SKU: BT.DHP-1115020-140

12 X 9 inches. English-German-French-Dutch.

A Little Irish Suite is an original work composed specifically for the Compact Band Series. This series offers smaller ensembles the opportunity to perform original, high-quality works. A Little Irish Suite consists of three movements, all based on Irish folk tunes. Clear structure and crisp harmonies complemented by plain, comprehensible melodies, are characteristic of this piece. It offers conductors the opportunity to work on tone, balance, phrasing as well as on technique with their ensemble. As with all works in the Compact Band Series, A Little Irish Suite features optional parts for instruments that are played less frequently. Conductors can pickand choose the parts needed to best fit the music and the musicians available, to determine the best possible instrumentation for their own ensemble. The duration of six minutes and the large variety and contrast of material played in A Little Irish Suite also make it an ideal selection for competitions or festivals.

A Little Irish Suite is een oorspronkelijk werk dat speciaal voor de Compact Band Series is geschreven. Deze serie geeft kleine ensembles de mogelijkheid originele composities van hoge kwaliteit uit te voeren. De delen vandeze sfeervolle Ierse suite zijn alle drie gebaseerd op volksmelodieën uit Ierland. Het werk wordt gekenmerkt door een heldere structuur en verfrissende harmonieën, aangevuld door eenvoudige, aanstekelijke melodieën. Het biedt dirigentende kans te werken aan toon, balans, frasering en ensembletechniek. Net als alle werken in de Compact Band Series bevat A Little Irish Suite optionele partijen voor instrumenten die minder vaak worden bespeeld. De dirigentkan de partijen uitzoeken die het best bij de muziek en de beschikbare bezetting passen, en zo de best mogelijke instrumentatie voor het eigen ensemble bepalen. De duur van zes minuten en het afwisselende karakter van het speelmateriaalmaken A Little Irish Suite ook ideaal voor concoursen of festivals.

A Little Irish Suite wurde speziell für die Compact Band Series komponiert. Diese Reihe bietet auch weniger gut besetzten Blasorchestern die Möglichkeit, ausgewählte Originalliteratur zu spielen. A Little Irish Suite besteht aus drei Sätzen, die alle von irischen Volksliedern abgeleitet sind. Klare Formen und Harmonien sowie einfache, gut verständliche Melodien bestimmen das Stück. Es bietet sich für jeden Dirigenten die Gelegenheit, am Klang, der Balance, der Phrasierung, aber auch an der Technik seines Ensembles zu arbeiten.Wie bei allen Werken der Compact Band Series gibt es für alle seltener besetzten Instrumente Optionen in anderen Stimmen. Der Dirigent kannentscheiden, wer was an welcher Stelle spielt und so die für sein Orchester bestmögliche Instrumentierung selbst festlegen.A Little Irish Suite ist mit seiner Länge von sechs Minuten und dank seines gro�en Abwechslungsreichtums auch als Wettbewerbstück sehr gut geeignet.

A Little Irish Suite est une composition originale intégrant la nouvelle collection Compact Band Series. Cette série présente un répertoire pour les orchestres plus restreints, aspirant cependant interpréter des ?uvres originales de grande qualité. A Little Irish Suite est une pièce constituée de trois mouvements inspirés dâ??airs irlandais. Une structure claire, des couleurs harmoniques équilibrées et des mélodies accessibles en sont les principaux atouts. Elle offrira aux chefs dâ??orchestre la possibilité de travailler la justesse et le phrasé ainsi que de nombreux aspects techniques.De même que toutes les ?uvres de la collection Compact BandSeries, A Little Irish Suite propose des partitions optionnelles pour des instruments plus singuliers. Il est donc possible de choisir parmi toutes les configurations proposées, celle qui conviendra au mieux la composition de chaque orchestre.Une durée de six minutes et une large palette de contrastes dans lâ??éventail des potentialités dâ??interprétation font de A Little Irish Suite une ?uvre idéale pour tout concours ou festival.

