of the march his memories of the family home, and in particular the occupation of his parents.
The Janssen family earned a living as inland carriers.
Beaume 'was the name of the ship of his parents.
The first part of the march describes the adventures they experienced before the lock, to reach the port of Antwerp. To get here was by the law of the strongest and brutal. The father of the composer had in this much support from the oldest daughter of the family.
The themes in the trio reflect the carefree youth,the pleasant atmosphere and the warmth and dedication in Janssen's home.

De Nederlands componist Harrie Janssen schreef 'Adventures of the Beaumé' ter gelegenheid van het 50 jarig huwelijksjubileum van zijn ouders.
De componist heeft met de mars zijn herinneringen aan het ouderlijk huis, en metname aan het beroep van zijn ouders weergegeven.
De familie Janssen verdiende de kost als binnenvaart schippers.
'Beaumé' was de naam van het vrachtschip van zijn ouders.
Het eerste deel van de mars beschrijft de avonturendie ze meemaakten voor de sluis, om de haven van Antwerpen te bereiken. Om hier door te komen gold het recht van de sterkste en brutaalste. De vader van de componist had hierin veel steun van de oudste dochter van het gezin.
De thema's in het trio weerspiegelen de onbekommerde jeugd, de plezierige sfeer en de warmte en toewijding in huize Janssen.

SKU: HL.50498327

Special Import. Hal Leonard #SIK6/4975. Published by Hal Leonard (HL.50498327).

Concert Band/Harmonie - Grade 1.5

SKU: BT.GOB-000624-140

Composed by Peter Martin. Score Only. 8 pages. Gobelin Music Publications #GOB 000624-140. Published by Gobelin Music Publications (BT.GOB-000624-140).

Mombassa Beat is an extremely infectious piece composed by Peter Martin, which references the popular light music of Bert Kämpfert. Mombassa is a bustling port in Kenya, and this characteristic can clearly be heard in the music. The bright, fresh sounds of Mombassa Beat are sure to excite and delight performers and audiences alike!

Mombassa. Dat is een levendige havenstad in Kenia. En dát is te merken! Vrolijkheid en opgewektheid zijn de ingrediënten van deze aanstekelijke compositie. Mombassa Beat is een knipoog naar de populaire amusementsmuziek vanBert Kaempfert. Succes verzekerd!

Mombassa Beat ist ein extrem ansteckendes Musikstück von Peter Martin, der darin mit einem Augenzwinkern auf die populäre Unterhaltungsmusik von Bert Kämpfert anspielt. Mombassa ist eine lebendige Hafenstadt in Kenia, was in Mombassa Beat spürbar ist: Fröhliche, frische, aufgeweckte Klänge sind ein Garant für einen erfolgreichen Auftritt!

Mombassa Beat est une oeuvre extrêmement pétillante de Peter Martin, qui y fait un clin d’oeil au célèbre genre musical de Bert Kämpfert. Mombassa est une ville portuaire très active située au Kenya. Cette composition fait ressortir pleinement l’ambiance cosmopolite de la capitale : des sonorités claires, gaies et percutantes. De quoi garantir une ouverture de concert éclatante.!

Mombassa Beat è un brano molto frizzante di Peter Martin che ricorda la popolare musica da intrattenimento di Bert Kämpfert. Mombasa è una vivace citt portuale del Kenia, vivacit che si riflette nella musica di Peter Martin tutta nel segno dei colori africani!

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500102F

Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F).

ISBN 9781491131749. UPC: 680160680276.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.