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: 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: HL.44007209
UPC: 884088239725. 9x12 inches. English-German-French-Dutch.
Based on the Old Testament biblical story of the building of the Tower ofBabel, a tower built to reach the heavens, composer Hayato Hirose hascreated this dramatic programmatic work in seven movements that areplayed without interruption. With skilful detail each movement portrays an aspect of the story of the tower and its ultimate destruction. A magnificent epic work! Op basis van het bekende verhaal over de toren van Babel uit het Oude Testament schreef componist Hayato Hirose een indrukwekkend programmatisch werk in zeven delen - uit te voeren zonder pauzes. De delen zijn getiteld: Tower ofBabel (De toren van Babel) - Settlers from the East (Kolonisten uit het oosten) - Building the Tower (Het bouwen van de toren) - Hope (Hoop) - God's Worry (De zorgen van God) - Confusion (Verwarring) - en Dispersion (Verspreiding).Auf der Grundlage der biblischen Geschichte vom Turmbau zu Babel aus dem Alten Testament schuf Hayato Hirose ein dramatisches programmatisches Werk in sieben Satzen, die ohne Unterbrechung zu spielen sind. Sie erzahlen kunstvoll und detailreich die Geschichte vom Beginn des Turmbaus uber den Zorn Gottes bis hin zur Verwirrung der Sprachen und der Zerstreuung der Menschen uber die ganze Welt. Ein grossartiges Werk! En 2006, Hayato Hirose compose Tower of Babel (La Tour de Babel), une œuvre dediee a son professeur et maitre, le compositeur belge Jan Van der Roost. L'œuvre a ete donnee en creation mondiale, le 20 septembre 2006 a Louvain en Belgique, par l'Orchestre d'Harmonie de l'Institut Lemmens place sous la direction du compositeur.Apres le Deluge, les rescapes de l'Arche de Noe eurent une descendance nombreuse. Partis de l'orient, ils trouverent une vallee au pays de Shinear et ils s'y etablirent. Afin de ne pas etre disperses sur toute la surface de la terre, ils deciderent de batir une ville et une tour - la Tour de Babel - dont le sommet toucherait le ciel.Inquiet du dessein des fils des hommes, l'Eternel descendit pour voir la ville et la tour qu'ils batissaient. Il confondit leur langage afin qu'ils ne se comprennent plus les uns les autres. Ainsi, ils cesserent de batir la ville, et de la L'Eternel les dispersa sur toute la surface de la terre. (Genese 11 : 1-9) Hayato Hirose s'est inspire du celebre recit biblique selon l'Ancien Testament pour composer cette œuvre a programme dramatique en sept mouvements, qui s'enchainent sans interruption.1. La Tour de Babel2. Venus de l'orient3. La construction de la tour4. L'espoir5. Les inquietudes de l'Eternel6. La confusion7. La dispersion.
SKU: BT.GOB-000956-140
Scottish Dances is based on three Scottish traditionals: Cock of the North, The Bonnie Bank's O'Loch Lomond and Marie's Wedding. I. Cock of the North's name is used for multiple things or events. For example for a locomotive to a famous, it seems, delicious liqueur, and rallies to snowboard competitions. Furthermore is Cock O' the North a nickname of a famous Duke. (The 4th Duke of Gordon). In this composition Cock of the North (a Jig) is a traditional Scottish bagpipe tune, regularly played on tattoos by Pipe Bands. Not infrequently the drummers sing the text. Auntie Mary, had a canary, Up the leg of her trousers While she was sleeping Iwas peeping Up the leg of her trousers. II. The Bonnie Bank's O'Loch Lomond is about a sad story that took place during an revolt against the British. In 1745 Bonnie Prince Charlie had to retreat. Two of his men were captured. One was convicted and executed, while the other was released. The spirit of the executed soldier would arrive in Scotland via the 'low road' (underworld) before his companion, who had still a long way to go. You'll take the high road And I'll take the low road And I'll be in Scotland afore ye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. In a Scottish wedding, after the official ceremonies, there is often danced. This is called a ceilidh. For this we use traditional Scottish music such as Marie's Wedding '. Mid dance we go back to the church, where a lovely song in honor of the couple sounds. Marie's Wedding has been recorded by Van Morrison (among many others). Step we gaely, on we go, heel for heel and toe for toe Arm and arm and on we go, all for Marie's wedding Scottish Dances is gebaseerd op drie Schotse traditionals: Cock of the North, The Bonnie Bank's O'Loch Lomond en Marie's Wedding. I. De naam Cock of the North wordt voor meerdere dingen of evenementen gebruikt. Van een beroemdelocomotief tot een, naar het schijnt, een heerlijke likeur, en van rally's tot snowboard wedstrijden. Bovendien was 'Cock O' the North' een bijnaam van een bekende hertog. (the 4th Duke of Gordon) Het in deze compositiegebruikte Cock of the North (een Jig) is een traditioneel Schotse bagpipe tune (doedelzak liedje) wat regelmatig gespeeld wordt op taptoes door Pipebands. Niet zelden zingen de slagwerkers de tekst mee. Auntie Mary, had acanary, Up the leg of her trousers While she was sleeping I was peeping Up the leg of her trousers. II. 'The Bonnie Bank's O'Loch Lomond', gaat over een triest verhaal dat zich afspeelde tijdens een opstand tegende Engelsen. In 1745 moest Bonnie Prince Charlie zich terugtrekken. Twee van zijn mannen werden gevangen genomen. Eén van hen werd veroordeeld en geexecuteerd, terwijl de ander vrijgelaten werd. De geest van de geexecuteerde soldaatzou via de 'low road' (onderwereld) eerder in Schotland aankomen dan zijn kameraad, die nog een lange ruige weg te gaan had. You'll take the high road And I'll take the low road And I'll be in Scotland aforeye But me and my true love will never meet again On the Bonnie Bonnie Banks of Loch Lomond III. Bij een Schotse bruiloft wordt na de officiele plechtigheden vaak gedanst. Dit noemt men een ceilidh. Hiervoor gebruiktmen traditionele Schotse muziek zoals bijv. 'Marie's Wedding'. Halverwege de dans gaan we nog even terug naar de kerk, waar een lieflijk lied ter ere van het bruidspaar klinkt. Marie's Wedding is o.a. door Van Morrison opgenomen.