A Little Irish Suite è un brano originale composto appositamente per la nuova collana Compact Band Series, con brani che offrono a formazioni ridotte la possibilit di eseguire brani originali di alta qualit . I tre movimenti di questa suite si ispirano ad arie irlandesi e si contraddistinguono per strutture e armonie chiare, come anche per melodie accessibili. A Little Irish Suite permette al maestro di perfezionare il fraseggio e numerosi aspetti tecnici. La durata di sei minuti e unâ??ampia gamma di contrasti sonori fanno di A Little Irish Suite un brano ideale per concorsi e festival.

SKU: CF.YPS204F

ISBN 9781491152928. UPC: 680160910427.

Avalon–Long Live the King is a medieval fantasy piece depicting the Isle of Avalon where the mystical sword Excalibur of King Arthur was forged. Composer Tyler Arcari unearths a solid piece for young bands that is both bold and dramatic. This piece is sure to spark the imagination of students and give them strong musical content with which they can develop their musicianship.
Program Notes:Avalon–Long live the King began its journey as a commission in honor of a dear friend and mentor. David Riggs is one of those band directors that just seems timeless. He is a powerhouse with such a stacked resume that it is easy to forget that at the end of the day he enjoys taking long bike rides with his lovely wife and whittling a piece of wood just as much as being a band director. He has touched so many lives and inspired so many people in our field and beyond. I was humbled, and honored, when I was contacted for the commission. To David, I hope that you one day know how much you mean to so many people, including myself.About the piece:The piece is written with a little homage to David’s long tenure at Avalon Middle school in Pace, Florida. He was certainly treated like a king as the band director and rightly so. It seemed only fitting to add a little medieval fantasy. Avalon is a mystical island in the world of King Arthur where the great sword Excalibur was forged.The piece begins lyrically with a slow introduction with melodic material. This melodic motive is used throughout with slight variations depending on the instrument voicing etc. Care should be taken at m. 10 that the Timpani roll helps to bridge our transition from an exposed section to full tutti. Care should be taken so that the tempo change at m. 19 is brisk and avoids the low brass turning into stomping. Accessories like the China cymbal and tambourine can become overpowering. I recommend having students think of these effects as background in order to make sure they don’t POP out. The dynamic changes at mm. 27-35 should be subito similar to orchestral dynamic changes. Avoid unwritten crescendos in this section. Measures 60–64 are a great opportunity to teach those unwritten dynamics that make music so enjoyable as we lead up to the finale. It was originally left blank for some theatrics in the premiere at David’s retirement concert so I know he would enjoy adding some Cholesterol as David would say.Long Live the King!

SKU: BT.DHP-1115227-140

9x12 inches. English-German-French-Dutch.

2011 was a disastrous year for Japan: on March 11 the northeast of the country suffered a violent earthquake, which triggered a huge tsunami and caused massive damage to people and the environment. The ensuing problems with the nuclear reactor at Fukushima only increased the misery: a black day in the country’s history…One almost inevitable consequence of such dramatic circumstances is the particular damage suffered by the cultural arts. And so it was in Japan: various high school wind orchestras in the effected areas lost their practice rooms and/or instruments. It will take a long time before the damage suffered is repaired—and it will take great effort to overcome thepsychological effects, too. Focusing on the latter, Yutada Nishida (director of The Bandwagon radio program) asked a few composers for a simple work that could be played by many orchestras. It just so happened that the Osakan Philharmonic Winds (with whom Jan Van der Roost had conducted a concert exclusively of his own works on September 25th) had had a similar idea. This concert saw the baptism of Song of Hope. This piece immediately struck a chord with musicians and audience alike: it begins bleakly in the low register and evolves to a more open, optimistic close. There really is hope for better times!

