| It's the Most Wonderful Time of the Year Concert band - Intermediate/advanced FJH
By Edward Pola and George Wyle. Arranged by Chris Sharp. For concert band. FJH C...(+)
By Edward Pola and George Wyle. Arranged by Chris Sharp. For concert band. FJH Concert Band. Full set (score and parts). Score only also available: B1408S. Christmas. Grade 4. Score and set of parts. Composed 2009
$80.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Cotton-Eyed Joe Concert band [Score and Parts] - Intermediate FJH
Arranged by Chris Sharp. For concert band. FJH Concert Band. Grade 3. Score and ...(+)
Arranged by Chris Sharp. For concert band. FJH Concert Band. Grade 3. Score and parts. Duration 2 minutes, 30 seconds. Published by The FJH Music Company Inc
$70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| It's the Most Wonderful Time of the Year Concert band [Score] - Intermediate/advanced FJH
By Edward Pola and George Wyle. Arranged by Chris Sharp. For concert band. FJH C...(+)
By Edward Pola and George Wyle. Arranged by Chris Sharp. For concert band. FJH Concert Band. Score only. Full set (score and parts) also available: B1408. Christmas. Grade 4. Score. Composed 2009
$6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Royal Coronation Dances Concert band - Intermediate Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (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. $95.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Windermere Overture Concert band - Beginner FJH
Concert Band Concert Band - Grade 1.5 SKU: FJ.B1235S Score Only. C...(+)
Concert Band Concert Band - Grade 1.5 SKU: FJ.B1235S Score Only. Composed by Chris Sharp. Arranged by Chris Sharp. Concert Band. FJH Developing Band. Score. Duration 2:28. The FJH Music Company Inc #98-B1235S. Published by The FJH Music Company Inc (FJ.B1235S). English. Windermere Overture captures the grandeur of the largest lake in England by the same name. The short introduction quickly builds to the stately theme of the work. The middle section, while at the same tempo, explores a lighter texture and is generally orchestrated by instrument family. As the changing timbres continue to develop, the main theme returns, bringing the piece to a triumphant ending. A great overture that is easy to put together! About FJH Developing Band Slightly more advanced than beginning band. Clarinet 1 begins to play over the break. Rhythms and ranges are expanded to accommodate the end of first-year as well as second-year instruction. Grade 1.5 $6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Curtain Up! Concert band - Beginner FJH
Concert Band Concert Band - Grade 1 SKU: FJ.B1496S Complete Concert Be...(+)
Concert Band Concert Band - Grade 1 SKU: FJ.B1496S Complete Concert Beginning Band Vol.1. Composed by Brian Balmages, Chris Sharp, Timothy Loest, and William Owens. Collections; Concert Band; Performance Music Ensemble; Single Titles. FJH Beginning Band. Score. The FJH Music Company Inc #98-B1496S. Published by The FJH Music Company Inc (FJ.B1496S). English. For directors on a budget, we are pleased to offer this exciting collection of four pieces at one low price. Designed to work well as a full concert program, these pieces represent a variety of styles and composers for a well-balanced program! Titles include: Parade of the Gladiators (Owens), Ten Masters in Two Minutes (Loest), Funtango (Sharp), and Gettysburg (Balmages). $20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three English Folk Song Miniatures Concert band - Beginner Anglo Music
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-377-010 Composed by Philip ...(+)
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-377-010 Composed by Philip Sparke. Debut Series (Anglo). Concert Piece. Set (Score and Parts). Composed 2013. Anglo Music Press #AMP 377-010. Published by Anglo Music Press (BT.AMP-377-010). 9x12 inches. English-German-French-Dutch. England enjoys a rich folk song tradition. Composers such as Cecil Sharp and Vaughan Williams rekindled an interest in this heritage at the beginning of the 20th century by arranging numerous songs, some of which were transcribed for the _x001F_first time. Philip Sparke selected three songs from the 18th and 19 century for his Three Folk Song Miniatures: the _x001F_shermanâ??s song Dance to Your Daddy, the love song O Waly, Waly and Bobby Shafto, a song from the northwest of England.
Engeland heeft een rijke traditie op het gebied van volksmuziek die door de jaren heen een beetje in de vergetelheid raakte. Componisten als Cecil Sharp en Vaughan Williams brachten hierin verandering door voor het eerst talloze liederen bundelen en soms zelfs voor het eerst tenoteren in modern notenschrift. Philip Sparke koos voor dit werk drie liederen uit de 18e en 19e eeuw: het visserslied Dance to Your Daddy, het liefdeslied O Waly, Waly en Bobby Shafto, een lied uit het Noord-Westen van Engeland.
