SKU: CL.015-2633-01
Playable with very small groups of almost any instrumentation. A delightful rock tune with lots of uses in a non-traditional band situations. Includes Play-Along CD.
SKU: BT.DHP-1115068-015
9x12 inches. English-German-French-Dutch.
The First Nowell is a traditional Christmas song that can be traced back to the 18th century. The word â??nowellâ? is in fact derived the French word for Christmas, â??noelâ?. The First Nowell is sung in Englishspeaking countries around the world, although the actual text may vary by region and local customs. The simple and beautiful melody has made this carol a Christmas favourite. Lorenzo Bocci turns the melody into an elegant flexible four-part arrangement. The First Nowell is een traditioneel kerstlied dat vermoedelijk uit het Cornwall (Engeland) van de achttiende eeuw stamt. Het woord â??Nowellâ?? in de titel verwijst naar het Franse woord voor kerst: noël. In heel het Engelstalige gebiedwordt dit lied gezongen, weliswaar met verschillenden teksten. Dankzij de eenvoudige maar ontroerende melodie is het lied over de gehele wereld bekend. Lorenzo Bocci maakte er een arrangement voor vijfstemmige variabele bezettingvan. Lieflijk en hartverwarmendâ?¦The First Nowell ist ein traditionelles Weihnachtslied, das vermutlich aus dem Cornwall des 18. Jahrhunderts stammt. Das Wort Nowellâ?? im Titel geht auf das französische Noëlâ?? fu?r Weihnachten zuru?ck. Das Lied wird zu unterschiedlichen Textversionen im gesamten englischen Sprachraum gesungen und ist dank seiner schlichten, ergreifenden Melodie auf der ganzen Welt bekannt. Diese schöne Melodie machte Lorenzo Bocci mit seinem Arrangement fu?r eine vierstimmig variable Bläserbesetzung spielbar.Le mot Nowellâ?? dans le titre de cette chanson traditionnelle de Noël datant du XVIIIe siècle et dont lâ??origine se situe dans les Cornouailles en Angleterre, fait référence au mot français Noël. Lorenzo Bocci a façonné un élégant arrangement pour ensemble instrumentation variable quatre voix de cette mélodie, accessible et ravissante, faisant de ce chant un choral de prédilection dans le monde entier. La parola â??nowellâ? di questo canto tradizionale natalizio datato del XVIII secolo e originario della Cornovaglia, fa riferimento alla parola francese â??Noelâ? (appunto Natale). Lorenzo Bocci ne ha realizzato un elegante arrangiamento per ensemble a strumentazione variabile (quattro voci).
SKU: BF.BM547-SCORE
The Piano Concerto No. 2 in G minor by Camille Saint-Saëns, was composed in 1868 and is probably Saint-Saëns' most popular piano concerto. The piece follows the traditional form of three movements but allows for more freedom in tempo markings. Normally, the first movement is fast-paced, while the second is slower. However, the two are reversed in this piece. This arrangement contains only the first movement Andante sostenuto.
SKU: AP.36-A672690
UPC: 659359666292. English.
The Cuban composer and pianist Ernesto Lecuona (1896-1963) wrote many works labelled as Afro-Cuban, and sorting them all can be difficult. While some are lost and others are scattered about, the 1930 piano suite titled Danzas Afro-Cubanas, a collection of six of the dances, remains a core group in the style. La Comparsa (Carnival Procession) is the sixth dance in the suite, and it is based on the traditional parade and ceremony that occurs during Carnival season in Cuba. This composition starts with the gradual approach of the procession and carries one through all the excitement until the last faint notes of the departing parade die away in the distance. This version for full orchestra has been arranged by Morton Gould (1913-1996). Instrumentation: 2.2.3+BCl.2: 3Sax(AAT; opt.): 2.3.3.1: Perc(1-2): Hp.Clst.Gtr: Str (9-8-7-6-5 in set): Pno Cond Score in set.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: CL.026-4952-00
Now available in a flexible instrumentation setting, Oh What Fun! by James Swearingen is guaranteed to put smiles on everyone in the audience! Written in the style of a traditional march, this clever arrangement features popular tunes such as Jingle Bells, I Heard The Bells On Christmas Day, and other seasonal works. Create your own in-house parade for the children in the audience or simply use this selection as a way to welcome a special visitor from the North Pole. Merry Christmas and happy holidays!
SKU: CL.026-4952-01
SKU: AP.36-A672699
ISBN 9798888527887. UPC: 659359811340. English.
SKU: FJ.B1666S
English.
Travel back in time with this exciting piece reminiscent of the American Old West. The basic syncopations are easily taught and exhibit the spirit of the American West during a time when the cowboy and rancher were helping to shape the agricultural and livestock tradition of the young country. Yeehaw!
About FJH Young Band
Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5
SKU: FJ.B1666
UPC: 241444369142. English.
SKU: MH.1-59913-064-5
ISBN 9781599130644.