SKU: CF.BPS127
ISBN 9781491156209. UPC: 680160914746. 9 x 12 inches.
Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.Program NotesElephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gait and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,†over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.†Allowing additional rehearsal time for this is recommended.
SKU: BT.AMP-426-010
English-German-French-Dutch.
The Way to Heaven was commissioned by the Royal Air Force Music Services. 2015 was the 75th anniversary of the Battle of Britain, which took place between July and October 1940, when the courageous fighter pilots of the Royal Air Forcethwarted Hitler’s ambitions to launch an invasion on the UK. The Way to Heaven opens with fluttering woodwind figures and brass fanfares, which build to a climax before a change of key introduces a short quotation for the Polish National Anthem - Mazurek Dbrowskiego. This fades and you can hear thesignal to scramble and the throaty sounds of the squadron’s Merlin engines bursting into life before they line up to take off. This leads to the main thematic material of the work, which depicts the heaven-bound flight of 303 Squadron as it climbs tointercept the incoming Messerschmitt 109s. A brief allusion to the Polish national anthem brings the piece to a triumphant close. The Way to Heaven is geschreven in opdracht van de Britse Royal Air Force Music Services. In 2015 was het 75 jaar geleden dat de Slag om Engeland plaatsvond, tussen juli en oktober 1940, toen de moedige gevechtspiloten van de Royal Air Forcede ambities van Hitler om het Verenigd Koninkrijk tot capitulatie te dwingen wisten te dwarsbomen. The Way to Heaven opent met ‘dwarrelende’ motieven in het hout en koperfanfares, die worden opgebouwd tot een climax voordat een modulatie een kort citaat van het Poolse volkslied Mazurek Dbrowskiego introduceert. Dit sterft weg endan horen we het alarmsignaal voor het opstijgen van de vliegtuigen, en het schorre geluid van de Merlin-motoren voordat de gevechtstoestellen de lucht in gaan. Dit leidt tot het belangrijkste thematische materiaal van het werk, dat de ‘vlucht naarde hemel’ van het 303 Squadron beschrijft tijdens de klim omhoog met als doel het onderscheppen van de Duitse Messerschmitts Bf 109. Een toespeling op het Poolse volkslied brengt het werk naar zijn triomfantelijke slot.The Way to Heaven wurde von den Royal Air Force Music Services in Auftrag gegeben. 2015 jährte sich die Luftschlacht um England, die von Juli bis Oktober 1940 stattgefunden hat, zum 75. Mal. Die mutigen Jagdflieger der Royal Air Force hattenHitlers Ambitionen einer Invasion Englands verhindert. The Way to Heaven beginnt mit einer unruhigen Figur in den Holzbläsern und mit Blechbläser-Fanfaren, die sich zu einem Höhepunkt aufbauen, bevor ein Tonartwechsel einen kurzen Verweis auf die polnische Nationalhymne Mazurek Dbrowskiego“ einleitet. Dies verklingt langsam und man hört das Signal zum Kampf und das Dröhnen der Merlin-Triebwerke der Staffeln, die vor dem Start zum Leben erwachen und sich aufstellen. Dies führt zum Hauptthema des Werkes, das den Flug in den Himmel vonStaffel 303 beschreibt, um die herankommenden Messerschmidt 109 abzufangen. Es klingt nochmals kurz die polnische Nationalhymne an, bevor das Stück mit einem triumphalen Schluss endet.The Way to Heaven est une commande des services de musique de la Royal Air Force. 2015 a marqué le 75e anniversaire de la Bataille d’Angleterre qui eut lieu de juillet octobre 1940, et durant laquelle les courageux pilotes de chasse de laRoyal Air Force entravèrent les ambitions d’Hitler d’envahir le Royaume-Uni. The Way to Heaven commence par des motifs tremblants pour bois et des fanfares de cuivres qui se développent vers une apogée ; ensuite une modulation introduit une courte citation de l’hymne national polonais, Mazurek Dbrowskiego. Alorsque ces idées s’affaiblissent, on entend le signal pour décoller en urgence, puis le son rauque des moteurs Merlin de l’escadron mis en marche, avant que les avions ne s’alignent pour décoller. Ceci mène au matériel thématique principal de l’œuvrequi dépeint le vol vers le ciel de l’escadron 303 alors qu’il monte pour intercepter les Messerschmitt 109 entrants. Une brève allusion l’hymne national polonais mène la fin triomphante de l’œuvre.Way to Heaven (La strada per il Paradiso) è stata commissionato dai Servizi Musicali della Royal Air Force britannica. Nel 2015 è stato ricordato il 75° anniversario della Battaglia d'Inghilterra, che ebbe luogo tra luglio e ottobre del 1940, quando i coraggiosi piloti della RAF impedirono le ambizioni di Hitler, che voleva invadere il Regno Unito.