England kann auf eine lange Volkslied-Tradition zuru?ckblicken. Komponisten wie Cecil Sharp und Vaughan Williams weckten Anfang des 20. Jahrhunderts erneut das Interesse an diesem Erbe, indem sie zahlreiche Lieder sammelten und teilweise erstmals notierten. Philip Sparke wählte fu?r seine drei Volkslied-Miniaturenâ?? drei Lieder aus dem 18. und 19. Jahrhundert: das Fischerlied Dance to Your Daddy, das Liebeslied O Waly, Waly und Bobby Shafto, ein Lied aus dem Nordwesten Englands.
Comme beaucoup dâ??autres pays, lâ??Angleterre jouit dâ??une longue tradition de chansons traditionnelles transmises oralement au _x001C_fil des siècles. Three English Folk Song Miniatures rassemble trois airs populaires (Dance to you Daddy, O Waly, Waly et Bobby Shafto), prodigieusement arrangés pour orchestre junior ou formation incomplète. Comme dans toutes les publications de degré de diffi_x001F_culté 1 1 ½ des éditions Anglo Music, les parties des registres ténor et basse peuvent être jouées par diff_x001B_érents instruments, ce qui permettra aux orchestres incomplets de toujours produire un son ample et généreux.
Lâ??Inghilterra è una nazione ricca di canti popolari. Allâ??inizio del XX secolo, compositori quali Cecil Sharp e Vaughan Williams risvegliarono lâ??interesse verso questa preziosa eredit raccogliendo e in parte arrangiando numerosi canti. Philip Sparke ha scelto per le sue â??tre miniatureâ?, altrettanti canti del XIII e XIX secolo: la canzone dei pescatori Dance to Your Daddy, O Waly, Waly, una canzone dâ??amore e Bobby Shafto, un canto proveniente dalla parte nord-occidentale del paese. $100.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Three English Folk Song Miniatures Concert band - Beginner Anglo Music
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-377-140 Composed by Philip ...(+)
Concert Band/Harmonie - Grade 1.5 SKU: BT.AMP-377-140 Composed by Philip Sparke. Debut Series (Anglo). Concert Piece. Score Only. Composed 2013. 40 pages. Anglo Music Press #AMP 377-140. Published by Anglo Music Press (BT.AMP-377-140). 9x12 inches. English-German-French-Dutch. England enjoys a rich folk song tradition. Composers such as Cecil Sharp and Vaughan Williams rekindled an interest in this heritage at the beginning of the 20th century by arranging numerous songs, some of which were transcribed for the _x001F_first time. Philip Sparke selected three songs from the 18th and 19 century for his Three Folk Song Miniatures: the _x001F_shermanâ??s song Dance to Your Daddy, the love song O Waly, Waly and Bobby Shafto, a song from the northwest of England.
Engeland heeft een rijke traditie op het gebied van volksmuziek die door de jaren heen een beetje in de vergetelheid raakte. Componisten als Cecil Sharp en Vaughan Williams brachten hierin verandering door voor het eerst talloze liederen bundelen en soms zelfs voor het eerst tenoteren in modern notenschrift. Philip Sparke koos voor dit werk drie liederen uit de 18e en 19e eeuw: het visserslied Dance to Your Daddy, het liefdeslied O Waly, Waly en Bobby Shafto, een lied uit het Noord-Westen van Engeland.
England kann auf eine lange Volkslied-Tradition zuru?ckblicken. Komponisten wie Cecil Sharp und Vaughan Williams weckten Anfang des 20. Jahrhunderts erneut das Interesse an diesem Erbe, indem sie zahlreiche Lieder sammelten und teilweise erstmals notierten. Philip Sparke wählte fu?r seine drei Volkslied-Miniaturenâ?? drei Lieder aus dem 18. und 19. Jahrhundert: das Fischerlied Dance to Your Daddy, das Liebeslied O Waly, Waly und Bobby Shafto, ein Lied aus dem Nordwesten Englands.
Comme beaucoup dâ??autres pays, lâ??Angleterre jouit dâ??une longue tradition de chansons traditionnelles transmises oralement au _x001C_fil des siècles. Three English Folk Song Miniatures rassemble trois airs populaires (Dance to you Daddy, O Waly, Waly et Bobby Shafto), prodigieusement arrangés pour orchestre junior ou formation incomplète. Comme dans toutes les publications de degré de diffi_x001F_culté 1 1 ½ des éditions Anglo Music, les parties des registres ténor et basse peuvent être jouées par diff_x001B_érents instruments, ce qui permettra aux orchestres incomplets de toujours produire un son ample et généreux.