I wrote Galloping Ghosts (A Ragtime March) to conclude a concert of my chamber music in New York City on October 28, 1986. It is the final part of a work called Rags for Divers Players. This work was written to show the variety possible within the standard rag form. I used all the players available for the finale -- two violins, viola, cello, bass, flute, oboe, clarinet, horn, bassoon, and piano. Since this is a rather unusual instrumental combination and not easy to reassemble, I decided to rescore the work for concert band. Galloping Ghosts is written in a standard march form but incorporates many of the syncopations found in ragtime. The uniquely American music called ragtime traces its history to African rhythms brought over by slaves. Over the years this music became welded to European musical forms such as the quadrille and the march. Drums and banjos and the minstrel tradition lent a special flavor, and from all these elements ragtime slowly evolved within the largely unknown black subculture of the late 19th century. In the late 1890's it emerged as a fully developed form in the classic piano solos of Scott Joplin (1869-1917). Joplin's 1899 hit, Maple Leaf Rag, was an overnight sensation and brought ragtime worldwide fame. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 and 2, 2 Oboe, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 3 Bb Bass and Bb Contrabass Clarinet, 2 Bassoon 1 and 2, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 Horn 1 and 2 in F, 2 Horn 3 and 4 in F, 4 Trombone 1 and 2, 4 Bass Trombone, 2 Baritone (B.C.), 2 Baritone (T.C.), 4 Tuba, 1 String Bass, 1 Timpani, 1 Xylophone, 3 Percussion 1, 3 Percussion 2.
SKU: CL.011-1871-00
A marvelous contest piece that follows in the tradition of his very popular Excellentia Overture.’’ Starting with the broad fanfare introduction, the composition is built on a simple fugue starting in the woodwinds which eventually winds through the different voices of the band. A lush and expressive middle section provides just the right amount of contrast. Ideal for Jr. High and Middle School bands.
About C.L. Barnhouse Command Series
The Barnhouse Command Series includes works at grade levels 2, 2.5, and 3. This series is designed for middle school and junior high school bands, as well as high school bands of smaller instrumentation or limited experience. Command Series publications have a slightly larger instrumentation than the Rising Band Series, and are typically of larger scope, duration, and musical content.
SKU: CL.011-1871-01
SKU: CL.011-2177-00
A processional march in the royal tradition with an opening fanfare that sets the mood for the stately themes that follow. Everyone has an opportunity to play the melody and even the percussion section is featured.
SKU: GI.G-119346
ISBN 9781574631562. UPC: 884088908270.
This engaging text presents a comprehensive history of the wind band from its earliest days to today. The author's narrative describes the development of instruments, musicians, composers, conductors, and the music itself, tracing in chronological order, virtually every aspect of the growth of bands that has led to today's outstanding ensembles. A must read for musicians and for those interested in music and history. Click here for a YouTube video on Wind Bands of the World.
SKU: BT.AMP-238-140
The tune Old Hundredth is one of the best-known melodies in all Christian musical traditions and first appeared in the 1551 psalter Pseaumes Octante Trois de David, where it is used as a setting for a version of Psalm 134; it is usually attributed to the French composer Louis Bourgeois (c.1510 - c.1560). The melody was then used in 1561 by the Scots clergyman, William Kethe in Sternhold and Hopkins’ Psalter for his paraphrase of Psalm 100 - All People that on Earth do Dwell<(I>, which is still the most familiar hymn sung to this noble tune. When Tate and Brady’s New Version of the Psalms was published in 1696, the melody became know as the ‘old’ version - henceits current title. This arrangement presents three contrasting verses and is effective as a concert piece as well as an instrumental interlude as part of a church service or wedding. De melodie van Old Hundredth is een van de bekendste in alle christelijke muziektradities, ze verscheen voor het eerst in Pseaumes Octante Trois de David uit 1551. De muziek wordt meestal toegeschreven aan de Fransecomponist Louis Bourgeois (ca.1510-ca.1560). In 1561werd de melodie gebruikt door de Schotse geestelijke William Kethe voor zijn parafrase van psalm 100. Later werd de melodie in Engeland bekend als de ‘oude’ versie - daar komt ookde huidige titel vandaan. Dit arrangement, met drie contrasterende coupletten, is geschikt als concertwerk of als instrumentaal tussenspel tijdens een kerkdienst of huwelijksceremonie.Old Hundtredth ist eine der bekanntesten Melodien aller christlichen Musiküberlieferungen. Es erschien erstmals in dem Psalter Pseaumes Octante Trois de David von 1551, wo es als Satz für zwei Psalmen verwendet wurde. Diese Bearbeitung präsentiert drei kontrastierende Strophen und kann sehr wirkungsvoll sowohl als Konzertwerk als auch als instrumentales Zwischenspiel in einem Gottesdienst oder während einer Hochzeitszeremonie eingesetzt werden.L’hymne Old Hundredth est une des plus célèbres hymnes chrétiennes de tous les temps. Elle fut publiée pour la première fois en 1551 dans le psautier de Genève Pseaumes octante-trois de David avec accompagnement du Psaume 134. La mélodie est fréquemment attribuée au compositeur français Louis Bourgeois (vers 1510-vers 1560).En 1561, William Kethe, un pasteur écossais, reprend la mélodie pour réaliser une paraphrase du Psaume 100, All People that on Earth do Dwell (Vous tous, habitants de la terre !), qui sera publiée dans le Psautier de Sternhold et Hopkins. Cette paraphrase reste le texte le plus chanté sur la mélodie de Bourgeois. En 1696,Nahum Tate et Nicholas Brady réalisent une Nouvelle Version des Psaumes de David (New Version of the Psalms). Par opposition la version révisée de la mélodie, la version initiale prend alors le nom de Old Hundredth, autrement dit « l’ancienne version du Psaume 100 ».Cet arrangement présente trois strophes contrastantes. Il peut être interprété comme une œuvre de concert ou comme un interlude dans le cadre d’un office religieux ou d’une cérémonie de mariage.
