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: 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: 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-1125271-140
9x12 inches.
This number topped the U.S. chart as the lead release single from Bad. Siedah Garrett, who sang the duet, was a protégé of Quincy Jones with whom Michael tag-teamed for three solos on Off the Wall. (Garrett is also renowned as one of the writers of the song Man in the Mirror,â? the fourth single which carries a strong message.) Japanese fans still remember this song being performed as an encore during the Bad World Tour in 1987. The straightforward, sweet love song starts out quietly and gradually takes on heat, unfolding a wonderful musical sentiment. The performance of the arranged version also strikes the audience with an imposing world of sound comparableto that of a full orchestra. I Just Canâ??t Stop Loving You was de eerste single van het album Bad. Michael Jackson nam dit romantisch duet, samen met zangeres en songwriter Siedah Garret, op. Dit gevoelige nummer werd wereldwijd bekend door Michaelâ??sBad World Tour in 1987. Miho Hazama maakte er een arrangement van met een prachtig volle klank.I Just Canâ??t Stop Loving You war die erste Single aus dem Album Bad, wo das romantische Duett zusammen mit der Sängerin und Songwriterin Siedah Garret aufgenommen wurde. Weltweit ist der gefu?hlvolle Song vor allem von der Bad World Tour im Jahr 1987 bekannt geworden. Dieses Arrangement besticht vor allem durch seinen vollen Orchesterklang. I Just Canâ??t Stop Loving You, premier single extrait de lâ??album, est un duo romantique que Michael Jackson interprèta avec Siedah Garrett. La chanson connut un réel succès dans le monde entier, et fut programmée lors des différentes tournées Bad World Tour et Dangerous World Tour. Cet émouvant arrangement impressionne de par son orchestration complète, tout en respectant la version originale. I Just Canâ??t Stop Loving You, il primo single dellâ??album Bad, include il romantico duo con la cantante e autrice Siedah Garret. Il brano è diventato famoso grazie al Bad World Tour del 1987. Questo raffinato arrangiamento si contraddistingue per le sonorit .
SKU: HL.44002765
UPC: 073999027655. 9.5x13.5x0.97 inches.
This piece was commissioned by the 'Concert Band Vlamertinge' and is a plea for peace: the title translates as 'Peace on Earth'. This is expressed by means of the vocal contribution expected from the performers. In various places of the piece you can recognize, the words 'Et In Terra Pax' - an appeal for peace - at first jumbled together but later more rhythmically structured, developing into synchronized massed voices.The work starts with a pentatonic theme based on the notes D, E, G, A and C (taken from 'ConCErtbAnD VlAmErtinGE' and the name of the conductor, NiCk VAnDEnDriessChe). A somewhat sad melody is developed during an orchestral climax which leads to the firstexplosion of sound (measure 62 onwards). Suddenly the opening measures are recaptured, albeit with a differently colored sound: the words 'Et In Terra Pax' bring the first movement to a close. A restless Allegro follows which abruptly stops and is replaced by a calming cho-rale-like passage. A narrator reads aloud the poem 'Sonnet' by the young poet Charles Hamilton Sorley, who was killed during World War I. This poem fittingly puts into words the cruelty and senselessness of war. After the expanded recapitulation of the allegro, the broad, almost infinite atmosphere of the beginning returns. Clarinet and English horn play the pentatonic opening theme once more, this time broadly, while the words 'Et In Terra... Pax' are repeated again and again by the rest of the orchestra.The composer has purposely avoided all forms of aggression and bombastic sounds regularly used in works about war. Fear of violence and destruction can be heard and felt during the allegro passages. The charged opening makes way in the end for hope: May peacefulness replace cruelty in everyday life, too. Dieses Werk wurde im Auftrag der Concert Band Vlamertinge geschrieben und ist ein Pladoyer an den Frieden: Der Titel bedeutet dann auch 'Frieden auf Erden'. Dies kommt unter anderem im vokalen Anteil der Ausfuhrenden zum Ausdruck. An verschiedenenStellen des Werkes erklingen, anfangs durcheinander dann zu einem rhythmischen und strukturierten Synchrongesang vereint, die Worte 'Et In Terra Pax' wie ein flehendes Gebet fur den Frieden.
