Cowboy Songs Of The Great American West. Par HANNICKEL MIKE. STAMPEDE!!! takes us back to an old American West of longhorn cattle-drives, chuck wagons, campfires and trail songs. Based on several authentic cowboy songs, STAMPEDE!!! opens at dawn (birdcalls included) with the “Cowboy’s Gettin’ Up Holler”. Lively fiddle and harmonica motifs and an eloquent scoring of “Good-bye, Old Paint” are just part of this contribution to Grade 3 concert band literature by Mike Hannickel. “The Chisholm Trail” (a true cowboy classic) figures importantly at the beginning and, in a driving re-harmonization, leads to the thrilling conclusion. / Niveau : 3 / Musique légère originale / Répertoire / Concert Band

STAMPEDE!!! takes us back to an old American West of longhorn cattle-drives chuck wagons campfires and trail songs.Based on several authentic cowboy songs STAMPEDE!!! opens at dawn (birdcalls included) with the ?Cowboy?s Gettin? Up Holler?. Lively fiddle and harmonica motifs and an eloquent scoring of ?Good-bye Old Paint? are just part of this contribution to Grade 3 concert band literature by Mike Hannickel. ?The Chisholm Trail? (a true cowboy classic) figures importantly at the beginning and in a driving re-harmonization leads to the thrilling conclusion.

Letter from Sado is an exciting new piece for young band based on a Japanese haiku of the same name. Sado refers to Sado Island in Japan in which various artists religious and military leaders were sent in exile many years ago. The island has historically had a strong community of taiko drummers and as such the piece incorporates optional homemade taiko drums. Blackshaw writes: To capture the idea of interpretation and the concept of reading between the lines the students are invited to become decision makers about particular sections in the music. For example the opening and closing sections of the piece use the same material which is a selection of repeated melodic figures.The students themselves decide how to play these figures as individuals in small teams and then as a whole band. Their decisions include ideas regarding tempo (how fast?) dynamics (how loud?) and articulation (smooth short or hard?). To inspire them we use the haiku poem; i.e. the opening section invites the students to play the material as if it were a 'stormy wild sea' and the closing section invites the students to play the same melodic figures but this time draw their inspiration from 'Heaven's River ' or as we know it the Milky Way. In-between there is an elaborate heavily textured section that becomes increasingly powerful. The music doesn't rest harmonically until the whole band plays in unison. These multiple layers of sound represent the many thoughts and ideas that would have surrounded those individuals sent to Sado Island in exile the final unison is representative of their own breakthrough experience sending them on a pathway to inner peace and acceptance. Embrace your players' creativity offer them your trust and see how far Letter from Sado can take your band!

Wind Sketches is a top quality concert work for wind band in three movements inspired by the relationship between man and wind. Trade Winds in the form of a march is reminiscent of a shanty conjuring up seafaring and the tradewinds. Becalmed harmonically and melodically almost static depicts the doldrums. All the more contrasting is Riding the Storm which concerns the love-hate relationship of people to the winds that he needs and at the same times fears.

This large-scale three-movement work commissioned by Ray Cramer and the Indiana University Wind Ensemble embodies the transformation of silence into sound. The opening movement is sparse utilizing mallet percussion harp andpiano to create a floating sense of timelessness. Featuring extensive solo flute this floating texture gradually builds over several minutes ultimately launching itself into a grandiose warm harmonically consonant blanket ofsound. The second movement continues the focus on solo flute and again opens slowly gradually gaining momentum but at a faster pace than in the first movement. The music spirals upward and outward but instead of reaching aplateau winds itself out and comes to a grinding halt in the upper range of the ensemble. Five brief solemn chords conclude the movement which immediately erupts into Movement III music of unceasing unsettling motion propelled by a driving ostinato which is repeatedly interrupted by bittersweet moments of lyricism all the while pushing toward an unforgiving climax. The movements may also be performed separately. There is no explicit narrativeto the piece though many particular elements do have personal quasi-biographical significance. Ultimately this is music of both personal and musical transformation.NOTE: This work is available as a rental item directlyfrom the composer. For details e-mail rental@stevenbryant.com. The score is also available separately for purchase from Hal Leonard.

