SKU: PR.465000130
ISBN 9781598064070. UPC: 680160600144. 9x12 inches.
Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,†for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,†and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Springâ€) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
SKU: PR.46500013L
UPC: 680160600151. 11 x 14 inches.
I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.
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.AMP-494-140
English-German-French-Dutch.
March of the Robot Army was commissioned by Linda Anzolin & Giordano-Bruno Tedeschi for Campobanda 2019, with funds made available by JUST ITALIA. Campobanda is an Italian summer music camp for 8- to 18-year-olds (held inCamposilvano in 2019) which has a different theme every year. The theme for 2019 was ‘science fiction’, so composer Philip Sparke chose to write a robot march. After a quirky introduction featuring trumpet calls and chromaticfigures, the main theme appears in a minor mode on clarinet and tenor sax and is then taken up by the full band. A change of key heralds a new theme, led by the trumpet and again repeated by the full ensemble. A further change ofkey introduces a legato ‘trio’ melody over a rather robotic accompaniment: instruments are added bit by bit until a climax is reached. Small motifs from the introduction then lead back to a full recapitulation, revisiting thefirst two themes in new guises before finishing the march with a flourish.March of the Robot Army werd geschreven in opdracht van Linda Anzolin & Giordano-Bruno Tedeschi voor Campobanda 2019: de financiering werd mogelijk gemaakt door JUST ITALIA. Campobanda is een Italiaans zomermuziekkamp vooracht- tot achttienjarigen (dat in 2019 werd gehouden in Camposilvano) met elk jaar een ander thema. Het thema voor 2019 was sciencefiction, dus besloot componist Philip Sparke een robotmars te schrijven. Na een grilligeinleiding met trompetsignalen en chromatische motieven verschijnt het hoofdthema in mineur op klarinet en tenorsax, waarna het door het hele orkest wordt overgenomen. Een verandering van toonsoort kondigt een nieuw thema aan, weeringeleid door de trompet en herhaald door het volledige ensemble. Een verdere toonsoortverandering introduceert een legato ‘triomelodie’ boven een nogal robotachtige begeleiding: er worden stapsgewijs instrumenten toegevoegd totde muziek uitmondt in een hoogtepunt. Korte figuren uit de inleiding nemen ons dan mee naar een volledige herneming, met een terugkeer naar de eerste twee thema’s in een nieuwe gedaante, waarna de mars in stijl wordt afgesloten.Der March of the Robot Army wurde von Linda Anzolin und Giordano-Bruno Tedeschi für Campobanda 2019“ in Auftrag gegeben und finanziell von JUST ITALIA unterstützt. Das italienische Sommermusikcamp Campobanda für 8- bis18-Jährige fand 2019 in Camposilvano statt und hat jedes Jahr ein anderes Motto. 2019 lautete das Thema Science Fiction“, daher entschied sich der Komponist Philip Sparke dazu, einen Robotermarsch zu schreiben. Nach einerskurrilen Einleitung mit Trompetenrufen und chromatischen Figuren erklingt in Klarinetten und Tenorsaxophonen das Hauptthema in Moll, das dann vom gesamten Orchester aufgegriffen werd. Ein Tonartwechsel kündigt ein neues Thema an,das von der Trompete vorgestellt und anschließend vom gesamten Ensemble wiederholt wird. Ein weiterer Tonartwechsel führt zu einem melodischen, legato gespielten Trio-Abschnitt über einer roboterhaften Begleitung. Nach und nachkommen weitere Instrumente hinzu, bis der Höhepunkt erreicht ist. Kleine Motive aus der Einleitung führen dann zu einer Reprise, wobei die ersten beiden Themen in neuer Gestalt wieder aufgegriffen werden, bevor der Marsch zum Endehin noch einmal musikalisch aufblüht.March of the Robot Army est une commande de Linda Anzolin et Giordano-Bruno Tedeschi pour Campobanda 2019, gr ce des fonds mis disposition par JUST ITALIA. Destinée aux jeunes de 8 18 ans, Campobanda est une école demusique d’été dont le thème change chaque année. Celui de l’édition 2019 étant « sciencefiction », Philip Sparke décida d’écrire une marche pour robots. Après une introduction insolite rassemblant appels de trompette et figureschromatiques, le premier thème apparaît dans un mode mineur la clarinette et au saxophone ténor avant d’être repris par l’orchestre entier. Un changement de tonalité annonce un nouveau thème, mené par la trompette et repris,encore une fois, par l’orchestre entier. Un autre changement de tonalité introduit une mélodie legato « en trio » sur un accompagnement quelque peu robotique : divers instruments s’y ajoutent progressivement pour aboutir unclimax. Des petits motifs tirés de l’introduction mènent une récapitulation complète qui reprend les deux premiers thèmes sous des formes différentes, avant de conclure la marche avec un bouquet final.