SKU: BT.AMP-426-140
The Way to Heaven was commissioned by the Royal Air Force Music Services. 2015 was the 75th anniversary of the Battle of Britain, which took place between July and October 1940, when the courageous fighter pilots of the Royal Air Forcethwarted Hitler’s ambitions to launch an invasion on the UK. The Way to Heaven opens with fluttering woodwind figures and brass fanfares, which build to a climax before a change of key introduces a short quotation for the Polish National Anthem - Mazurek Dbrowskiego. This fades and you can hear thesignal to scramble and the throaty sounds of the squadron’s Merlin engines bursting into life before they line up to take off. This leads to the main thematic material of the work, which depicts the heaven-bound flight of 303 Squadron as it climbs tointercept the incoming Messerschmitt 109s. A brief allusion to the Polish national anthem brings the piece to a triumphant close. The Way to Heaven<+O> is geschreven in opdracht van de Britse Royal Air Force Music Services. In 2015 was het 75 jaar geleden dat de Slag om Engeland plaatsvond, tussen juli en oktober 1940, toen de moedige gevechtspiloten van de Royal Air Forcede ambities van Hitler om het Verenigd Koninkrijk tot capitulatie te dwingen wisten te dwarsbomen. The Way to Heaven opent met ‘dwarrelende’ motieven in het hout en koperfanfares, die worden opgebouwd tot een climax voordat een modulatie een kort citaat van het Poolse volkslied Mazurek Dbrowskiego introduceert. Dit sterft weg endan horen we het alarmsignaal voor het opstijgen van de vliegtuigen, en het schorre geluid van de Merlin-motoren voordat de gevechtstoestellen de lucht in gaan. Dit leidt tot het belangrijkste thematische materiaal van het werk, dat de ‘vlucht naarde hemel’ van het 303 Squadron beschrijft tijdens de klim omhoog met als doel het onderscheppen van de Duitse Messerschmitts Bf 109. Een toespeling op het Poolse volkslied brengt het werk naar zijn triomfantelijke slot.The Way to Heaven wurde von den Royal Air Force Music Services in Auftrag gegeben. 2015 jährte sich die Luftschlacht um England, die von Juli bis Oktober 1940 stattgefunden hat, zum 75. Mal. Die mutigen Jagdflieger der Royal Air Force hattenHitlers Ambitionen einer Invasion Englands verhindert. The Way to Heaven beginnt mit einer unruhigen Figur in den Holzbläsern und mit Blechbläser-Fanfaren, die sich zu einem Höhepunkt aufbauen, bevor ein Tonartwechsel einen kurzen Verweis auf die polnische Nationalhymne Mazurek Dbrowskiego“ einleitet. Dies verklingt langsam und man hört das Signal zum Kampf und das Dröhnen der Merlin-Triebwerke der Staffeln, die vor dem Start zum Leben erwachen und sich aufstellen. Dies führt zum Hauptthema des Werkes, das den Flug in den Himmel vonStaffel 303 beschreibt um die herankommenden Messerschmidt 109 abzufangen. Es klingt nochmals kurz die polnische Nationalhymne an, bevor das Stück mit einem triumphalen Schluss endet.The Way to Heaven est une commande des services de musique de la Royal Air Force. 2015 a marqué le 75e anniversaire de la Bataille d’Angleterre qui eut lieu de juillet octobre 1940, et durant laquelle les courageux pilotes de chasse de laRoyal Air Force entravèrent les ambitions d’Hitler d’envahir le Royaume-Uni. The Way to Heaven commence par des motifs tremblants pour bois et des fanfares de cuivres qui se développent vers une apogée ; ensuite une modulation introduit une courte citation de l’hymne national polonais, Mazurek Dbrowskiego. Alorsque ces idées s’affaiblissent, on entend le signal pour décoller en urgence, puis le son rauque des moteurs Merlin de l’escadron mis en marche, avant que les avions ne s’alignent pour décoller. Ceci mène au matériel thématique principal de l’œuvrequi dépeint le vol vers le ciel de l’escadron 303 alors qu’il monte pour intercepter les Messerschmitt 109 entrants. Une brève allusion l’hymne national polonais mène la fin triomphante de l’œuvre.Way to Heaven (La strada per il Paradiso) è stata commissionato dai Servizi Musicali della Royal Air Force britannica. Nel 2015 è stato ricordato il 75° anniversario della Battaglia d'Inghilterra, che ebbe luogo tra luglio e ottobre del 1940, quando i coraggiosi piloti della RAF impedirono le ambizioni di Hitler, che voleva invadere il Regno Unito.
