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Concert Band/Harmonie
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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Schola Vitae
Concert Band / Harmonie
[Score and Parts]
Symphonic Dimensions Publishing
Par SADELER GEORGES. Schola Vitae, dedicated to the former director of UGDA Musi...
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Par SADELER GEORGES. Schola Vitae, dedicated to the former director of UGDA Music School in Luxembourg, Paul Scholer, describes in an 8-minute piece that learning and playing music is a school for life. Starting with popular scales that ascend and descend through various keys, an essential tool familiar to every musician appears: the metronome. It sets the tempo, and musicians practice their themes together or against each other, register by register. In music, however, it's not just about technique and precision, but also about emotions. Music connects people, fosters friendships, and accompanies them through the highs and lows of life. The sense of togetherness in music becomes increasingly audible. Everyone works together and pulls in the same direction to ultimately achieve something great. Georges Sadeler, born in 1988 is a Luxembourgish composer and saxophonist with the Grand Ducal Military Band of Luxembourg. His father kindled his interest in composing and arranging at an early age, a study he later continued under his two teachers Marco Pütz and Claude Lenners, both of whom taught at the Conservatoire of Music, Luxembourg. He gradually began to establish his own style, combining the enormous range of possibilities of contemporary music and classical music and, in the years that followed, he won six first prizes at various national and international composition competitions. His works have since been performed all over Europe. / Date parution : 2023-10-31/ Répertoire / Concert Band / Harmonie
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Ballade fra Fantasistykker for Piano op
Concert Band/Harmonie
[Score and Parts]
Norsk Noteservice
Ballad from Fantasy Pieces for Piano Op. 36. Par BACKER-GRONDAHL AGATHE. Agathe ...
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Ballad from Fantasy Pieces for Piano Op. 36. Par BACKER-GRONDAHL AGATHE. Agathe Backer Grøndahl’s ‘Ballade’ can best be described as a Romantic character piece. Such one-movement piano pieces with titles that loosely indicate a mood/idea made out a central genre in the 19th century. In Backer Grøndahl’s production, several of these are grouped under the term ‘fantasy pieces’. There are six collections with a total of 48 fantasy pieces on her opus list and ‘Ballade’ is from the first of these (Op. 36), published in 1895. ‘Ballade’ is a broader work than the other fantasy pieces. It is built around a dramatic theme that keeps returning after episodes with strongly contrasting thematic material. The arrangement is close to Backer Grøndahl’s original composition. It is transposed a semitone down: from E flat minor to D minor. The arrangement contains some challenging passages and is well-suited for amateur bands of a certain level. The instrumentation makes no special demands beyond normal concert band instrumentation and will sound just as good in small as in large bands. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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3 Letzte Motetten
Concert Band/Harmonie
[Score]
Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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3 Letzte Motetten
Concert Band/Harmonie
[Score and Parts]
Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Bleak Forest
Concert Band / Harmonie
[Score and Parts]
Symphonic Dimensions Publishing
Par ZIEGELBACK ANDREAS. Bleak Forest is a piece for smaller concert bands and of...
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Par ZIEGELBACK ANDREAS. Bleak Forest is a piece for smaller concert bands and offers the musicians above all space to improve their sound and their effect playing. The technical requirements are therefore deliberately kept low. With this piece, the composer won the VLAMO International Composition Contest 2022. Thematically, the work is influenced by the composer's childhood memories. In his hometown there was a dark and mysterious forest, that seemed to the children in the small village to be magical. Without a reasonable explanation, every trip into the woods was exciting and somewhat terrifying. There were tales of dangerous animals, which can be heard at the beginning of the piece, as well as magical beasts. The magic of the forest is depicted musically from bar 70 in the andante section. The snapping of the fingers represents single raindrops. From bar 99 onwards, we hear the trek home, with the occasional moments of trepidation as the children spook each other with their fanciful tales. In the end, though, we arrive safely at home because after all, magical beasts only exist in fairy tales… don’t they? Andreas Ziegelbäck studied music education at the Mozarteum University in Salzburg, and history at the Paris Lodron Universität, Salzburg. In addition to his studies, he trained in ensemble conducting for wind orchestra with conductor and composer Thomas Doss. It was Doss who sparked Ziegelbäck’s interest in composing. In 2021, Andreas Ziegelbäck completed his composition studies with Johannes Maria Staud. In 2020, he took part in a brass band composition masterclass in Bern with Oliver Waespi, followed by a premiere by the Swiss Army Brass Band. / Date parution : 2023-10-31/ Répertoire / Concert Band / Harmonie
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Cantina Band
Concert Band/Harmonie
[Score and Parts]
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Par WILLIAMS JOHN / HVEEM DAVID (Arr.). «Cantina Band (or «Mad About Me») was...
