Isaac Watts (1674-1748) wrote the lyrics of 'There is a land of pure delight' and is known as the 'Father of English Hymnody'. Watts was for the English hymn as Ambrose was for the medieval Latin hymn and what Martin Luther was for the German chorale. He wrote about 750 songs and some of them survide the ravahes of time. (Joy To The World When I survey the wondrous cross I sing the Mighty Power of God) 'There is a Land of Pure Delight' is usually in English-speaking areas sung on Luther Orlando Emerson's melody ('Ascription'). Here is used a traditional English melody ('Mendip'). There is a land of pure delight Wheresaints immortal Reign. Infinite day excludes the night And pleasures banish pain .

This hit from the popular band OneRepublic adapts perfectly for marching/pep in this powerful arrangement by Matt Conaway. Theres a wide range of dynamics melody for the low brass and a hard-hitting chorus for the full band. (Includes optional cutfor shorter version).

‘Mixed Bag’ stands midway between a collection and a hotchpotch. It is a colourful compilation of four completely different pieces each with its own specific character. The first part is called ‘Tanguillo’ : as its name suggests this Spanish dance is related to the Tango. In the next part ‘Maybe next time ....’ a repeated bass line (Passacaglia) can be heard first solo but thereafter gradually the other instruments join in. The third part forms a huge contrast – did the former part have a Baroque atmosphere ‘Rock Hard’ seems to have come directly from the Rock ‘n Roll era reminding us of stars such as Bill Haley and Elvis Presley. The finale is acheerful inciting movement called ‘Gypsy Dance’.

During the eighteenth century a person called 'the Dance Master' made his appearance in Ireland. He was a travelling dance-teacher who moved from one village to another to teach the people there how to dance. They were often flamboyant personalities gorgeously dressed and holding a staff in one hand. In order to teach their pupils the difference between their right and left leg the dance master used to tie a small bunch of straw or hay to their leg and then would order them to either lift their 'hay-leg' or their 'straw-leg'. The dancing masters used to stay in one particular village for about six weeks (if they were not claimed by a neighbouringvillage) after which they continued their journey. Having a famous dance master gave a village a certain distinction and did not seldom lead to boasting and pride. Also on account of the popularity of Celtic music in general at the moment William Vean was inspired to writing 'The Irish Dance Master'. He 'teaches' you two dances the Reel and the Jig. In between these two dances there is a short breathing space during which a traditional Irish rhythm can be enjoyed.

In Theme Park Fun! your orchestra pays a visit to an amusement park. During your visit you will experience some spectacular rides and attractions this theme park offers. The uniqueness of Theme Park Fun! is the interplay between music and(moving) images. Animations and illustrations support the visual composition (downloadable after ordering a set on www.gobelinmusic.com).Part 1: The Entrance & Parade [with animation]The opening of the park is a fact. A day fullof fun and pleasure awaits! You and the other visitors will be confronted with all the rides attractions and adventures the theme park has to offer. Which ride shall we do first?! There is so much to do and experience on this day in the park! Aparade of colorful floats and park figures is passing by.Let the fun begin!Part 2: The Haunted House [with animation]The only ride in the park that is not related to fun is the Haunted House. Here visitors will be challengedto visit a house full of ghosts creepy figures and other ominous things. The clock strikes twelve there is no turning back. Ghosts are whispering yelling screaming... Fortunately it is almost one oclock so we can leave this creepy placequickly.Part 3: The Swinging Galleon [with illustrations]What a huge pirate ship! Each time you swing back and forth you will feel that weird feeling in your stomach. When you are thrown completely into the top you will have afantastic view over the park but you can not enjoy it for long. Before you know the ship swings back the other way.Part 4: The Fairy Tale Ride [with illustrations]After all those exciting and spectacular rides and attractions it is time for a peaceful tour in The Fairy Tale Ride. Surrounded by a fairytale setting you will discover fable figures talking animals and colorful designs. Such a beauty and tranquility. Having had this experience we are ready again for thebig rides in the park!Part 5: The Bumper Cars [with illustrations]Now its time to crawl behind the wheel of the Bumper Cars! Shall we all chase the conductor?! Before you know you are hit by another visitor or you will bumpagainst someone else. In this tough ride you can prove yourself as a real driver or perhaps as a really bad one.Part 6: The Roller Coaster [with illustrations]The largest fastest and scariest ride in the park ... we shoulddefinitely do the Roller Coaster! All together in the train the over-the-shoulder restraints are lowering... be ready to ride. The train leaves the station and is heading for the big lift hill. It will be very scary when the train reaches the topand the train will be plunged down the first drop! Loops corkscrews and other spectacular coaster elements will follow... Before you know it the ride of your life is over. Shall we ride it again?!Part 7: Leaving the Park [withanimation]Unfortunately everything comes to an end.