SKU: CF.CPS226
ISBN 9781491152522. UPC: 680160910021.
Inspired by the memory of an influential music educator, Carol Brittin Chambers has woven a multitude of grooves, colors, and uplifting themes into To Create a Voice. Chambers has attempted to convey distinct moods and emotions that this educator tried to instill in his students. In honor of this dynamic teacher, you will hear Hot Cross Buns cleverly placed throughout the composition.To Create a Voice was commissioned by the Valley Concert Band in Stockton, California. The piece premiered in October 2017, in memory and celebration of Chris Anderson, a local musician and educator.When writing this piece, I tried to convey certain moods and emotions throughout: soulful at the beginning with calm woodwind chords and solo trombone; increased energy throughout the various sections of the piece; exploration of different grooves and colors; an uplifting, emotional ending that leaves the listener with a sense of how positive and loving Chris was.This piece is largely inspired by a specific quote from Chris:Most people would consider the sounds students first make on their instruments to be cringe-worthy, but to me that’s music to my ears, because that’s the first time students put a voice to their instrument. Over time those voices become stronger; they become clear, more confident, and get to a point where they use those voices to communicate with each other, and to their audiences.To relate to the first notes on the instrument idea, I used motifs based on the first notes most beginners ever play, do-re-mi, which are introduced at the beginning of the piece with the trombone solo, Chris’ instrument. During the section at m. 15, the brass introduce a chorale that I named Chris’ Theme while the woodwinds keep reminding us of do-re-mi. Later in the piece (mm. 71 and 79), I use these notes again, but in reverse, which becomes a reference to the first song most beginners learn, Hot Cross Buns. This section is also meant to portray Chris’ quirky and joking side. In mm. 75 and 83, Chris’ Theme presents itself again a couple of times in response to Hot Cross Buns.Toward the end, at the uplifting moment (m. 97), do-re-mi is heard again, but this time in harmony with mi-fa-sol. This represents the ultimate satisfaction we all feel as musicians when we have finally progressed enough to play in harmony with others. The half-time feeling in 3 at that moment also has significance, relating (rhythmically) to those important three notes again.I really hope you enjoy performing and listening to this piece as much as I have enjoyed creating it!
SKU: CF.CPS226F
ISBN 9781491153208. UPC: 680160910700.
SKU: HL.44011763
UPC: 884088896607. 9x12 inches. English-German-French-Dutch.
The hymn Nun ruhen alle Walder (Now All Forests Rest), arranged by J.S. Bach (No. 6, So sei nun, Seele, deine, from Cantata BWV 13), is a guiding light throughout this four-movement composition. Pütz wrote this work as a musical outcry against the wilful, profit-driven destruction of our environment. When Bach used the word ruhen (to rest) over 350 years ago, it probably had a different nuance from the meaning it has today. At the beginning of the 21st century - the so-called age of progress - nun ruhen alle Walder should mean now all forests die . Massive industrialization and globalization, coupled with pure greed, corruption, political scandals, an ever-wideninggap between the rich and poor, and other such senseless human actions, are pushing our blue planet closer and closer to the point of no return. This work is not intended to be a ranting accusation. It should remind us of the beauty and harmony that can exist all around us in nature, if we take care of it. Pütz hopes that this will, one day, help put a greater emphasis on humanity's survival, and coexistence with nature rather than the exploitation described earlier. All four texts were created by Australian poet Graeme King, whose works were discovered by Pütz, by chance on the internet. Pütz was especially captivated by King's clarity, and intrigued by the possibilities of adapting and melding the strong rhythmical structure of King's writing with his own musical language. The four movements are as follows: 1. Tears of Nature 2. Grrrevolution 3. Stand up! 4. Tomorrow The world premiere of Four Earth Songs took place on 7 July 2009 at the 14th WASBE-Conference in Cincinnati (USA). This work is dedicated in friendship to Jouke Hoekstra, conductor, and the Frysk Fanfare Orkest (the Frisian Fanfare-Orchestra). De hymne Nun ruhen alle Walder, gearrangeerd door J.S. Bach (nr. 6, So sei nun, Seele, deine, uit cantate BWV 13), is de leidraad in deze vierdelige compositie. Putz schreef het werk als een muzikaal protest tegen de moedwillige,op winstbejag gebaseerde vernietiging van ons milieu. Toen Bach het woord 'ruhen' (rusten) meer dan 350 jaar geleden gebruikte, lag er waarschijnlijk een andere nuance in dan tegenwoordig. Aan het begin van de 21e eeuw - dezogenaamde eeuw van de vooruitgang - zou 'nun ruhen alle Walder' zelfs kunnen betekenen: 'nu sterven alle