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Par WILLIAMS JOHN / HVEEM DAVID (Arr.). «Cantina Band (or «Mad About Me») was written by John Williams in 1977 for the film Star Wars (later Star Wars IV: A New Hope). Even with quite a bit of the Star Wars music being quite well known, Cantina Band is literally in a style of its own. In the Star Wars-universe this style is called «jizz», Williams’ take on the more well-known genre «jazz». Williams was tasked by Star Wars-creator George Lucas to make music that sounded like «several creatures in a future century finding some 1930's Benny Goodman swing band music ... and how they might attempt to interpret it» and ended up with Cantina Band #1 and #2. Both numbers are played in the legendary scene taking place in Chalmun's Spaceport Cantina where Luke Skywalker and Obi-Wan Kenobi gets in a fight causing even the band to stop playing. The band, which goes by the name Figrin D'an and the Modal Nodes, comes from the planet Clak'dor VII and specializes in jizz and the nearby, slightly older style of jatz. Performers of this music often go by the name 'jizz-wailers', and the Bith people from Clak'dor VII are especially well suited for jizz-wailing since they can hold every note as long as they want thanks to a unique respiratory system - something many perhaps would like to be able to do in the performance of this arrangement as well. The arrangement is relatively faithful to Williams' original version, but with a somewhat different ending. Although the woodwind section undoubtedly has the biggest technical challenges, an understanding of the musical style is the very key to making the arrangement sound good - and here all groups must work together. Playing lightly but quite articulated, and very precise, will be an absolute necessity to get the music drifting off all the way to Tatooine. In measure 113 there is a small improvised solo in either trombone or trumpet, but if you want the real authentic Cantina Band-sound this is of course done on a steel drum. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Danser fra "Kosakkene"
Concert Band/Harmonie
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Dances from 'The Cossacs'. Par ELLING CATHARIUS. The Opera “The Cossacs” by ...
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Dances from 'The Cossacs'. Par ELLING CATHARIUS. The Opera “The Cossacs” by Catharinus Elling is based on the Nikolai Gogol novel about Taras Bulba. “The Cossacs” was premiered in 1897 at Eldorado in Kristiania (the old name on Norway’s capitol Oslo). Despite positive response in the papers of that time, the opera was newer performed again in it’s entirely. The Norwegian Broadcasting Corporation have an abbreviated recording in it’s archives, but no complete performance is known to date. The Norwegian National Opera Orchestra recorded both the overture and the dances in 2021, conducted by Ingar Bergby. Thet are both a part of the CD “Norwegian Opera Overtures”. This arrangement is not commissioned by anyone, but rather written to better the availability of quality Norwegian orchestral music arranged for Concert Band. This edition is a good opportunity to be more familiar with Norwegian heritage of orchestral music. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Mil etter mil
Concert Band/Harmonie
[Score and Parts]
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Mile after Mile. Par EIDE KAI. This song performed by Jahn Teigen represented No...
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Mile after Mile. Par EIDE KAI. This song performed by Jahn Teigen represented Norway at the Eurovision final in 1978. The result was zero points, but after that, the song soon became very popular in Norway and is one of the biggest hits of his career. This arrangement may easily be a hit on your next concert and will for sure receive more than zero points from you audience. Feel free to invite the audience on a sing-along! / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Momentum Sequences
Concert Band/Harmonie
[Score and Parts]
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Par SCHJELDERUP FREDRICK. Momentum Sequences was commissioned by Skjold Skoles M...
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Par SCHJELDERUP FREDRICK. Momentum Sequences was commissioned by Skjold Skoles Musikkorps (Norway) for their 60th Anniversary in 2021. The title of the term Momentum can be explained by an event that creates extra energy, or the driving force of a moving object. In this case, both the driving force, The energy and the object can be translated to the music, the conductor and the band. The piece is divided in three movements; «I.Signals», «II.Light» and «III.Finale» which builds up the Momentum of the piece’ character and theme. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Hedwig's Theme
Concert Band/Harmonie
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From 'Harry Potter and the Philisopher's Stoine'. Par WILLIAMS JOHN / ROGERS SCO...
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From 'Harry Potter and the Philisopher's Stoine'. Par WILLIAMS JOHN / ROGERS SCOTT (Arr.). Hedwig's Theme is the easily recognizable melody that musically binds together all of the Harry Potter films. Composer John Williams has used the tune as a leitmotif, setting it in different moods according to the situations in the movie, yet always reminding the listener of it’s connection to the main characters of the film. The melody is intervalic, with many interesting dissonances. Normally, this would make the tune difficult for young players, but their familiarity with this particular melody gives them easier access to these dissonances and unusual intervals. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Coconut Island
Concert Band/Harmonie
[Score and Parts]
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Kokosmøttøya. Par ROGERS SCOTT. A trip to Coconut Island is always enjoyable! ...
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Kokosmøttøya. Par ROGERS SCOTT. A trip to Coconut Island is always enjoyable! Soft Latin rhythms, a relaxing tempo, and tutti rhythm figures combine to create the perfect vacation. Coconut Island introduces young musicians to Latin rhythms. The percussion parts are built up of short, repeating patterns that are easily learned. The melody is mostly made up of short diatonic patterns and falling intervals of a third, making the piece easily attainable for young players. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Diplodocus
Concert Band/Harmonie
[Score and Parts]
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Par VILHELMSEN INGEBJORG. Diplodocus is said to be one of the largest dinosaus t...
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Par VILHELMSEN INGEBJORG. Diplodocus is said to be one of the largest dinosaus to ever have lived. This plant munching beast weighted approximately 20 tons, and could measure up to 30 metres from head to tail. The dinosaur lived in North America during the Jurassic period. This piece describes the carefree nature of a Diplodocus. A life with no natural enemies, and with an exceptionally small brain. To the conductor: The drum set part (Perc. 1) can be played as written, or ad lib. There is also a simplified drum set part that can replace Perc 1. if needed. Perc 2. is optional, and can be omitted. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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