Concert Band - Grade 2

SKU: BT.EMBZ14769SET

EMB Concert Band Series. Concert Piece. Set (Score & Parts). Composed 2012. 416 pages. Editio Musica Budapest #EMBZ14769SET. Published by Editio Musica Budapest (BT.EMBZ14769SET).

9x12 inches.

László Zempléni, the author or reviser of a large number of pedagogical volumes published by EMB, has this time arranged European folk songs for young band. The following songs feature in the volume: Laß' doch meine Jugend (German), My native land (Irish), Ah mon beau ch teau (French), Kom, skal i klippe (Norwegian), Moj llokumja me sheqer (Albanian), Ma come balli bella bimba (Italian) and Az oláhok, az oláhok (Hungarian). The pieces can be performed as a coherent series or separately, and conductors can select from them to form 2-, 3- or 4-movement groups.

László Zempléni, der Autor und Überarbeiter von vielen beim EMB erschienenen pädagogischen Bänden, meldet sich diesmal mit der Überarbeitung von europäischen Volksliedern für Bläserorchester zurück. Die Lieder im Band sind: Laß' doch meine Jugend (deutsch), My native land (irisch), Ah mon beau chateau (französisch), Kom, skal i klippe (norvegisch), Moj llokumja me sheqer (albanisch), Ma come balli bella bimba (italienisch), Az oláhok, az oláhok (ungarisch). Die Stückke lassen als zusammenhängende Serie oder aber auch einzeln aufführen. Ebenso können die Chordirigenten aus ihnen kurze Blöcke mit zwei, drei oder vier Sätzen zusammenstellen.

Band concert band - Grade 3.5

SKU: KJ.JB58

Composed by John Lorge. Bandworks. Jazz. Score and set of parts. Neil A. Kjos Music Company #JB58. Published by Neil A. Kjos Music Company (KJ.JB58).

UPC: 8402701189.

Composer John Lorge celebrates his heritage with Ojibwa Lullaby. Based on authentic Native American melodies from the north central United States, the themes are transformed and presented to sound like a whole community of parents is soothing their children to sleep.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1135483-140

Great Classics. Score Only. Composed 2013. 68 pages. De Haske Publications #DHP 1135483-140. Published by De Haske Publications (BT.DHP-1135483-140).

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

Geschichten aus dem Wienerwald (Tales from the Vienna Woods), composed by Johann Strauss II in 1868, is a patriotic masterpiece that praises the beauty of the Vienna Woods. This icon of Viennese music is frequently performed at the New Year’s Concert given by the Vienna Philharmonic Orchestra. Geschichten aus dem Wienerwald features the zither, a musical instrument native to Austria and its neighbours. If no zither is available, a double reed ensemble or saxophone ensemble can be substituted in this band transcription.

Geschichten aus dem Wienerwald (Verhalen uit het Weense woud), een vaderlandslievend meesterwerk dat in 1868 werd gecomponeerd door Johann Strauss jr., prijst de schoonheid van het Wienerwald: een rijk bebost gebied dat zich uitstrekt over de Oostenrijkse deelstaten Neder-Oostenrijk (Niederösterreich) en Wenen. Dit icoon van de Weense muziek wordt geregeld uitgevoerd tijdens de nieuwjaarsconcerten die worden gegeven door de Wiener Philharmoniker.In Geschichten aus dem Wienerwald komt ook de citer aan bod, een muziekinstrument dat in Oostenrijk en de omringende landen veel voorkomt in de volksmuziek. Als er geen citer beschikbaar is, kan de partij indeze transcriptie voor blaasorkest ook worden gespeeld door een dubbelriet- of saxofoonensemble.

GESCHICHTEN AUS DEM WIENERWALD (Tales from the Vienna Woods) aus der Feder von Johann Strauss (Sohn) im Jahre 1868 ist ein patriotisches Meisterwerk, das die Schönheit des Wienerwaldes preist. Dieses Wahrzeichen Wiener Musik wird regelmäßig beimNeujahrskonzert der Wiener Philharmoniker gespielt.

In GESCHICHTEN AUS DEM WIENERWALD spielt die Zither, ein Instrument, das aus Österreich und dessen Nachbarländern stammt, eine hervorgehobene Rolle. Blasorchester, die keine Zither zur Verfügung haben, können sie in dieser Transkription durch einEnsemble aus Doppelrohrblattinstrumenten oder Saxophonen ersetzen.