SKU: BT.AMP-494-010
SKU: BT.AMP-481-010
Guardians of the Waves was commissioned by the Japan Coast Guard Band to celebrate their 30th anniversary in 2018. They gave the premiere as part of a 30th anniversary concert on November 8th that year. Set in traditionalmarch form, Guardians of the Waves opens with a short introduction, which leads to the main theme, played initially by the brass and then repeated with a florid woodwind descant. The theme is extended and morphs into asecond theme, first played tutti and then quietly repeated by bassoon, tenor sax and euphonium. This leads to a conventional ‘bass strain’, played twice with varying accompaniments. A quieter trio section follows, delicatelyscored and featuring the tenor instruments of the band. Taken up by the full band, this leads back to a recall of the introduction and a return to the main two themes, which lead to a triumphal close.Guardians of the Waves werd geschreven in opdracht van de Japan Coast Guard Band ter gelegenheid van het dertigjarig bestaan van dit orkest, in 2018. De première vond plaats tijdens het jubileumconcert op 8 november van datjaar. Het werk, dat is gecomponeerd in een traditionele marsvorm, begint met een korte introductie die het hoofdthema inleidt, dat aanvankelijk wordt gespeeld door het koper en dan wordt herhaald met een weelderige discant in hethout. Het thema wordt voortgezet en gaat over in een tweede thema, eerst tutti gespeeld en rustig herhaald door fagot, tenorsax en eufonium. Dit thema voert ons mee naar een conventionele baslijn, die twee keer wordt gespeeld metvariërende begeleiding. Daarna volgt een kalmer triogedeelte, dat delicaat is getoonzet en waarin de tenorinstrumenten van het orkest ruimschoots aan bod komen. Het wordt dan overgenomen door het complete orkest en brengt onsterug naar de inleiding en de twee hoofdthema’s, uitmondend in een triomfantelijk slot.Guardians of the Waves wurde von der Japan Coast Guard Band anlässlich ihres 30-jährigen Bestehens im Jahr 2018 in Auftrag gegeben. Die Uraufführung fand am 8. November 2018 im Rahmen eines Jubiläumskonzertes statt.Guardians of the Waves wurde als traditioneller Marsch komponiert und beginnt mit einer kurzen Einleitung, die zum Hauptthema führt. Dieses wird zunächst von den Blechbläsern gespielt und dann von den Oberstimmen in denHolzbläsern mit Verzierungen wiederholt. Das Thema wird erweitert und geht in ein zweites Thema über, das zunächst vom Tutti gespielt und dann von Fagott, Tenorsaxophon und Euphonium leise wiederholt wird. Anschließend erklingteine traditionelle Melodie in den Bassinstrumenten, die mit unterschiedlicher Begleitung zweimal gespielt wird. Es folgt ein ruhigeres Trio, das zart besetzt ist und die Tenorinstrumente des Blasorchesters hervorhebt. Dies wirdschließlich vom gesamten Blasorchester aufgegriffen und führt zu einer Wiederholung der Einleitung und einer Rückkehr zu den beiden Hauptthemen, die in einen triumphalen Schluss überleiten.Guardians of the Waves est une commande de l’Harmonie de la Gendarmerie maritime du Japon pour marquer son 30e anniversaire, en 2018. L’orchestre a créé l’œuvre dans le cadre d’un concert d’anniversaire le 8 novembre decette même année. Écrite en forme de marche traditionnelle, Guardians of the Waves s’ouvre avec une courte introduction qui mène au thème principal, interprété d’abord par les cuivres puis repris avec un déchant fleuri parles bois. Le thème est prolongé et se morphe en un second thème, d’abord en tutti, puis répété doucement par les bassons, saxophones ténor et euphoniums. Ce passage mène une mélodie conventionnelle dans les graves, jouée deuxfois avec divers accompagnements. Vient ensuite un trio plus calme, orchestré avec délicatesse et mettant en avant les instruments ténor. Repris par l’orchestre entier, ce passage est suivi d’un rappel de l’introduction avant unretour aux deux thèmes principaux, qui mènent une conclusion triomphale.
SKU: BT.AMP-481-140
SKU: AP.49171S
ISBN 9781470646820. UPC: 038081564999. English.