The word ‘tsunami’ is of Japanese origin. When you look it up in a dictionary you will find that it means ‘a great sea wave produced by submarine earth movement or volcanic eruption’. A megatsunami is the superlative of this awesome expressionof power that nature can create and has catastrophic consequences. When Carl Wittrock completed this composition not many such big earth movements had occurred but since then we have become all too familiar with the disastrousconsequences which a tsunami may have. On the 26th of December 2004 a heavy seaquake took place near the Indonesian island of Sumatra. Tidal waves 10 meters in height ravaged the coastal regions of many countries for miles around. The tsunamitook the lives of thousands of people and destroyed many villages and towns. There are more areas which run the risk of being struck by a tsunami such as the island of La Palma one of the Canary Islands. This island is based on oceaniccrust at a fracture zone and as such is one of nature’s time bombs. The consequences of a natural calamity like a megatsunami are immense. In the case of La Palma the tidal wave will move in the direction of South America where it may reach 50km inland destroying everything on its way. In his composition Wittrock describes an ordinary day which will have an unexpected ending. Right from the beginning there seems to be something in the air the music creating an oppressiveatmosphere of impending disaster. Themes are interrupted broken off suddenly followed by silence suggesting the calm before the storm. Suddenly a short climax (glissandi in the trombone part) indicates the seaquake and the megatsunami isa fact. Hereafter follows a turbulent passage symbolising the huge rolling waves. After nature’s force has spent itself resignation sets in and the composition ends with a majestic ode to nature.

Beautifully scored for the field this very effective production number allows your band to explore lighter textures and softer dynamics. Woodwinds play a prominent role and there are short solo segments for trumpet. There is abrief full band build before winding down to a quiet and sensitive ending.

(Fulll Score). Par HAWES PATRICK. The medley is a 10-minute précis of the Symphony featuring some of the main themes arranged by Major Craig Hallatt of the Band of the Household Cavalry. There is also an optional section for solo soprano to sing The Falling Leaves or this section can be played by solo soprano saxophone. As well as this version of the Medley for Wind/Military Band there is also one for Brass Band. Hire costs of a Full Score and Parts can be provided on request to andyberry@hawesmusic.com. / Date parution : 2022-10-12/ Répertoire / Vents

If there is one country whose music everyone can recognize it is China. Both the pentatonic patterns and the atmosphere will take you there. And Peking Duck is a delicacy that you simply must try!

In â??Land of Legendsâ?? German composer Andreas Ludwig (whatâ??s in a name) Schulte takes you along to the fictional world of legends myths and fairy tales. The introduction to the first part (The Castle) describes the majestic contours of the sceneof action. Its instrumentation (horns) immediately makes you imagine being in Medieval spheres. The addition of trenchant copper instruments even gives the part a heroic tinge. After entering through the gate a lot of hustle and bustle appearsto be going on in the courtyard. Pages squires and soldiers are busy attending to their arms. Beer is being brewed flax is being spun cattle are being tended and some craftsmen from neighbouring villages are busily at work. In the upperchamber of the round tower lives an old man (The Old Wizard). He hardly ever comes out and nobody knows exactly what he is doing. It is said that he is engaged in wizardry and magic. It is all very mysterious. There are also festivities some ofthem sober others exuberant. The wedding in the third part is celebrated in a grand manner. With a flourish of trumpets the bride makes her entrance at the hand of her father. Afterwards at the party there is dancing to the music played byminstrels and of course a plentiful banquet follows.

Score for this piece which was comissioned by London Brass and first performed in 1992.Quoting composer: The piece was completed without title on 12th August 1992. A title once considered was Canons Chorales and Waltzes butthis was dropped since there was only one canon (the opening) and only genuine waltz (apart from a passage towards the end which superimposes the canon over a waltz rhythm). The following day I read the paper that John Cage haddied - the day I finished writing. For this reason but mainly because Cage was the most revolutionary practical music thinker of the 20th century this piece is dedicated to him. His influence on my music may be perceived underthe 'very un-Cagein' surface: though stylistically there may be little in For John Cage that may have been to his taste I hope he would at least have appreciated its diversity its non-simultaneous multiplicity.Parts areavailable on hire or special order. Duration 15 minutes.