SKU: CF.W2687
ISBN 9781491150955. UPC: 680160908455. 9x12 inches.
This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trombone, edited by Alan Raph, was specifically written to provide the student with suitable material with which to test his powers of endurance, according to Arban himself.The following fourteen studies have been specifically written to provide the student withsuitable material with which to test his powers of endurance. In taking up these studies, he willdoubtless be fatigued, especially at the outset, by those numbers requiring an unusual length ofbreath. However, through careful study and experience he will learn to overcome the difficultiesand will acquire the resources which will enable him to master this particular phase of playingwith ease. As a means to this end, attention is drawn to cantabile passages in particular, whichshould be played with the utmost expression, yet at the same time with as much modified toneas possible. On the cornet, as with the voice, clear tones may be obtained by widening thelips and veiled tones by contracting them. This happy circumstance allows the performer anopportunity to rest while still continuing to play, and at the same time enables him to introduceeffective contrasts into the execution. It should be noted that by little artifices of this kind, andby skillfully conserving his resources, the player will reach the end of the longest and mostfatiguing pieces, not only without difficulty, but even with a reserve of strength and power,which, when brought to bear on the final measures of a performance, never fails to impress anaudience.At this point my task as professor (using the written instead of the spoken word) willend. There are things which appear clear enough when stated verbally but which when writtendown on paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech norword can clearly explain them. They are felt, they are conceived, but they are not to be explained;and yet these things constitute the elevated style, the grand ecole, which it is my ambition toestablish for the cornet, just as they already exist for singing and for the various kinds of otherinstruments.Those of my readers who are ambitious and who want to attain this high level ofperfection, should above all things, always try to hear good music well interpreted. Theymust seek out, among singers and instrumentalists, the most illustrious models, and by doingthis purify their taste, develop their sentiments, and bring themselves as near as possible tothat which is beautiful. Perhaps then the innate spark which may someday be destined todemonstrate their own talent, will reveal itself and render them worthy of being, in their turn,cited and imitated in the future.
SKU: CF.W2686
ISBN 9781491150948. UPC: 680160908448. 9x12 inches.
This new edition of Jean Baptiste Arban's Fourteen Characteristic Studies for Trumpet in Bb, edited by Thomas Hooten and Jennifer Marotta, was specifically written to provide the student with suitable material with which to test his powers of endurance, according to Arban himself.The following fourteen studies have been specifically written to provide the student withsuitable material with which to test his powers of endurance. In taking up these studies, he willdoubtless be fatigued, especially at the outset, by those numbers requiring an unusual length ofbreath. However, through careful study and experience he will learn to overcome the difficultiesand will acquire the resources which will enable him to master this particular phase of playingwith ease. As a means to this end, attention is drawn to cantabile passages in particular, whichshould be played with the utmost expression, yet at the same time with as much modified toneas possible. On the cornet, as with the voice, clear tones may be obtained by widening thelips and veiled tones by contracting them. This happy circumstance allows the performer anopportunity to rest while still continuing to play, and at the same time enables him to introduceeffective contrasts into the execution. It should be noted that by little artifices of this kind, andby skillfully conserving his resources, the player will reach the end of the longest and mostfatiguing pieces, not only without difficulty, but even with a reserve of strength and power,which, when brought to bear on the final measures of a performance, never fails to impress anaudience.At this point my task as professor (using the written instead of the spoken word) will end.There are things which appear clear enough when stated verbally but which when written downon paper cause confusion, seem obscure, and even sometimes appear trivial.There are other things of such an elevated and subtle nature that neither speech nor wordcan clearly explain them. They are felt, they are conceived, but they are not to be explained;and yet these things constitute the elevated style, the grand ecole, which it is my ambition toestablish for the cornet, just as they already exist for singing and for the various kinds of otherinstruments.Those of my readers who are ambitious and who want to attain this high level of perfection,should above all things, always try to hear good music well interpreted. They must seek out,among singers and instrumentalists, the most illustrious models, and by doing this purifytheir taste, develop their sentiments, and bring themselves as near as possible to that which isbeautiful. Perhaps then the innate spark which may someday be destined to demonstrate theirown talent, will reveal itself and render them worthy of being, in their turn, cited and imitatedin the future.