The worldwide pandemic of 2020 left in its wake devastating numbers of lives lost, resulting in unspeakable suffering for families coping with the grief for their now absent loved ones. This is especially true for the first responders, frontline personnel, doctors, nurses, scientists, medical support teams, and healthcare staff members whose selfless dedication and devotion to caring for others tragically resulted in their own passing. Guided by their personal, deep sense of duty and obligation to heal and help, they put themselves in harm's way, paying the ultimate price so that others might live. Celebrate their lives with Douglas Wagner's composition, We Will Remember Them. May their bright stars ever spread the night sky, piercing the darkness to continue bringing light, hope, and inspiration to us all. At the going down of the sun and in the morning, we will remember them. (3:20).
SKU: AP.49171
ISBN 9781470646813. UPC: 038081564982. English.
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: FJ.B1572S
English.
Based on the novel by American author Jack London, this powerful work depicts a dog's struggle as he progressively moves from a domesticated animal to a creature of the wild. All sections of the piece are titled after chapters in the novel. The opening powerful fanfare over dissonant woodwind trills moves into a fast-paced section as Buck has his brutal introduction into primitive law. The music becomes angrier as dramatic battles occur along with long journeys without adequate food and water. Eventually, the music becomes heroic and resolute before the opening fanfare returns once more (The Sounding of the Call) and Buck finally completes his transformation, returning to the wild.
About FJH Concert Band
Designed for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5
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: PR.16500092L
UPC: 680160039531. 11 x 17 inches.
Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.
SKU: CF.CPS200
ISBN 9781491152355. UPC: 680160909858.
Although some stories in Greek mythology reveal a different side to his character, Apollo was widely regarded to hold a cheerful personality and communicating joy through the music he played on his lyre. Apollo Arise is an energetic and spirited work for band ideal for opening a concert. The uplifting and exuberant melodic material lead the group on a sonic journey to capture the joy and light music can bring to both the audience and the performer.Program NotesAmong the many stories in Greek mythology, Apollo holds a unique place as a complex Olympian god known for truth, prophecy, healing, poetry, plague, knowledge, light and music. Although some stories reveal a different side to his character, Apollo was widely regarded to hold a cheerful personality and communicated joy through the music he played on his lyre. Apollo Arise is an energetic and spirited work for band, ideal for opening a concert. The uplifting and exuberant melodic material lead the group on a sonic journey to capture the joy and light music can bring to both the audience and performer. From the dynamic opening fanfare to the soaring motifs and rhythms that follow, Apollo Arise provides a wonderful opportunity for the ensemble to reach for new musical heights in their performance!   Rehearsal Notes and SuggestionsThe opening twenty-four measures of the work are important for the rest of the work to unfold successfully. Encourage the ensemble to play with a unified articulation style, maintain a proper balance, and establish a consistent tempo through this section as several recurring rhythms must be performed consistently. Measure 38 features a trumpet solo, so be sure that the rest of the ensemble balances their line to support the solo instrument. In the section that begins at m. 67, there is an optional solo opportunity for trumpet and trombone. Both of these sections provide nice contrast against the full ensemble sections that are present in the work. The section at m. 81 includes a call-and-response section between woodwind, brass and percussion groups. Be sure that as groups enter, the tempo remains consistent and that the winds articulation style is unified and complimentary to the percussion. As the opening fanfare returns at m. 101, remind the ensemble to play with consistent style, balance and tempo as they did in the opening. As the ensemble begins the part of the journey with Apollo at m. 110, the music contains unique layers that must work together to be effective and set up the material that begins at m. 127. Encourage the group to play so they can hear all other lines, and allow their energy to grow into a focused musical celebration by the final note. Thank you in advance for your support of this music, and I wish you and your ensemble well as Apollo Arise welcomes the audience to your concert hall.
SKU: CF.CPS200F
ISBN 9781491153031. UPC: 680160910533.
SKU: CL.012-4119-75
Sands of the Sahara paints a breathtaking and dramatic picture of the desolation, intrigue, culture, and storied history of the north Africa landscape. At the start, special percussion effects mimic the sounds of the wind, while a mysterious, faraway flute melody calls to mind an oasis in the desert. Abruptly, a bold theme is introduced by the full band, and leads to the driving rhythms and exotic themes that further propel and sustain the rest of the piece. Concluding, the introduction is briefly restated, and the piece ends in a stunning tour-de-force of color and intensity. Perfect for concert or contest, Sands of the Sahara will showcase your entire band with excitement and enthusiasm.
SKU: CL.012-4119-01
SKU: BT.DHP-1135394-010
9x12 inches. English-German-French-Dutch.