La valse Geschichten aus dem Wienerwald (Histoires de la forêt viennoise), composée by Johann Strauss fils en 1868, est un chef-d’œuvre patriotique qui rend hommage la beauté de la forêt viennoise. Ce joyau de la musique viennoise est souvent interprété lors du concert du Nouvel An donné par l’Orchestre philharmonique de Vienne.Geschichten aus dem Wienerwald met en avant la cithare, un instrument originaire d’Autriche et des pays voisins. Si une cithare n’est pas disponible, cette transcription pour orchestre d’harmonie permet de la remplacer par un ensemble d’instruments anche double ou de saxophones.

Grade 1.5

SKU: CL.015-2879-01

Composed by Johann Melchior Molter. Young Concert Band. Elementary Series. Extra full score. Composed 1997. C.L. Barnhouse #015-2879-01. Published by C.L. Barnhouse (CL.015-2879-01).

A multi-cultural piece for the youngest bands which is full of appeal for players and audiences alike. While the composition strongly suggests a Native American theme, it uses musical concepts such as the slur, legato tonguing and dynamic contrast as a means to aid young musicians in understanding the importance of playing musically.

Band Concert Band

SKU: PR.46500013L

For Wind Ensemble. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013L. Published by Theodore Presser Company (PR.46500013L).

UPC: 680160600151. 11 x 14 inches.

I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

Concert Band/Harmonie - Grade 2.5

SKU: BT.DHP-0981357-010

Composed by Jan Van der Roost. Performance Series. Concert Piece. Set (Score & Parts). Composed 1998. De Haske Publications #DHP 0981357-010. Published by De Haske Publications (BT.DHP-0981357-010).

9x12 inches.

Singapura Suite was commissioned by Singapore's Ministry of Education Extracurricular Activities Branch to serve as a compulsory piece for the 1999 Singapore Youth Festival.Singapura is the original name of Singapore in Malay, the native language there. Because Singapore is one of the most important harbors in the world, this two-piece work opens with a seaman's dance. An authentic melody, Chan Mali Chan, is woven into the middle of this first part, whose ABA form becomes clear through the recapitulation of the seaman's dance in a somewhat altered form.Singapore is also a dynamic city-state alive with excitement, thus the second part begins with a fitting dance, a fastbourrée. As contrast there is a second authentic melody, Dayung Sampan, a more easygoing sailing song. This short but curious suite ends in high spirits with a recapitulation of the beginning.

‘Singapura’ is de oorspronkelijke naam van Singapore in het Maleis, de originele taal van deze stadstaat. Omdat Singapore een van de belangrijkste havens ter wereld is, opent de componist met een ‘zeemansdans’. Ook de authentiekemelodie Chan Mali Chan is te herkennen. Het dynamische aspect van Singapore wordt verbeeld in een snelle bourree, gevolgd door een contrasterend authentiek en rustig bootslied: Dayung Sampan.

Das Werk Singapura Suite wurde vom ‚Singapure’s Ministry of Education Extracurricular Activities Branch‘ (Ministerium für Erziehung, Kultur und Sport, Singapur) als eines der Pflichtstücke für das Singapur Jugendfestival“ 1999 in Auftrag gegeben.Singapura“ - das ist der malaiische Name der Bewohner Singapurs, es ist die Sprache der Eingeborenen. Weil in Singapur einer der wichtigsten Häfen der Welt ist, öffnet dieses zweiteilige Werk mit einem Seemannstanz. Eine authentische Melodie, Chan Mali Chan, wird in den Mittelteil dieses ersten Teils eingeflochten, dessen A-B-A-Form durch die Wiederholung des Seemannstanzes in einer etwas veränderten Form deutlichwird.Singapur ist auch ein dynamischer und lebendiger Stadtstaat, und deshalb beginnt der zweite Teil mit einem passenden Tanz, einer schnellen Bourrée. Als Kontrast hierzu erklingt eine zweite authentische Melodie, Dayung Sampan, ein sehr leichtes, gelassenes Matrosenlied. Diese kurze, aber kuriose Suite endet sehr ausgelassen mit einer Wiederholung des Anfangs.

Singapore, la citt del leone, è uno dei più importanti crocevia dell’Asia. Singapore mischia abilmente le culture provenienti dalla Cina, dalla Malesia, dall’India a quelle occidentali. La musica tradizionale è l’immagine delle molte etnie di questa citt -stato. I due movimenti di questa composizione si ispirano a canti tradizionali della Malesia. Il primo movimento sviluppa quattro canti tradizionali di carattere contrastante e contrastato. Il secondo movimento è basato sui canti Lenggang Kangkung e Katang Lompat, che, come d’abitudine in oriente, descrivono animali e l’ambiente in cui vivono legandoli a simbolismi, e un canto tradizionale in occasione di matrimoni. I duemovimenti di questa rapsodia non sono legati tra loro, rendendo possibile eseguirli separatamente.