bossen'. De grootschalige industrialisatie en globalisering, in combinatie met pure hebzucht, corruptie, politieke schandalen,een groeiende kloof tussen arm en rijk, en andere dwaze menselijke verrichtingen, brengen onze blauwe planeet steeds verder in de problemen, tot er misschien geen weg terug meer is. Dit werk is niet bedoeld als een beschuldigendetirade. Het moet ons wijzen op de schoonheid en harmonie die in de natuur om ons heen kan bestaan, als we er goed voor zorgen. Putz hoopt dat er op een dag meer nadruk gelegd zal worden op het overleven van de mensheid invreedzame co-existentie met de natuur, zonder de eerdergenoemde uitbuiting. Alle vier de teksten zijn geschreven door de Australische dichter Graeme King, wiens werk Putz bij toeval tegenkwam op het internet. Hij werd getroffendoor Kings helderheid en raakte geintrigeerd door de mogelijkheid de sterke ritmische structuur van Kings teksten om te zetten in zijn eigen muzikale taal. De vier delen zijn de volgende: 1. Tears of Nature 2. Grrrevolution 3.Stand up! 4. Tomorrow De wereldpremiere van Four Earth Songs vond plaats op 7 juli 2009 tijdens de 14e WASBE Conference in Cincinnati (VS). Dit werk is in vriendschap opgedragen aan dirigent Jouke Hoekstra en zijn Fryskt FanfareDer Choral Nun ruhen alle Walder, hier in einer Bearbeitung von J.S. Bach (Nr. 6 So sei nun, Seele, deine aus der Kantate BWV 13), zieht sich wie ein roter Faden durch diese viersatzige Komposition, die als musikalischer Aufschrei (Anfang!) gegen die mutwillige, profitgesteuerte Zerstorung unserer Umwelt gedacht ist. Sicher hatte das Wort ruhen vor über 350 Jahren, als der Liedtext entstand, eine andere Bedeutung als heute. Zu Beginn des 21. Jahrhunderts, im sogenannten Zeitalter des Fortschritts, müsste es leider wohl eher heissen: Nun sterben alle Walder... Massive Industrialisierung, Globalisierung, aber auch Profitgier, Korruption, politische Unfahigkeit,krasse Unterschiede zwischen arm und reich, und schlussendlich die Uneinsichtigkeit des einzelnen Menschen haben dazu geführt, dass der Blaue Planet heute kurz vor dem Kollaps steht. Dieses Werk soll jedoch nicht nur anklagen, es soll auch die verbliebenen Schonheiten unserer Natur aufzeigen, in der Hoffnung, dass es einmal gelingen wird, die Rettung der Natur und den Schutz der Umwelt über die oben genannten Interessen zu stellen. Alle vier Texte stammen aus der Feder des australischen Dichters Graeme King, dessen Werk der Komponist durch einen glücklichen Zufall im Internet entdeckte. Besonders inspirierend war die Direktheit von Graemes Aussagen, aber auch die kraftvolle Rhythmik seiner Verse mit den daraus resultierenden Moglichkeiten der musikalischen Umsetzung. Die vier Satze sind wie folgt überschrieben: 1. Tears of Nature 2. Grrrevolution 3. Stand up! 4. Tomorrow Die offizielle Uraufführung von Four Earth Songs fand am 7. Juli 2009 statt, anlasslich der 14. WASBE-Konferenz in Cincinnati (USA). Das Werk ist dem Dirigenten Jouke Hoekstra und dem Frysk Fanfare Orkest (Friesischen Fanfareorchester) in aller Freundschaft gewidmet. Le cantique Nun ruhen alle Walder, dont la ligne melodique fut reprise par Jean-Sebastien Bach pour son choral So sein nun, Seele, deine (Choral ndeg6 - Cantate BWV 13), est le fil conducteur de cette oeuvre en quatre mouvements concue comme un cri contre la destruction volontaire de la nature pour le profit. Plus de trois siecles nous separent du temps de Bach. Si les mots sont restes les memes, leur sens primitif connait cependant quelques nuances. Ainsi, au XXIe siecle - considere comme le << siecle du progres >>, il conviendrait de traduire Nun ruhen alle Walder (les forets se reposent ) par Les forets se meurent. La mondialisation et l'industrialisation massiveassociees a l'avidite predatrice, a la corruption politique, aux actions humaines irrationnelles et au fosse grandissant entre riches et pauvres conduisent notre planete bleue a se rapprocher chaque jour un peu plus du point de non retour. Cette composition n'est pas une accusation acerbe, mais plutot une exhortation a prendre soin de cette beaute si harmonieuse que nous offre la nature. Et peut-etre, prendrons-nous enfin conscience de l'importance d'une situation de coexistence avec la nature, necessaire pour la survie de l'espece humaine, et non d'exploitation qui conduit a la destruction. Un jour, alors qu'il naviguait sur Internet, Marco Pütz decouvrit l'oeuvre du poete australien Graeme King. Fascine par la clarte de l'ecriture et le rythme des vers, Marco Pütz imagina les multiples possibilites d'adaptation et de mise en musique qu'offrent les poemes de King. Il choisit quatre poemes sur la nature pour creer son oeuvre Four Earth Songs (Quatre chants de la terre). 1. Tears of Nature (Les larmes de la Nature) 2. Grrrevolution 3. Stand up! (Levez-vous !) 4. Tomorrow (Demain) Four Earth Songs est dedie amicalement a l'Orchestre de Fanfare de Frise (Frysk Fanfare Orkest) et a son chef, Jouke Hoekstra. L'oeuvre a ete donnee en creation mondiale par l'orchestre dedicataire a l'occasion de la 14eme Convention de la WASBE a Cincinnati aux.