Ein pentatonisches Thema formt den Anfang dieses Werkes, basierend auf den Noten D, E, G, A, und C, die dem Namen: 'ConCErtbAnD VlAmErtingE' und dem Namen des Dirigenten NiCk VAnDEnDriessChe entstammen. Wahrend der orchestralen Klimax, die zu einemersten Klangausbruch fuhrt (ab Takt 62), entsteht eine etwas traurige Melodie. Plotzlich werden dann die Eingangstakte wiederaufgenommen, wenn auch mit einer veranderten Klangfarbe; die Worte 'Et In Terra Pax' runden den ersten Teil daraufhin ab. Esfolgt ein unruhiges Allegro, das uberraschend durch eine Choralartigen Passage voller Ruhe unterbrochen wird. Eine Sprechstimme liest wahrenddessen das Gedicht Sonnet des jungen Dichters Charles Hamilton Sorley vor, der im ersten Weltkriegfiel. Es findet fur die Grausamkeit und Sinnlosigkeit des Krieges die passenden Worte. Nachdem das Allegro, diesmal mit einigen Ausbreitungen, wiederholt wird, kehrt die weite, beinahe unendliche Atmosphare des Beginns wieder zuruck. Klarinettenspielen zusammen mit einem Englischhorn das pentatonische Eingangsthema ein letztes Mal in ausgebreiteter Fassung, wobei das Et In Terra Pax' durch den Rest des Orchesters stets wiederholt wird.Der Komponist hat bewusst auf jegliche Form der Aggression oder bombastischen Vertonung, die in so vielen Werken uber den Krieg zu finden ist, vermieden. Dennoch ist die Angst vor Gewalt und Zerstorung vor allem in den Allegro-Passagen deutlich zuhoren und zu fuhlen. Am Ende macht die anfangliche Spannung jedoch der Hoffnung Platz: Moge die Friedlichkeit auch im taglichen Leben die Grausamkeit verbannen...
SKU: BT.DHP-0981118-010
This piece was commissioned by the ‘Concert Band Vlamertinge’ and is a plea for peace: the title translates as ‘Peace on Earth’. This is expressed by means of the vocal contribution expected from the performers. In various places of the piece you can recognize, the words ‘Et In Terra Pax’ - an appeal for peace - at first jumbled together but later more rhythmically structured, developing into synchronized massed voices.The work starts with a pentatonic theme based on the notes D, E, G, A and C (taken from ‘ConCErtbAnD VlAmErtinGE’ and the name of the conductor, NiCk VAnDEnDriessChe). A somewhat sad melody is developed during an orchestral climax which leads to the firstexplosion of sound (measure 62 onwards). Suddenly the opening measures are recaptured, albeit with a differently colored sound: the words ‘Et In Terra Pax’ bring the first movement to a close. A restless Allegro follows which abruptly stops and is replaced by a calming cho-rale-like passage. A narrator reads aloud the poem ‘Sonnet’ by the young poet Charles Hamilton Sorley, who was killed during World War I. This poem fittingly puts into words the cruelty and senselessness of war. After the expanded recapitulation of the allegro, the broad, almost infinite atmosphere of the beginning returns. Clarinet and English horn play the pentatonic opening theme once more, this time broadly, while the words ‘Et In Terra... Pax’ are repeated again and again by the rest of the orchestra.The composer has purposely avoided all forms of aggression and bombastic sounds regularly used in works about war. Fear of violence and destruction can be heard and felt during the allegro passages. The charged opening makes way in the end for hope: May peacefulness replace cruelty in everyday life, too. Dieses Werk wurde im Auftrag der Concert Band Vlamertinge geschrieben und ist ein Plädoyer an den Frieden: Der Titel bedeutet dann auch ‘Frieden auf Erden’. Dies kommt unter anderem im vokalen Anteil der Ausführenden zum Ausdruck. An verschiedenenStellen des Werkes erklingen, anfangs durcheinander dann zu einem rhythmischen und strukturierten Synchrongesang vereint, die Worte ‘Et In Terra Pax’ wie ein flehendes Gebet für den Frieden.