SKU: CF.BPS127
ISBN 9781491156209. UPC: 680160914746. 9 x 12 inches.
Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.Program NotesElephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,†over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.†Allowing additional rehearsal time for this is recommended.
SKU: HL.14032192
ISBN 9788759858394. 12.0x16.5x0.78 inches. International (more than one language).
Symphony No. 6 for orchestra, 1997-99. Preface / Program Note:... with the Lord a day is like a thousand years, and a thousand years is like a day(New Testament, 2 Peter 3:8)My SYMPHONY NO. 6 was commissioned by the Danish National Radio Symphony Orchestra, the Gteborg Symphony Orchestra and the Oslo Philharmonic Orchestra, to be premiered at the millenium 2000.The subtitle AT THE END OF THE DAY can be understood literally or it can mean when all is added up. However, in my opinion, nothing ever quite adds up, there is always something missing, any ending will be provisional ...This symphony appears to end only a few minutes into the first movement, the first passage, as the music fades away to almost-silence, after a start of flying colours. But then there is still something, a small motive (first heard in the initial sound-waves) which reappears, hesitant, but persistent, and this embryo is what leads on the musical progression. An agitated section of many instrumental voices comes next, until all the voices become obsessed with the same phrase, a see-saw motive based on thirds. This section evolves into almost martial ferocity, when broken off by a tutti descent into an extreme bass-world (a bass-world which actually permeates the whole symphony, emplyoing instruments that I have never used before: double-bass tuba, double-bass trombone, double-bass clarinet, and bass flute).The second movement, the second passage, apparently takes off where the first passage ended, but now the events are more ambiguous, and the same music may be perceived as fast-moving one moment and slow-moving the next. This section is a kind of passacaglia, the characteristic baroque bass-variation.Without a break follows the third and last passage, in a contrasting high register. The music is rhythmically knotty as well as freely flowing. As in the beginning of the symphony, a never-ending descent or fall breaks off the events, and at the very end a delta of new beginnings, of other worlds, is revealed ....The symphony is dedicated to Helle, my wife. - Per Norgard.
SKU: YM.GTW01100336
ISBN 9784636102338. 8.5 x 12 inches.
This is a collection of 23 popular songs from Studio Ghibli's works, arranged for a duet, trio, and quartet. The arrangements are designed to be played by the same type of instruments in the same key and are considerably flexible, allowing the trio to play as a duet and the quartet as a trio. Please refer to the guide in the score if full members are not available. Many of the pieces are arranged for beginners, so they can be enjoyed by anyone who has just picked up an instrument.
SKU: HL.48021234
ISBN 9781458423542. UPC: 884088642037. 6.75x10.5 inches.