SKU: HL.44011762
UPC: 884088896591. 9x12 inches. English(US)/Deutsch/Francais/Nederlands.
SKU: CF.BPS127F
ISBN 9781491156216. UPC: 680160914753. 9 x 12 inches.
Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it's their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant's slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or lunch-bag mutes, over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age. Note to the Conductor This piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece. Younger students will likely need a reasonable amount of practice in successfully using the lunch-bag mutes. Allowing additional rehearsal time for this is recommended.Program Notes Elephant is, of course, inspired by the incredible mammals of the same name. Their column-like legs, long trunks, and massive presence will never cease to amaze; however, it’s their trumpeting that makes them stand out as the instrumentalists of the animal kingdom! In this selection, an elephant’s slow gate and general demeanor are represented by a methodical tempo and lumbering texture. Woodwinds will enjoy the opportunity to perform grace notes while Elephant also offers exposure to flams for young percussionists. At m. 33 the trumpets and horns recreate an elephant call after slipping brown paper bags, or “lunch-bag mutes,†over their bells (in their bells for horn players). For the trumpet players, the mutes can be enhanced with an additional balled-up piece of paper placed at the bottom of the bag prior to slipping it over the bell. Horns should ball up the bag itself and experiment with placement to create the most realistic tones without stopping the instrument. While specific pitches are noted, making the best elephant sounds should prioritized. Young students always look forward to experimenting with mutes, and this selection offers an inexpensive and creative way to do so at a young age.Note to the ConductorThis piece can be used to introduce or reinforce the finer points of staccato playing. While many students know to play these notes short in length, they may need reminding that they should also be played lightly. This also may allow for opportunities in emphasizing contrasting articulation styles that are in this piece.Younger students will likely need a reasonable amount of practice in successfully using the “lunch-bag mutes.†Allowing additional rehearsal time for this is recommended.
SKU: BT.DHP-1094768-010
9x12 inches. English-German-French-Dutch.
The hymn Nun ruhen alle Wälder (Now All Forests Rest), arranged by J.S. Bach (No. 6, So sei nun, Seele, deine, from Cantata BWV 13), is a guiding light throughout this four-movement composition. Pütz wrote this work as a musical outcry against the wilful, profit-driven destruction of our environment. When Bach used the word “ruhen†(to rest) over 350 years ago, it probably had a different nuance from the meaning it has today. At the beginning of the 21st century - the so-called age of progress - “nun ruhen alle Wälder†should mean “now all forests die†. Massive industrialization and globalization, coupled with pure greed, corruption, political scandals, an ever-wideninggap between the rich and poor, and other such senseless human actions, are pushing our blue planet closer and closer to the point of no return. This work is not intended to be a ranting accusation. It should remind us of the beauty and harmony that can exist all around us in nature, if we take care of it. Pütz hopes that this will, one day, help put a greater emphasis on humanity’s survival, and coexistence with nature rather than the exploitation described earlier. All four texts were created by Australian poet Graeme King, whose works were discovered by Pütz, by chance on the internet. Pütz was especially captivated by King’s clarity, and intrigued by the possibilities of adapting and melding the strong rhythmical structure of King’s writing with his own musical language. The four movements are as follows: 1. Tears of Nature 2. Grrrevolution 3. Stand up! 4. Tomorrow The world première of Four Earth Songs took place on 7 July 2009 at the 14th WASBE-Conference in Cincinnati (USA). This work is dedicated in friendship to Jouke Hoekstra, conductor, and the Frysk Fanfare Orkest (the Frisian Fanfare-Orchestra). De hymne Nun ruhen alle Wälder, gearrangeerd door J.S. Bach (nr. 6, So sei nun, Seele, deine, uit cantate BWV 13), is de leidraad in deze vierdelige compositie. Pütz schreef het werk als een muzikaal protest tegen de moedwillige,op winstbejag gebaseerde vernietiging van ons milieu. Toen Bach het woord ‘ruhen’ (rusten) meer dan 350 jaar geleden gebruikte, lag er waarschijnlijk een andere nuance in dan tegenwoordig. Aan het begin van de 21e eeuw - dezogenaamde eeuw van de vooruitgang - zou ‘nun ruhen alle Wälder’ zelfs kunnen betekenen: ‘nu sterven alle bossen’. De grootschalige industrialisatie en globalisering, in combinatie met pure hebzucht, corruptie, politieke schandalen,een