Ein pentatonisches Thema formt den Anfang dieses Werkes, basierend auf den Noten D, E, G, A, und C, die dem Namen: ‘ConCErtbAnD VlAmErtingE’ und dem Namen des Dirigenten NiCk VAnDEnDriessChe entstammen. Während der orchestralen Klimax, die zu einemersten Klangausbruch führt (ab Takt 62), entsteht eine etwas traurige Melodie. Plötzlich werden dann die Eingangstakte wiederaufgenommen, wenn auch mit einer veränderten Klangfarbe; die Worte ‘Et In Terra Pax’ runden den ersten Teil daraufhin ab. Esfolgt ein unruhiges Allegro, das überraschend durch eine Choralartigen Passage voller Ruhe unterbrochen wird. Eine Sprechstimme liest währenddessen das Gedicht Sonnet des jungen Dichters Charles Hamilton Sorley vor, der im ersten Weltkriegfiel. Es findet für die Grausamkeit und Sinnlosigkeit des Krieges die passenden Worte. Nachdem das Allegro, diesmal mit einigen Ausbreitungen, wiederholt wird, kehrt die weite, beinahe unendliche Atmosphäre des Beginns wieder zurück. Klarinettenspielen zusammen mit einem Englischhorn das pentatonische Eingangsthema ein letztes Mal in ausgebreiteter Fassung, wobei das “Et In Terra Pax’ durch den Rest des Orchesters stets wiederholt wird.Der Komponist hat bewusst auf jegliche Form der Aggression oder bombastischen Vertonung, die in so vielen Werken über den Krieg zu finden ist, vermieden. Dennoch ist die Angst vor Gewalt und Zerstörung vor allem in den Allegro-Passagen deutlich zuhören und zu fühlen. Am Ende macht die anfängliche Spannung jedoch der Hoffnung Platz: Möge die Friedlichkeit auch im täglichen Leben die Grausamkeit verbannen….
SKU: HL.44012760
The Unknown Journey was commissioned by Kwansei Gakuin University Symphony Band which was established in 1954 and has grown to become one of the top college bands in Japan. The composer chose the title as the piece seemed to create its own momentum as it developed, starting slowly and continuously increasing the tempo. Towards the end it gradually transmogrifies into the closing bars of Ravel's La Valse, a piece which perfectly characterizes the idea of unstoppable momentum. The Unknown Journey was commissioned by Kwansei Gakuin University Symphony Band which was established in 1954 and has grown to become one of the top college bands in Japan. The composer chose the title as the piece seemed to create its own momentum as it developed, starting slowly and continuously increasing the tempo. Towards the end it gradually transmogrifies into the closing bars of Ravel's La Valse, a piece which perfectly characterizes the idea of unstoppable momentum.
SKU: FJ.B1611
UPC: 674398233335. English.
This programmatic work includes energetic rhythms and massive dissonant chords to depict an epic battle between a solitary warrior and a dragon that threatens his kingdom. A large battery of percussion and nonstop action combine to create a sense of unending drama as the fearless warrior risks fighting in close quarters with the immense beast - close enough that he will meet The Eyes of the Dragon.
About FJH Young Band
Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5
SKU: FJ.B1611S
English.
SKU: BT.AMP-418-140
9x12 inches. English-German-French-Dutch.