2011 was een rampzalig jaar voor Japan: op 11 maart teisterde een hevige aardbeving het noordoosten van het land, bracht een enorme tsunami teweeg en veroorzaakte zeer grote schade aan mens en natuur. De daaruit voortvloeiende problemenmet de kernreactor van Fukushima maakten de ellende nog groter: een zwarte pagina in het bestaan van het land ... Dat in dergelijke dramatische omstandigheden ook (en vooral) het culturele bestel een flinke knauw krijgt, ishelaas een haast onvermijdelijke consequentie. Zo ook in Japan: verschillende high school bands in de getroffen regio verloren hun repetitieruimte en/of instrumenten: het zal lang duren voordat de geleden schade is hersteld - enhet zal ook moeite kosten om er mentaal weer bovenop te geraken. Met het oog op dat laatste aspect verzocht Yutaka Nishida (samensteller van het radioprogramma The Bandwagon) een paar componisten om een eenvoudig werkje te schrijvendat speelbaar is door een groot aantal orkesten. Als bij toeval kwam een dergelijk verzoek eveneens van de kant van de OSAKAN Philharmonic Winds, waarmee Jan Van der Roost op 25 september een concert dirigeerde, uitsluitend gewijdaan eigen werken. Daar werd Song of Hope dan ook ten doop gehouden en het werkje sloeg meteen aan bij uitvoerders en publiek: na een tamelijk donkere start in het lage register evolueert het tot een optimistischer en opener slot.Er is inderdaad hoop op betere tijden!

Am 11. März 2011 löste ein heftiges Erdbeben in Japan einen riesigen Tsunami mit desaströsen Folgen für Mensch, Natur auch das kulturelle Leben. Yutaka Nishida vom Radioprogramm The Bandwagon bat daher einige Komponisten, darunter Jan Van der Roost, ein einfaches, für viele Orchester spielbares Werk zu schreiben. Song of Hope beginnt düster im tiefen Register, um sich dann zu einem optimistischeren Schluss hin zu entwickeln. Es gibt sie, die Hoffnung auf bessere Zeiten... !

2011 fut une année tragique pour le Japon : le 11 mars, le nord-est du pays connut un violent tremblement de terre qui entraîna un gigantesque tsunami, occasionnant de nombreuses pertes humaines et de gros dég ts environnementaux. La catastrophe du réacteur nucléaire de Fukushima ajouta encore ces malheurs : une période bien sombre de l’histoire du pays…Des événements aussi dramatiques ont souvent un impact négatif sur les arts culturels. Ce fut le cas au Japon : plusieurs orchestres d’harmonie des collèges des régions affectées perdirent leurs locaux de répétition et/ou leurs instruments. Il faudra beaucoup de temps pour que les choses reviennent la normale - et pour estomperles cicatrices psychologiques. S’intéressant particulièrement celles-ci, Yutada Nishida (directeur du programme radiophonique The Bandwagon) demanda quelques compositeurs d’écrire une œuvre simple pouvant être interprétée par de nombreux orchestres.Il se trouva que l’Harmonie Philharmonique d’Osaka (que Jan Van der Roost avait dirigée lors d’un concert exclusivement composé de ses œuvres, le 25 septembre) avait eu la même idée. Ce concert vit la création mondiale de Song of Hope, qui interpella immédiatement les musiciens et l’auditoire. Cette pièce débute sombrement dans le registre grave avant d’évoluer vers une conclusion plus pétillante, plus optimiste. Il est assurément permis d’espérer des temps meilleurs !

Il 2011 è stato un anno tragico per il Giappone; al devastante terremoto e al non meno catastrofico tsunami dell’11 marzo, sono seguiti i gravi problemi al reattore nucleare di Fukushima. Il settore della cultura in generale, e quello della musica in particolare hanno sofferto immensamente a causa di questi nefasti eventi naturali. Song of Hope è un brano che ha profondamente commosso esecutori e pubblico.Song of Hope inizia nel registro acuto con suoni oscuri e melanconici, ma si sviluppa in un clima di ottimismo, come a voler simboleggiare un futuro più sereno.