Text: in Latin compiled from the charter of the University, and from older orations in praise of Basle by Bernhard Wyss.Publisher: Boosey & HawkesDifficulty level: 4 (for chorus)Britten's genius lifts this work above being just a worthy celebration of the 500th anniversary of the foundation of Basle University. It is tongue-in-cheek and mockingly non-academic while referring all the time to academic musical forms and formulae. It is written in two parts (everything is in the statutory Latin including the titles of the parts - Pars I and Pars II). The titles of the movements show Britten's intention to show off a wide variety of techniques. Here are some examples: Chorale/Alla Rovescio (the theme is given and responded to with the same melody upside down)/Recitativo/Tema seriale con fuga/Canone ed ostinato. There is a good deal of humour here.There are seven movements in Pars I and six in Pars II. The tenor soloist is given three florid recitatives, accompanied only by a piano, which act as bridges between other orchestrally accompanied movements. Of these the most noteworthy are the Arioso con canto popolare for soprano solo with tenors and basses who hum a student song; another terrific Britten scherzo; and a wonderfully raucous final pair of movements (Canon ed ostinato and Corale con canto) where Britten seems to be aping the Vivat Regina! cries in Parry's I was glad or encouraging the kind of noisy 'I'm from the best university' kind of student touchline shout. This has outrageously high notes for the tenors (top B) which further endorse this feeling. There are real echoes of the Spring Symphony (see separate entry) final movement here which are further underlined by the last section of the Cantata which brings in the bells, piano, huge percussion and the inevitable chorale in which the choir sings 'that a free academy may thrive in a free community, for ever the ornament and treasure of illustrious Basle'.This may not be Britten at his most soul-searching but, as always, there is plenty here to enjoy, especially if the work is not taken too seriously. It is a celebratory, occasional piece and it could be well taken up by other academic establishments celebrating big anniversaries. The chorus parts are not very difficult, though they do present challenges for the choir - not least in having tenors capable of those very high notes at the end. The Tema seriale con fuga is sinewy and needs careful tuning. It also has the subject regularly given upside down after its initial sounding by the basses. All good fun.Duration: 21 minutesPaul Spicer, Lichfield, 2011.
SKU: CA.1631000
ISBN 9790007242800. Language: all languages.
1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.
SKU: BT.DHP-0971085-020
Jacob de Haan was commissioned to compose this concert piece by the St. Peters Wind Symphony from Brisbane, Australia. Ross Roy is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the Ross Roy as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of Tempo di Marcia. Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of passing through the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the overture to the rest of one's life. The premiere of Ross Roy was conducted by Jacob de Haan in Brisbane, on August 22, 1997. Ross Roy is de naam van de monumentale villa in Brisbane (Australië) waar in 1945 het St. Peters Lutheran College is gesticht. In opdracht van het collegeorkest componeerde Jacob de Haan dit gevarieerde concertwerk vol metaforen. De structuur en discipline van de school horen we in de met toonherhaling gepaard gaande ritmische beweging in basregister en slagwerk. Het volgende, martiale thema staat symbool voor het doorlopen van de klassen. Een schertsende, humoristische versie van het hoofdthema ontbreekt niet: op school moet immers ook tijd zijn voor vrolijkheid. Het karakteristieke slotthema mondt uit in een feestelijke apotheose. Ross Roy ist der Name einer monumentalen Villa in Brisbane, Australien, in der 1945 das St. Peter Lutheran College gegründet wurde. Im Auftrag dieses Schulorchesters komponierte Jacob de Haan dieses Konzertwerk, das voll von Metaphern ist. Die Struktur und Disziplin dieser Schule hören wir in der mit Tonwiederholungen gepaarten rhythmischen Bewegung des Bassregisters und des Schlagwerks. Das folgende martialische Thema steht als Symbol für das Durchlaufen der Klassen bis zum Ende der Schulzeit. Eine scherzhafte, humoristische Version des Hauptthemas darf nicht fehlen, denn in der Schule muss auch Zeit für kleine Späße und Lachen sein! Das charakteristische Schlussthemamündet in einem festlichen Höhepunkt. Ross Roy est le symbole grandiose de l’excellence du compositeur. L’œuvre tient son nom de l’imposante villa éponyme située Brisbane en Australie et qui abrite en ses murs le Collège Saint Pierre, une institution luthérienne fondée en 1945. C’est pour l’Orchestre d’Harmonie de cet établissement que Jacob de Haan composa cette œuvre riche en métaphores. « J’ai tenté de décrire les valeurs de cette école. Ainsi, le thème initial se développe-t-il sur un motif rythmique imposant qui alterne entre les instruments graves et la batterie. Ce motif symbolise l’autorité et le cadre structuré de l’école. On retrouve ce thème plusieurs reprises et notamment sousune forme humoristique et espiègle : nous découvrons les bons côtés de l’école, la joie des élèves, les sentiments de fierté, d’amour et d’amitié. Autre élément thématique, une marche qui symbolise la progression des élèves dans leur cursus pour arriver leurs examens de fin d'étude. » En guise de conclusion, Jacob de Haan nous offre un thème grandiose qui s’élargit en apothéose.