The Unknown Journey was commissioned by Kwansei Gakuin University Symphony Band which was established in 1954 and has grown to become one of the top college bands in Japan. The composer chose the title as the piece seemed to create its ownmomentum as it developed, starting slowly and continuously increasing the tempo. Towards the end it gradually transmogrifies into the closing bars of Ravel’s La Valse, a piece which perfectly characterises the idea of unstoppable momentum.The Unknown Journey is geschreven in opdracht van de Kwansei Gakuin University Symphony Band, die werd opgericht in 1954 en daarna is uitgegroeid tot een van de beste universiteitsorkesten van Japan. De componist heeft de titel gekozen omdathet werk zijn eigen drijfkracht leek te creëren terwijl het zich ontwikkelde vanuit een langzaam begin en steeds in een wat hoger tempo. Tegen het slot wordt de muziek geleidelijk getransformeerd tot de laatste maten van Ravels La Valse, eencompositie die het concept van een onstuitbare drijfkracht perfect karakteriseert.The Unknown Journey wurde von der 1954 gegründeten Kwansei Gakuin University Symphony Band, die zu den besten Universitäts-Blasorchestern Japans zählt, in Auftrag gegeben. Der Komponist wählte diesen Titel, da das Stück seinen eigenen Schwungzu entwickeln scheint, indem es langsam beginnt und das Tempo sich kontinuierlich steigert. Zum Ende hin verwandelt es sich allmählich in die Schlusstakte von Ravels La Valse, ein Stück, das die Idee des unaufhaltsamen Schwungs perfektbeschreibt.The Unknown Journey fut commandé par le Kwansei Gakuin University Symphony Band, un orchestre d’harmonie établi en 1954 qui est désormais l’un des meilleurs orchestres universitaires du Japon. Le compositeur choisit ce titre puisque, pendantle développement du morceau, il semblait créer son propre élan, commençant lentement et accélérant continuellement. Vers la fin il devient progressivement semblable aux dernières mesures de La Valse de Ravel, un morceau qui caractériseparfaitement l’idée d’élan irrépressible.
SKU: BT.GOB-000826-140
Christopher Columbus was born in Genoa in 1451. His father was a wool merchant. Originally he seemed destined to follow in his father’s footsteps, and thus sailed the oceans to countries as far apart as Iceland and Guinea. In 1476 his ship was sunk during a battle off the coast of Portugal. Columbus saved his own life by swimming to shore. In 1484 he conceived the idea of sailing to the Indies via a westward sea route, but it was only in 1492 that he was able to realize this plan. On this first voyage he was in command of three ships: the flag-ship, called the Santa Maria, the Pinta, and the Ni?a. From Spain Columbus sailed via the Canary Islands to the Bahamas, whichhe sighted on October 12th 1492. Without being aware of it Columbus discovered the ‘New World’ he thought he had landed in the eastern part of Asia. The motif from Dvoøák’s 9th Symphony ‘Aus der neuen Welt’ forms a little counterfeit history at this point in the composition. After this first voyage Columbus was to undertake another three long voyages to America. These voyages were certainly not entirely devoid of misfortune. More than once he was faced with shipwreck, mutiny and the destruction of settlements he had founded. After Columbus had left for Spain from Rio Belen in 1503, he beached his ships on the coast of Jamaica. The crew were marooned there and it was only after a year that Columbus succeeded in saving his men and sailing back to Spain with them. In the music the misunderstanding about which continent Columbus discovered in his lifetime resounds, for does this part in the composition not contain Asiatic motifs? Poor Columbus! In 1506 the famous explorer died in Valladolid. Christopher Columbus wordt in 1451 geboren in Genua als zoon van een wolhandelaar. Aanvankelijk lijkt hij voorbestemd om als koopman door het leven te gaan. Zo bevaart hij al een groot deel van de wereldzeeën tot landen als IJslanden Guinea. In 1476 zinkt zijn schip in een veldslag voor de kust van Portugal. Columbus kan zich zwemmend naar de kust redden. In 1484 vat hij het plan op om langs de “andere” kant van de wereld naar India te varen. Pasin 1492 kan hij zijn plan verwezenlijken. Het vlaggeschip op deze reis is de Santa Maria. Het schip wordt gesecondeerd door de Pinta en de Ni?a. Vanuit Spanje vaart Columbus via de Canarische eilanden naar de Bahamas,die hij op 12 oktober 1492 in zicht krijgt. Zonder het te weten ontdekt Columbus de “Nieuwe wereld”. Hij verkeert in de veronderstelling in het oosten van Azië te zijn aangeland. Een stukje geschiedvervalsing vormt hier eenmotiefje uit Dvoøák’s 9de symfonie, ‘Aus der neuen Welt’. Na deze eerste reis maakt Columbus nog drie grote reizen naar Amerika. De reizen verlopen zeker niet alle voorspoedig. Zo is er bijv. meermaals sprake van schipbreuk,muiterij en verwoesting van de door Columbus gestichte nederzettingen. Als hij in 1503 uit Rio Belen weer richting Spanje vertrekt, stranden zijn schepen op de kust van Jamaica. De bemanning wordt daar achtergelaten. Paseen jaar later weet Columbus zijn bemanning te redden en met hen terug te varen naar Spanje. In de muziek klinkt het misverstand over welk werelddeel Columbus in zijn leven bevaren had door. Roept dit deeltje geen associatiesop met Aziatische klanken? Arme Columbus! Christopher Columbus overlijdt in 1506 in Valladolid.