Concerto for Trumpet and Wind Band-La mythologie grecque regorge de créatures surnaturelles et de monstres hideux. L?Hydre monstre d?eau fut décapitée par Hercule et Iolaos alors qu?elle ravageait les marais de Lerne près d?Argos. L?Hydre avait le corps d?un chien et plusieurs têtes de serpent dont l?une était immortelle. Pour chaque tête coupée il en repoussait deux à la place. Pour parvenir à bout de la bête hideuse Hercule trancha la tête immortelle. Hydra Concerto est constitué de trois tableaux : Hercules & Yolao (Hercule & Iolaos) / El sueño del monstruo (Le rêve du monstre) / El Hydra (L?Hydre). Les trois mouvements sont fortement contrastants. Le premier est rythmé et triomphant. Le second sedéveloppe dans une atmosphère calme et mélodieuse. Le troisième et dernier mouvement clôt le cycle avec agressivité. Le soliste joue un rôle important dans la progression de l?intrigue. L?accompagnement orchestral déploie une palette de sons harmonieux et tranchants.

This composition was commissioned by 'Koningin Wilhelmina Wamel' on the occasion of its one hundred year anniversary. That it is a composition for xylophone and concertband lies in the fact that Harmony has a very talented young percussion player in the person of Barry Jurjes. The piece is both melodically and harmonically based on four notes (C - Dflat - F - G). The structure is divided into four parts: slow - fast - slow - fast.

This composition was commissioned by 'Koningin Wilhelmina Wamel' on the occasion of its one hundred year anniversary. That it is a composition for xylophone and concertband lies in the fact that Harmony has a very talented young percussion player in the person of Barry Jurjes. The piece is both melodically and harmonically based on four notes (C - Dflat - F - G). The structure is divided into four parts: slow - fast - slow - fast.

A sensitive and harmonically engaging version of The First Noel features solo oboe (cued in the alto saxophone). Jolly Old Saint Nicholas and Jingle Bells cap this dynamic arrangement as it comes to a rollicking conclusion! Highly recommended!

Par DE HAAN JACOB. De nos jours, de nombreux orchestres d?harmonie célèbrent leur centenaire ? une bonne raison de composer Centennial Celebration. Le climat de cette ?uvre est festif, harmonieux et optimiste. Une introduction joyeuse est suivie d?un passage lyrique introduisant une charmante mélodie, après quoi le même thème se fait entendre dans une variation de style pop. S?ensuit une sorte de trio dont la mélodie persistera dans votre esprit. Des sons enjoués nous ramènent encore une fois au thème lyrique principal qui est cette fois exubérant, comme une ballade pop. Enfin, nous entendons à nouveau les sonorités festives de l?introduction, qui forment maintenant une brillante conclusion. / Date parution : 2022-12-12/ Répertoire / Concert Band/Harmonie

Comme le suggère le titre la musique nous invite à porter un regard sur l?Est lointain l?Orient. Le matériel thématique s?inspire d?éléments mélodiques et rythmiques caractéristiques de la musique orientale. Les trois parties pour saxophones se développent sur un accompagnement orchestral stylistiquement harmonieux. Le compositeur réussit à exprimer efficacement une version de l?orientalité.

Comme le suggère le titre la musique nous invite à porter un regard sur l?Est lointain l?Orient. Le matériel thématique s?inspire d?éléments mélodiques et rythmiques caractéristiques de la musique orientale. Les trois parties pour saxophones se développent sur un accompagnement orchestral stylistiquement harmonieux. Le compositeur réussit à exprimer efficacement une version de l?orientalité.

Hymne an die Nacht (Heil?ge Nacht o gieße du) est un lied passionné du grand compositeur Ludwig van Beethoven. La ligne mélodique est extraite du second mouvement de la célèbre Sonate pour piano n° 23 en Fa mineur Op. 57 dite « Appassionata » (1804-1806) que Beethoven lui-même considérait comme sa plus grande. Inspiré par ce chef-d?œuvre d?émotion Michael Bilkes en a réalisé un arrangement gracieux et harmonieux.

Hymne an die Nacht (Heil?ge Nacht o gieße du) est un lied passionné du grand compositeur Ludwig van Beethoven. La ligne mélodique est extraite du second mouvement de la célèbre Sonate pour piano n° 23 en Fa mineur Op. 57 dite « Appassionata » (1804-1806) que Beethoven lui-même considérait comme sa plus grande. Inspiré par ce chef-d?œuvre d?émotion Michael Bilkes en a réalisé un arrangement gracieux et harmonieux.