Lâ??Inghilterra è una nazione ricca di canti popolari. Allâ??inizio del XX secolo, compositori quali Cecil Sharp e Vaughan Williams risvegliarono lâ??interesse verso questa preziosa eredit raccogliendo e in parte arrangiando numerosi canti. Philip Sparke ha scelto per le sue â??tre miniatureâ?, altrettanti canti del XIII e XIX secolo: la canzone dei pescatori Dance to Your Daddy, O Waly, Waly, una canzone dâ??amore e Bobby Shafto, un canto proveniente dalla parte nord-occidentale del paese. $26.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Sinfonia XVI: Transcendental Vienna Concert band - Intermediate/advanced Manhattan Beach Music
Concert band - Grade 4 SKU: MH.1-59913-072-6 Composed by Timothy Broege. ...(+)
Concert band - Grade 4 SKU: MH.1-59913-072-6 Composed by Timothy Broege. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 7:00. Published by Manhattan Beach Music (MH.1-59913-072-6). ISBN 9781599130729. Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4. $135.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Zion Concert band Theodore Presser Co.
Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet...(+)
Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabassoon, English Horn, Euphonium, Flute 1, Flute 2, Flute 3, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3 and more. SKU: PR.16500092L For Concert Band. Composed by Dan Welcher. Spiral. Contemporary. Large Full Score. With Standard notation. Composed 1994. 76 pages. Duration 10 minutes. Theodore Presser Company #165-00092L. Published by Theodore Presser Company (PR.16500092L). UPC: 680160039531. 11 x 17 inches. Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland. $105.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Antithigram Concert band [Score] - Intermediate/advanced Manhattan Beach Music
By Jack Stamp. Concert band. Suitable for high school, community, and college ba...(+)
By Jack Stamp. Concert band. Suitable for high school, community, and college bands. Grade 4. Conductor full score. Duration 4:45. Published by Manhattan Beach Music
$15.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Antithigram Concert band - Intermediate/advanced Manhattan Beach Music
Concert band - Grade 4 SKU: MH.0-931329-35-3 Composed by Jack Stamp. Suit...(+)
Concert band - Grade 4 SKU: MH.0-931329-35-3 Composed by Jack Stamp. Suitable for high school, community, and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.0-931329-35-3). ISBN 9780931329357. Composer's Preface: Antithigram is coined from the words antithesis and program. The work is bi-thematic -- the first theme comprised of eleven notes, the second (beginning at measure 63) more like a chorale in structure. A four-note tone cluster (B flat, C, F sharp, B natural) appears in the first measure, and subsequently appears as an arpeggiated ostinato (B flat, C, and F sharp, in orchestra bells and vibraphone) that underpins and adheres subsequent sections. After the themes are treated in a number of traditional ways (two-voice counterpoint, canon, chorale, and diminution) they are joined at measure 110 in a polychordal statement. The work should be performed with energy, with special attention to a precise and lively style of articulation. Antithigram was composed in the Summer of 1977 and premiered by the East Carolina University Symphonic Band in April of 1978 with the composer conducting. Ensemble instrumentation: 1 Piccolo, 2 Oboe, 2 Bassoon, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 2 Bb Bass Clarinet, 1 Eb Contrabass Clarinet, 1 Bb Contrabass Clarinet, 4 Eb Alto Saxophone 1, 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 F Horns 1 & 2, 2 F Horns 3 & 4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 2 Baritone, Treble Clef, 2 Baritone, Bass Clef, 4 Tuba, 1 Timpani, 1 Percussion 1 (Xylophone, Vibraphone, Bongos), 1 Percussion 2 (Orchestra Bells, Tambourine), 1 Percussion 3 (Chimes), 1 Percussion 4 (Snare Drum, Tambourine, Triangle), 1 Percussion 5 (Bass Drum, Tam-tam, Cymbal-susp.). $125.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Curtain Up! Complete Concert Beginning Band Vol.1 Concert band [Score and Parts] - Beginner FJH
By Various. For concert band. FJH Beginning Band. Full set (score and parts). Sc...(+)
By Various. For concert band. FJH Beginning Band. Full set (score and parts). Score only also available: B1496S. Grade 1. Score and parts. Published by The FJH Music Company Inc
$110.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Vikings Victorious Concert March Concert band - Beginner FJH
Concert Band Concert Band - Grade 1.5 SKU: FJ.B1245S Score Only. C...(+)
Concert Band Concert Band - Grade 1.5 SKU: FJ.B1245S Score Only. Composed by Chris Sharp. Concert Band. FJH Developing Band. Form: March. Score. Duration 1:50. The FJH Music Company Inc #98-B1245S. Published by The FJH Music Company Inc (FJ.B1245S). English. A concert march in the classic tradition, this piece is ideal for your festival program. Written in the key of Eb, the difficult key change at the trio is avoided by a modulation to Bb, instead of the traditional Ab. The D.S. al fine helps this piece come together with minimum rehearsal time and maximum result. Consider even using the opening section as a school fight song! About FJH Developing Band Slightly more advanced than beginning band. Clarinet 1 begins to play over the break. Rhythms and ranges are expanded to accommodate the end of first-year as well as second-year instruction. Grade 1.5 $5.00 - See more - Buy online | | |
| Scorpius Concert band - Easy Excelcia Music Publishing
Concert Band - Grade 2 SKU: XC.ICB2308 Composed by Sean O'Loughlin. Conce...(+)
Concert Band - Grade 2 SKU: XC.ICB2308 Composed by Sean O'Loughlin. Concert Concert Band. Intermezzo Grade 2-2.5. Set of parts. Excelcia Music Publishing #ICB2308. Published by Excelcia Music Publishing (XC.ICB2308). This thing is sharp! Written at a fast, but accessible ¾ time signature, young musicians will feel as though they are laying down a track for a major movie label! Composer Sean O’Loughlin puts his film-scoring experience to good use in this phenomenal new work for the developing band. $65.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Scorpius Concert band [Score] - Easy Excelcia Music Publishing
Composed by Sean O'Loughlin. Concert Concert Band. Intermezzo Grade 2-2...(+)
Composed by Sean O'Loughlin.