SKU: CF.YPS198F

ISBN 9781491152867. UPC: 680160910366.

All the While was inspired by a very special person in Tyler Arcari's life. Director's will be happy to find many opportunities for emotional and passionate playing with plenty of fun in the middle for young bands.  All the While gives students a number of chances to work on expressive playing during the beginning and ending sections, and offers a light rhythmic middle section for contrast.
Program Notes:All the While is a bit of a personal piece for me. I was inspired to write it by a very special person in my life. It might be a young-band piece but I feel that it has the capacity for great emotion and passionate playing as well as a little fun in the middle. Sometimes it is difficult to tell people how you feel, even if you have known them for a long time. I think sometimes we say in our heads that “I have felt this way for a long time,” and all the while never being able to put it to words.About the work:The piece opens with a flute and alto saxophone duet. This melody trades off at m. 10 with the addition of new voices and harmonies building in intensity all the way to m. 28. I personally like to use extended phrases in this section, though it looks like it would just utilize four-measure phrases. I feel this adds to the momentum building in dynamic intensity. Measure 28 is a subito change beginning with a prominent Timpani solo. The following section should be played as lightly as possible to avoid a lumbering feel. In mm. 68- 70, the agogic accents should not be very heavy, but more pointed in their momentum to m. 70.Measures 70–76 should be taken with metric liberty bringing out all of the moving parts in the low brass. The low brass really adds the foundation of momentum for the rest of the band here. Measure 76 to the end, though a repetition of material from the beginning, should be played as the high point of the piece and familiar conclusion.

SKU: BT.1143-04-140-MS

T the beginning of the 1980s Alison Moyet was discovered by Vince Clarke, who - in search of greater independence - had left the successful band Depeche Mode. The soulful singing style of Moyet and the electronic, innovative pop that Clarke made melded well together in the group Yazoo with hits such as Only You and Don’t Go. However, after a number of years Moyet went her own way and forged a solo career, during which she demonstrated a somewhat more traditional sound. She recorded several covers (such as The First Time I Ever Saw Your Face and That Ole Devil Called Love) but she also wrotefine songs herself, such as Love Resurrection and, of course, the expressive song AllCried Out. This arrangement by Peter Kleine Schaars does justice to the atmosphere of the original song.

Die erfolgreiche Karriere von Alison Moyet begann zu Beginn der 80er-Jahre mit der englischen Popgruppe Yazoo. Nach ein paar Jahren ging die Sängerin mit der starken Soulstimme jedoch eigene Wege und arbeitete an einer Solo-Karriere. Sie nahm einige Cover-Versionen auf, schrieb aber auch selbst schöne Lieder, darunter Love Resurrection und natürlich das ausdrucksvolle, unvergessene All Cried Out. Diese Bearbeitung von Peter Kleine Schaars wird der Stimmung des Originals vollkommen gerecht.

La chanteuse Alison Moyet est repérée au début des années 1980 par Vince Clarke, alors la recherche d’une plus grande indépendance : il a quitté son célèbre groupe Depeche Mode. La voix mélancolique d’Alison Moyet et la musique pop électronique innovante de Vince Clarke s’unissent au sein du groupe Yazoo dont des chansons comme Only You et Don’t Go rencontrent un vif succès. Quelques années après, Alison Moyet décide néanmoins de suivre son propre chemin et se lance dans une carrière solo au cours de laquelle elle développe un style plus conventionnel. Elle enregistre plusieurs reprises telles que The First Time I Ever Saw Your Face et That Ole Devil CalledLove, mais compose aussi de superbes titres tels que Love Resurrection et bien entendu All Cried Out, une chanson particulièrement expressive. L’arrangement de Peter Kleine Schaars reste très fidèle l’ambiance de la chanson d’origine.