SKU: BT.GOB-000826-010
SKU: HL.22625110
UPC: 888680625054. 9.0x12.0x0.026 inches.
From Disney's Beauty and the Beast here is the entertaining show-stopper Be Our Guest carefully arranged for 2nd year players.
SKU: BT.DHP-0991561-140
Asteroids and comets have played an important role throughout the history of life on earth. It is quite probable that the dinosaurs have been exterminated by an asteroid's impact in the Gulf of Mexico. Huge tidal waves and fire storms wiped out all life. This is the year 2067 according to the Christian calendar. A collision has just taken place in the asteroid belt between Mars and Jupiter and caused an asteroid to enter the earth's power of gravitation. It is instoppably approaching the blue planet. As its peoples have been fighting each other continuously, they missed the building of a global defence system against dangers coming from space. A scanner records the asteroid andimmediately sends a message to the President of the Anglo-American Union. The probability that the asteroid will hit the earth is judged 50% by the experts. Plans are made to shoot the celestial body with rockets live with hydrogen bombs or laser guns in order to throw it off its track, but they fail. The asteroid's size seems to threaten the existence of mankind. Those in the know stare at the night sky in bewilderment. But for the time being, there is still peace on earth....
SKU: AP.44996S
UPC: 038081517964. English.
The skill and thrill of auto racing is captured musically in this piece via its infectious groove and exciting syncopations. Written in one continuous movement, its sections will help you imagine sitting behind the wheel of a powerful and agile racing machine over the course of a breathtaking speed contest. Students performing this piece will enjoy discovering that the palindromic nature of the piece, including the title, Race Car (which reads the same forwards and backwards), a pervasive syncopated ostinato rhythm, A-B-A form, and a fugato section at the center of the work (Pit Stop), in which virtually each instrumental part is a palindrome! (3:25).
SKU: AP.44996
UPC: 038081517957. English.
SKU: AP.48195
UPC: 038081557779. English.
Agatha Christie is the undisputed master of murder mysteries. The charismatic opening themes from the television shows included are the Miss Marple Main Theme and Agatha Christie's Priot. Featuring the alto saxophones in the second tune, this ear wig theme duo is perfect for a Halloween concert or any program that would benefit from a bit of mystery. (2:30).
SKU: AP.48195S
UPC: 038081557786. English.
SKU: CL.012-4523-01
Red River Station is a bright and upbeat work emulating the style popularized by the soundtrack of the great American west. After the Civil War, cattle drives from Texas to Kansas included a stop at Red River Station along the Chisholm Trail, just before leaving Texas. The syncopated rhythms and pentatonic melodies bring to the life the vibrant and beautiful landscape and experience of riding horseback through the southwest. The energetic and inventive orchestration and exciting nature of this work make it an excellent fit for any concert, and a great contest or festival selection.
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