SKU: BT.DHP-0971085-010
Jacob de Haan was commissioned to compose this concert piece by the St. Peters Wind Symphony from Brisbane, Australia. Ross Roy is the monumental late 19th century villa where St. Peters Lutheran College was founded in 1945. The villa has always remained the school symbol. In this composition, Jacob de Haan sees the Ross Roy as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics.The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of Tempo di Marcia. Thismovement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of passing through the classes up to the final examinations.Then, the Ross Roy theme is dealt with again, now in a playful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding.We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the overture to the rest of one's life. The premiere of Ross Roy was conducted by Jacob de Haan in Brisbane, on August 22, 1997. Ross Roy is de naam van de monumentale villa in Brisbane (Australië) waar in 1945 het St. Peters Lutheran College is gesticht. In opdracht van het collegeorkest componeerde Jacob de Haan dit gevarieerde concertwerk vol metaforen.De structuur en discipline van de school horen we in de met toonherhaling gepaard gaande ritmische beweging in basregister en slagwerk. Het volgende, martiale thema staat symbool voor het doorlopen van de klassen. Een schertsende,humoristische versie van het hoofdthema ontbreekt niet: op school moet immers ook tijd zijn voor vrolijkheid. Het karakteristieke slotthema mondt uit in een feestelijke apotheose.Ross Roy ist der Name einer monumentalen Villa in Brisbane, Australien, in der 1945 das St. Peter Lutheran College gegründet wurde. Im Auftrag dieses Schulorchesters komponierte Jacob de Haan dieses Konzertwerk, das voll von Metaphern ist. Die Struktur und Disziplin dieser Schule hören wir in der mit Tonwiederholungen gepaarten rhythmischen Bewegung des Bassregisters und des Schlagwerks. Das folgende martialische Thema steht als Symbol für das Durchlaufen der Klassen bis zum Ende der Schulzeit. Eine scherzhafte, humoristische Version des Hauptthemas darf nicht fehlen, denn in der Schule muss auch Zeit für kleine Späße und Lachen sein! Das charakteristische Schlussthemamündet in einem festlichen Höhepunkt. Ross Roy est le symbole grandiose de l’excellence du compositeur. L’œuvre tient son nom de l’imposante villa éponyme située Brisbane en Australie et qui abrite en ses murs le Collège Saint Pierre, une institution luthérienne fondée en 1945. C’est pour l’Orchestre d’Harmonie de cet établissement que Jacob de Haan composa cette œuvre riche en métaphores. « J’ai tenté de décrire les valeurs de cette école. Ainsi, le thème initial se développe-t-il sur un motif rythmique imposant qui alterne entre les instruments graves et la batterie. Ce motif symbolise l’autorité et le cadre structuré de l’école. On retrouve ce thème plusieurs reprises et notamment sousune forme humoristique et espiègle : nous découvrons les bons côtés de l’école, la joie des élèves, les sentiments de fierté, d’amour et d’amitié. Autre élément thématique, une marche qui symbolise la progression des élèves dans leur cursus pour arriver leurs examens de fin d'étude. » En guise de conclusion, Jacob de Haan nous offre un thème grandiose qui s’élargit en apothéose. Commissionato dalla St. Peter’s Wind Symphony Orchestra di Brisbane, è dedicato alla monumentale villa tardo-ottocentesca dove il collegio dell’orchestra ha avuto la sua storica sede. Metafora degli anni della formazione, è caratterizzato da un finale in stile ouverture, come se gli anni della scuola rappresentassero una sorta di ouverture al resto della vita.
SKU: BT.DHP-0971085-120
SKU: CF.BPS127F
ISBN 9781491156216. UPC: 680160914753. 9 x 12 inches.
Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,†over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.†Allowing additional rehearsal time for this is recommended.
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