groeiende kloof tussen arm en rijk, en andere dwaze menselijke verrichtingen, brengen onze blauwe planeet steeds verder in de problemen, tot er misschien geen weg terug meer is. Dit werk is niet bedoeld als een beschuldigendetirade. Het moet ons wijzen op de schoonheid en harmonie die in de natuur om ons heen kan bestaan, als we er goed voor zorgen. Pütz hoopt dat er op een dag meer nadruk gelegd zal worden op het overleven van de mensheid invreedzame co-existentie met de natuur, zonder de eerdergenoemde uitbuiting. Alle vier de teksten zijn geschreven door de Australische dichter Graeme King, wiens werk Pütz bij toeval tegenkwam op het internet. Hij werd getroffendoor Kings helderheid en raakte ge ntrigeerd door de mogelijkheid de sterke ritmische structuur van Kings teksten om te zetten in zijn eigen muzikale taal. De vier delen zijn de volgende: 1. Tears of Nature 2. Grrrevolution 3.Stand up! 4. Tomorrow De wereldpremière van Four Earth Songs vond plaats op 7 juli 2009 tijdens de 14e WASBE Conference in Cincinnati (VS). Dit werk is in vriendschap opgedragen aan dirigent Jouke Hoekstra en zijn Fryskt FanfareDer Choral Nun ruhen alle Wälder, hier in einer Bearbeitung von J.S. Bach (Nr. 6 So sei nun, Seele, deine aus der Kantate BWV 13), zieht sich wie ein roter Faden durch diese viersätzige Komposition, die als musikalischer Aufschrei (Anfang!) gegen die mutwillige, profitgesteuerte Zerstörung unserer Umwelt gedacht ist. Sicher hatte das Wort ruhen“ vor über 350 Jahren, als der Liedtext entstand, eine andere Bedeutung als heute. Zu Beginn des 21. Jahrhunderts, im sogenannten Zeitalter des Fortschritts, müsste es leider wohl eher heißen: Nun sterben alle Wälder“... Massive Industrialisierung, Globalisierung, aber auch Profitgier, Korruption, politische Unfähigkeit,krasse Unterschiede zwischen arm und reich, und schlussendlich die Uneinsichtigkeit des einzelnen Menschen haben dazu geführt, dass der Blaue Planet“ heute kurz vor dem Kollaps steht. Dieses Werk soll jedoch nicht nur anklagen, es soll auch die verbliebenen Schönheiten unserer Natur aufzeigen, in der Hoffnung, dass es einmal gelingen wird, die Rettung der Natur und den Schutz der Umwelt über die oben genannten Interessen zu stellen. Alle vier Texte stammen aus der Feder des australischen Dichters Graeme King, dessen Werk der Komponist durch einen glücklichen Zufall im Internet entdeckte. Besonders inspirierend war die Direktheit von Graemes Aussagen, aber auch die kraftvolle Rhythmik seiner Verse mit den daraus resultierenden Möglichkeiten der musikalischen Umsetzung. Die vier Sätze sind wie folgt überschrieben: 1. Tears of Nature 2. Grrrevolution 3. Stand up! 4. Tomorrow Die offizielle Uraufführung von Four Earth Songs fand am 7. Juli 2009 statt, anlässlich der 14. WASBE-Konferenz in Cincinnati (USA). Das Werk ist dem Dirigenten Jouke Hoekstra und dem Frysk Fanfare Orkest (Friesischen Fanfareorchester) in aller Freundschaft gewidmet. Le cantique Nun ruhen alle Wälder, dont la ligne mélodique fut reprise par Jean-Sébastien Bach pour son choral So sein nun, Seele, deine (Choral n°6 - Cantate BWV 13), est le fil conducteur de cette oeuvre en quatre mouvements conçue comme un cri contre la destruction volontaire de la nature pour le profit. Plus de trois siècles nous séparent du temps de Bach. Si les mots sont restés les mêmes, leur sens primitif connaît cependant quelques nuances. Ainsi, au XXIe siècle - considéré comme le « siècle du progrès », il conviendrait de traduire Nun ruhen alle Wälder (“les forêts se reposent “) par “Les forêts se meurentâ€. La mondialisation et l’industrialisation massiveassociées l’avidité prédatrice, la corruption politique, aux actions humaines irrationnelles et au fossé grandissant entre riches et pauvres conduisent notre planète bleue se rapprocher chaque jour un peu plus du point de non retour. Cette composition n’est pas une accusation acerbe, mais plutôt une exhortation prendre soin de cette beauté si harmonieuse que nous offre la nature. Et peut-être, prendrons-nous enfin conscience de l’importance d’une situation de coexistence avec la nature, nécessaire pour la survie de l’espèce humaine, et non d’exploitation qui conduit la destruction. Un jour, alors qu’il naviguait sur Internet, Marco Pütz découvrit l’oeuvre du poète australien Graeme King. Fasciné par la clarté de l’écriture et le rythme des vers, Marco Pütz imagina les multiples possibilités d’adaptation et de mise en musique qu’offrent les poèmes de King. Il choisit quatre poèmes sur la nature pour créer son oeuvre Four Earth Songs (Quatre chants de la terre). 1. Tears of Nature (Les larmes de la Nature) 2. Grrrevolution 3. Stand up! (Levez-vous !) 4. Tomorrow (Demain) Four Earth Songs est dédié amicalement l’Orchestre de Fanfare de Frise (Frysk Fanfare Orkest) et son chef, Jouke Hoekstra. L’oeuvre a été donnée en création mondiale par l’orchestre dédicataire l’occasion de la 14ème Convention de la WASBE Cincinnati aux.