Concert Concert Band.
Intermezzo Grade 2-2.5. Score.
Excelcia Music Publishing
#ICB2308FS. Published by
Excelcia Music Publishing
$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Three Onegin Dances Concert band - Intermediate De Haske Publications
Concert Band - Grade 3 SKU: BT.DHP-1012918-040 Composed by Peter Ilyich T...(+)
Concert Band - Grade 3 SKU: BT.DHP-1012918-040 Composed by Peter Ilyich Tchaikovsky. Arranged by Wil van der Beek. The Great Classics. Set (Score & Parts). Composed 2001. De Haske Publications #DHP 1012918-040. Published by De Haske Publications (BT.DHP-1012918-040). Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenesâ€. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. $181.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Nocturne Concert band - Intermediate De Haske Publications
Concert Band/Harmonie and Clarinet Solo - Grade 3 SKU: BT.DHP-0981110-010 ...(+)
Concert Band/Harmonie and Clarinet Solo - Grade 3 SKU: BT.DHP-0981110-010 Composed by Peter Ilyich Tchaikovsky. Your Favorite Classics. Set (Score & Parts). Composed 1998. De Haske Publications #DHP 0981110-010. Published by De Haske Publications (BT.DHP-0981110-010). Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenesâ€. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.
Rolf Lovland, der Gründe der Popgruppe Secret Garden ist einer der erfolgreichsten Songschreiber in der Welt der Popmusik. Mit der romantischen Melodie von Nocturne überzeugte seine Gruppe nicht nur Millionen Fans, sondern auch die Jury des Grand Prix d’Eurovision im Jahre 1995, die das Lied zum Siegertitel kürte. Mit dem gefühlvollen Arrangement von Ron Segbregts spielen Sie sich in die Herzen Ihres Publikums. $137.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Three Onegin Dances Concert band - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1012918-010 Composed by Peter...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1012918-010 Composed by Peter Ilyich Tchaikovsky. Arranged by Wil van der Beek. The Great Classics. Set (Score & Parts). Composed 2001. De Haske Publications #DHP 1012918-010. Published by De Haske Publications (BT.DHP-1012918-010). Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenesâ€. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.
Tchaikowsky ist berühmt für seine rein instrumentalen Kompositionen. Er ist jedoch auch als Opernkomponist nicht zu unterschätzen.Viele seiner OPern werden immoernoch regelmäßig auf der ganzen Welt aufgeführt, wie zum Beispiel Pique Dame und Eugen OneginEugen Onegin wurde in den Jahren 1877 bis 1878 komponiert und von Tschaikowsky selbst zunächst nicht als Oper, sondern als lyrische Szenen betitelt. Der lyrische Charakter ist im ganzen Werk vorherrschend. Zwei Stellen kontrastieren jedoch deutlich mit dieser Lyrik: zwei Ballszenen ,für die Tschaikowsky einen Walzer uns eine Polonaise schrieb.Nach einem weniger bekannten Allegro Dansant als Eröffung,stellt dieses Arrangement vor allem den oben genannten Walzer in den Vordergrund, welcher guten Herzens als ein schönes russisches Gegenstück zu Charles Gounods Faustwalzer bezeichnet werden kann. In der Oper wird dieser Walzer von einer Militärkapelle gespielt. Das Arrangement schließt mit der erwähnten pompösen Polonaise, die den letztzen Akt eröffnet: die ideale Musik, um ein Bild des Hochadels im Salon eines Petersburger Palastes zu zeichnen. $181.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
1 |