SKU: BT.AMP-238-010
The tune Old Hundredth is one of the best-known melodies in all Christian musical traditions and first appeared in the 1551 psalter Pseaumes Octante Trois de David, where it is used as a setting for a version of Psalm 134; it is usually attributed to the French composer Louis Bourgeois (c.1510 - c.1560). The melody was then used in 1561 by the Scots clergyman, William Kethe in Sternhold and Hopkins’ Psalter for his paraphrase of Psalm 100 - All People that on Earth do Dwell<(I>, which is still the most familiar hymn sung to this noble tune. When Tate and Brady’s New Version of the Psalms was published in 1696, the melody became know as the ‘old’ version - henceits current title. This arrangement presents three contrasting verses and is effective as a concert piece as well as an instrumental interlude as part of a church service or wedding. De melodie van Old Hundredth is een van de bekendste in alle christelijke muziektradities, ze verscheen voor het eerst in Pseaumes Octante Trois de David uit 1551. De muziek wordt meestal toegeschreven aan de Fransecomponist Louis Bourgeois (ca.1510-ca.1560). In 1561werd de melodie gebruikt door de Schotse geestelijke William Kethe voor zijn parafrase van psalm 100. Later werd de melodie in Engeland bekend als de ‘oude’ versie - daar komt ookde huidige titel vandaan. Dit arrangement, met drie contrasterende coupletten, is geschikt als concertwerk of als instrumentaal tussenspel tijdens een kerkdienst of huwelijksceremonie.Old Hundtredth ist eine der bekanntesten Melodien aller christlichen Musiküberlieferungen. Es erschien erstmals in dem Psalter Pseaumes Octante Trois de David von 1551, wo es als Satz für zwei Psalmen verwendet wurde. Diese Bearbeitung präsentiert drei kontrastierende Strophen und kann sehr wirkungsvoll sowohl als Konzertwerk als auch als instrumentales Zwischenspiel in einem Gottesdienst oder während einer Hochzeitszeremonie eingesetzt werden.L’hymne Old Hundredth est une des plus célèbres hymnes chrétiennes de tous les temps. Elle fut publiée pour la première fois en 1551 dans le psautier de Genève Pseaumes octante-trois de David avec accompagnement du Psaume 134. La mélodie est fréquemment attribuée au compositeur français Louis Bourgeois (vers 1510-vers 1560).En 1561, William Kethe, un pasteur écossais, reprend la mélodie pour réaliser une paraphrase du Psaume 100, All People that on Earth do Dwell (Vous tous, habitants de la terre !), qui sera publiée dans le Psautier de Sternhold et Hopkins. Cette paraphrase reste le texte le plus chanté sur la mélodie de Bourgeois. En 1696,Nahum Tate et Nicholas Brady réalisent une Nouvelle Version des Psaumes de David (New Version of the Psalms). Par opposition la version révisée de la mélodie, la version initiale prend alors le nom de Old Hundredth, autrement dit « l’ancienne version du Psaume 100 ».
SKU: BT.DHP-1063969-010
The Ukrainian Dmitri Bortniansky (1751-1825) received lessons at the local singing school in his hometown of Hlukhiv, and soon his extraordinary talent was recognised. He was somewhat of a child prodigy, writing his first opera at a young age. Following his studies Bortniansky was appointed court composer and Kapellmeister of the Imperial Chapel Choir. In the period that followed, he wrote - in addition to a number of operas, instrumental works, and a cycle of songs - more than a hundred religious works for a cappella choir, in which he combined Russian-orthodox and Ukrainian traditions with late 18th century European music. The appealing melody of Ich bete an die Macht derLiebe (Prayer to the Power of Love) became well-known, especially in Germany, in combination with German text by Gerhard Tersteegen. This arrangement by Michael Bilkes reflects the atmosphere of the original work very well. Die Chormusik des russischen Komponisten Dmitri Bortniansky zeugt von großem technischen Können und reflektiert zugleich ein tiefes spirituelles Verständnis. Die Melodie zu Ich bete an die Macht der Liebe erlangte mit dem Text von Gerhard Tersteegen besonders im deutschsprachigen Raum einen großen Bekanntheitsgrad. Die vorliegende Blasorchesterbearbeitung von Michael Bilkes gibt die Stimmung des Originals sehr gut wieder.
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