SKU: BT.DHP-1094768-140
SKU: HL.44012732
Designed to open a Christmas concert, A Christmas Herald starts with a fanfare that introduces a lyrical theme, which eventually turns out to be a descant to Hark, the Herald Angels Sing, which is subsequently introduced by trombones and euphoniums. The famous carol then gradually transforms back into the fanfare, which closes the work as it began.
Designed to open a Christmas concert, A Christmas Herald starts with a fanfare that introduces a lyrical theme, which eventually turns out to be a descant to Hark, the Herald Angels Sing, which is subsequently introduced by trombones and euphoniums.
The famous carol then gradually transforms back into the fanfare, which closes the work as it began.
SKU: CF.CPS219
ISBN 9781491152454. UPC: 680160909957.
Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short.A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8†space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^†accent on the final note is one meant to be played heavy, and not short.
SKU: CF.CPS219F
ISBN 9781491153130. UPC: 680160910632.
SKU: HL.4004295
UPC: 888680068813. 9.0x12.0x0.026 inches.
Inspired by the mysterious stone formations of Stonehenge, Ancient Stone Circles creates an atmosphere of ancient times using modal melodies, rich scoring and exotic percussion. You'll hear the huge stones being transported, follow a Druid procession, and feel the awe and wonderment of this mystical place. Dur: 2:15.
SKU: HL.4008026
The Greek poet Homer wrote about Troy and the Trojan War - which probably took place in what is now Asia Minor - in his Iliad in the 8th century B.C. Nowadays, the term 'Trojan' generally refers to a malware program that is used to gain unauthorized access to computers. This use comes from the legendary Trojan Horse, which saw the turning poing in the battle between Greeks and Trojans through the cunning of Odysseus. Let us return to the beginning of the story: Paris, son of the king of Troy, is tasked by Zeus with judging the beauty of the three goddesses Aphrodite, Pallas Athena, and Hera. Aphrodite, the goddess of love, flatters Paris by promising him the most beautiful woman in the world. Soon afterwards, on a journey to Greece, Paris meets the beautiful Helen, who immediately falls in love with him. Since however she is the wife of Spartan king Menelaus, she eventually lets herself be kidnapped by Paris voluntarily. The Greeks then form a large army and go to war against Troy to retrieve Helen, leading to a ten-year siege of the city. The city is eventually conquered not through combat, however, but through Odysseus' cunning ploy. He has the idea of building an enormous wooden horse with warriors hidden inside. The horse is placed at the gates of the city. Thus, the Trojans are tricked into giving up the siege when, despite various warnings, they bring the horse into the city to dedicate it to the goddess Athena. At night, the soldiers climb out of the horse and open the gate for the Greek army. The troops storm the city and raze it to the ground. The royal family and all the Trojan warriors are killed - only Aeneas, the son of Aphrodite, escapes. Later, following many years' wanderings he and his acolytes will become known as the founders of the Roman people.
SKU: BT.1472-08-010-MS
In a Persian Market was composed in 1920 by English composer Albert W. Ketèlby. It is a short tone poem that describes the hustle and bustle taking place at a busy, exotic Persian bazaar. Camel herders, beggars, a princess, jugglers, snake charmers and a myriad of others fill the musical scenes. The princess and her caravan eventually pass by and all is back to normal. Tohru Takahashi’s arrangement perfectly conveys the sights, sounds and smells of a Persian market.In a Persian Market, vom Engländer Albert W. Ketèlby im Jahre 1920 komponiert, ist ein kurzes Tongedicht über das bunte Treiben auf einem exotischen persischen Basar. Kameltreiber, Bettler, eine Prinzessin, Jongleure und Schlangenbeschwörer füllen die Szenerie, bevor die Karawane der Prinzessin sich in Bewegung setzt und Ruhe einkehrt. Diese Transkription für Blasorchester von Tohru Takahashi wird dem Original voll und ganz gerecht. In a Persian Market, composto nel 1920, è un breve poema con un titolo esotico; Ketèlbey ha composto numerose opere di questo genere negli anni, come per esempio: In a Monastery Garden, In a Chinese Temple Garden e In the Mystic Land of Egypt. La musica di In a Persian Market evoca immagini di viaggiatori sui cammelli, cacciatori di briganti e l’arrivo del principe. In questa trascrizione per banda di Tohru Takahashi, le atmosfere dell’opera originale sono rievocate magistralmente.
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