The inspiration for this three-part work goes back to the International European Youth Wind Music Festival, of which the patron has been Jacob de Haan several times. It begins in a festive march tempo, then sacred music, instrumental groups playing off_x001E_stage and a little march for brass and _x001D_flutes. The third movement is a parade in which the various sections of the ensemble head towards the stage from different directions. Even without the effective choreography of the musicians, Call of the Valley is an impressive concert band composition.Jacob de Haan haalde zijn inspiratie voor dit driedelige werk bij het Hessische kuuroord Bad Orb en het tweejaarlijkse Blaasmuziekfestival van de Europese Jeugd, waarvan hij meerdere keren beschermheer was. In het werk verwerkte de componist verschillende e_x001D_ecten die betrekking hebben op het festival. Zo hoort men in de vallei verschillende orkesten door elkaar spelen, een indrukwekkend e_x001D_ect dat ook in de compositie werd verwerkt. Ook kan men ervoor kiezen om tijdens het werk het orkest op te splitsen en het podium te laten verlaten en marcherend weer richting podium te stappen. Een spectaculair en vernieuwend werk!Die Inspiration für dieses dreiteilige Werk geht auf das Internationale Blasmusikfest der Jugend Europas zurück, dessen Schirmherr schon mehrfach Jacob de Haan war. Es beginnt in festlich marschierendem Tempo, gefolgt von sakraler Musik, abseits der Bühne spielenden Instrumentengruppen und einem kleinen Marsch für Blechbläser und Flöten. Der dritte Satz ist eine Parade, bei der sich das geteilte Orchester aus verschiedenen Richtungen auf die Bühne zu bewegt. Auch ohne die effektvolle Positionierung der Musiker ist Call of the Valley ein eindrucksvolles Blasorchesterwerk.Call of the Valley s’ouvre sur un tempo festif en forme de marche. Des sonorités majestueuses dessinent un concert de musique sacrée. Puis deux groupes instrumentaux quittent la scène et exécutent leurs parties distance. Un groupe de saxophones interprète une valse, un autre groupe réunissant cuivres et _x001D_fl tes joue une marche. la fin de l’oeuvre, l’orchestre reprend les thèmes des deux groupes tandis que ceux-ci reviennent vers la scène. Une fois arrivés, ils restent face au public alors que résonne l’accord _x001C_final.Un festival di musica per _x001E_ati per banda giovanile che si tiene a Hesse in Germania, e al quale Jacob de Haan ha più volte partecipato in veste di giurato, è servito da ispirazione per comporre questo brano. L’inizio vede un tempo festivo che simboleggia l’arrivo delle bande. Sonorit maestose disegnano un concerto di musica sacra, seguite da suoni che evocano le interpretazioni di varie orchestre. Un gruppo di sax interpreta un piccolo valzer, un altro gruppo che unisce ottoni, _x001D_auti e ottavino suona una piccola marcia. Nel _x001E_finale dell’opera, l’orchestra riprende i temi dei due gruppi.
SKU: BT.DHP-1135394-140
SKU: CL.012-2442-75
A powerful work that recounts the magnificent story of four U.S. Army Chaplains who heroically sacrificed their lives during World War II. The Light Eternal is based on the well-known hymn, God Of Our Fathers, and is filled with an abundance of musical inventiveness that will produce a startling emotional impact on the listener. Audiences will be overwhelmed!
About C.L. Barnhouse Classics Series
Under the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time!
SKU: CF.CPS222
ISBN 9781491152485. UPC: 680160909988.
From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences.  Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster and leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. The piece continues through a more lyrical second section before a dramatic return of the opening material to close out this contest/festival style piece.From the call of the open seas to the wistful dance section, this piece will open the imagination of your students and audiences. Very playable by young bands, the piece features a short opening ostinato that develops into a tone cluster. This leads to the ominous sounds of the brass and percussion, which depict the slow lumbering ship on the dangerous, open waters. After a quickly paced melody in the low register for the clarinets, the piece gives way to an exciting tutti section that features horns and saxes on an answering countermelody.The second section is a dance that starts with low reeds and a flute solo, but develops into a full band Spanish-sounding dance, with melody in many different places. The recap is a reverse of the beginning section and again loosely represents the danger of life on the high seas.The short ostinato that is used at the beginning and in some transitional moments is based on the beginning notes of Irish Tune from County Derry, a favorite of J. C. Sykes, who this piece honors. Mr. Sykes gave a lifetime to teaching music to band students in North Carolina. The first four notes in clarinet 1, the first four in flute 1 and the first four in clarinet 2 make up the first phrase from that beautiful melody. Just something to get students thinking about composition in a new way.
SKU: CF.CPS222F
ISBN 9781491153161. UPC: 680160910663.
SKU: BT.DHP-1043551-140
The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,†which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.†In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.†His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,†and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,†they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.†Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
