Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Mark Tree, Oboe, Percussion 1 and more. - Grade 3

SKU: CF.CPS210

Composed by Sean O'Loughlin. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+16+8+16+32+32+8+8+8+8+8+8+16+16+16+8+8+12+12+12+16+8+4+8+32+40+8 pages. Duration 3 minutes, 57 seconds. Carl Fischer Music #CPS210. Published by Carl Fischer Music (CF.CPS210).

ISBN 9781491152362. UPC: 680160909865.

A driving composition from Sean O'loughlin,?Commence!?begins with a spirited theme that oscillates between triple and duple meter. After developing into a heartfelt lush brass chorale, the lilting theme returns again. The composition concludes with a dramatic return of the B theme and a rousing finale. A beautiful piece,?Commence!?is a?strong choice for any contest or festival.

Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

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Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

.
Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn. This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds. This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

Band Bass Clarinet, Bass Drum, Bassoon, Bell Tree, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tam-tam, Timpani and more. - Grade 2

SKU: CF.YPS208F

Shlof, Mayn Kind. Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #YPS208F. Published by Carl Fischer Music (CF.YPS208F).

ISBN 9781491152966. UPC: 680160910465.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

(1. Country Song; 2. Country March). By Gustav Holst (1874-1934). Arranged by Frank Erickson. Concert Band. Concert Band; Masterworks. Frank Erickson Publications. 20th Century; Masterwork Arrangement; Romantic. Grade 4. Conductor Score. 52 pages. Published by Alfred Music Publishing

The Battle on the Heath. Composed by Kevin Houben. Score Only. Composed 2020. Hal Leonard Europe #HBE007- 008. Published by Hal Leonard Europe

Concert Band - Grade 4

SKU: BT.DHP-1053880-040

Composed by Maxime Aulio. Inspiration Series. Concert Piece. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053880-040. Published by De Haske Publications (BT.DHP-1053880-040).

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

“Don’t listen to anyone’s advice, but listen to the lessons of the wind passing and telling the history of the world.” Claude Debussy Since the dawn of time, the wind has played an important role in all civilisations. Worshipped as a deity, “mastermind” of poetry, driving force, or heaven’s messenger, the wind took on the most varied shapes according to the era and people. In Claude Debussy’s time, music listened to the voice of nature, and imagination found its primary rights again. This importance of wind was the inspiration for Maxime Aulio’s work Whispering Wind with its suspended atmospheres, vaporous lines and luminous colours. The wind caresses the canvas. A fascinatingnew work for concert band.

“Luister niet naar adviezen van wie dan ook, maar naar de lessen van de wind die voorbij waait en de geschiedenis van de wereld vertelt.” (Claude Debussy) Sinds het begin der tijden heeft de wind in alle beschavingen een belangrijkerol gespeeld. In de tijd van Claude Debussy gaf muziek het geluid van de natuur weer en stond verbeeldingskracht in hoog aanzien. Het is deze Franse sensibiliteit die Maxime Aulio’s werk Whispering Wind kenmerkt, met vluchtigelijnen en heldere kleuren. De wind raakt het doek, suggereert en roept slechts op, maar met een indrukwekkende precisie. Een mooie en bijzondere compositie!

Seit Menschengedenken hat der Wind immer eine wichtige Rolle in allen Zivilisationen gespielt. Vor allem auch zu Lebzeiten von Claude Debussy hörte die Musik auf die Stimme der Natur. Jedes Instrument schien Symbol eines Bildes oder einer Vorstellung zu sein. Genau diese typisch französische Empfindsamkeit zeichnet auch deutlich Maxime Aulios Whispering Wind mit seinen spannungsreichen Stimmungen, nebelhaften Linien und leuchtenden Farben aus. Ein sehr ausdruckvolles Werk!

« N’écoutez les conseils de personne, sinon du vent qui passe et nous raconte l’histoire du monde. » Claude Debussy / Depuis la nuit des temps, le vent a toujours occupé une place importante dans les civilisations. Dieu vénéré ou égérie des poètes, force motrice ou messager aérien, il emprunte toutes les formes, selon les peuples ou les époques. Les chemins du vent sont ceux qui ne sont pas tracés d’avance ; ils nous racontent mille histoires venues d’ailleurs. Les murmures du vent sont les sentiers diaphanes de l’ me, les couleurs de l’éphémère, la poésie des sons. Avec Claude Debussy, la musique écoutait les voix de la nature et l'imagination retrouvait auprès d'elleses droits primitifs. Chaque instrument semblait fait d’impressions et de suggestions. La partition cessait d'être développement pour devenir enveloppement. C’est cette sensibilité toute française que Debussy contribua façonner, que nous retrouvons dans Whispering Wind (“Les Murmures du Vent”) de Maxime Aulio. Des climats en suspens, des traits vaporeux, des couleurs lumineuses. Le vent caresse la toile, suggère, évoque seulement, mais avec une éblouissante précision. Le vent est une parole nomade qui voyage dans notre intérieur très longtemps.

“Non ascoltate i suggerimenti degli altri, ma ascoltate le lezioni del vento che passa raccontando la storia del mondo.” Claude Debussy Le strade del vento sono quelle che non sono tracciate in precedenza, ci raccontato mille storie di altri luoghi. I mormorii del vento sono i sentieri diafani dell’anima, i colori dell’effimero, la poesia dei suoni. Con Claude Debussy, la musica ascoltava le voci della natura. Ritroviamo questa sensibilit tutta francese che Debussy contribuì a formare in Whispering Wind (Il mormorio del vento), brano del giovane compositore francese Maxime Aulio. Tratti vaporosi, colori luminosi, il vento che accarezza, suggerisce, evoca con sorprendenteprecisione. Il vento è una parola nomade che viaggia a lungo nel nostro interiore.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1053880-010

Composed by Maxime Aulio. Inspiration Series. Concert Piece. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053880-010. Published by De Haske Publications (BT.DHP-1053880-010).

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

“Don’t listen to anyone’s advice, but listen to the lessons of the wind passing and telling the history of the world.” Claude Debussy Since the dawn of time, the wind has played an important role in all civilisations. Worshipped as a deity, “mastermind” of poetry, driving force, or heaven’s messenger, the wind took on the most varied shapes according to the era and people. In Claude Debussy’s time, music listened to the voice of nature, and imagination found its primary rights again. This importance of wind was the inspiration for Maxime Aulio’s work Whispering Wind with its suspended atmospheres, vaporous lines and luminous colours. The wind caresses the canvas. A fascinatingnew work for concert band.

“Luister niet naar adviezen van wie dan ook, maar naar de lessen van de wind die voorbij waait en de geschiedenis van de wereld vertelt.” (Claude Debussy) Sinds het begin der tijden heeft de wind in alle beschavingen een belangrijkerol gespeeld. In de tijd van Claude Debussy gaf muziek het geluid van de natuur weer en stond verbeeldingskracht in hoog aanzien. Het is deze Franse sensibiliteit die Maxime Aulio’s werk Whispering Wind kenmerkt, met vluchtigelijnen en heldere kleuren. De wind raakt het doek, suggereert en roept slechts op, maar met een indrukwekkende precisie. Een mooie en bijzondere compositie!

Seit Menschengedenken hat der Wind immer eine wichtige Rolle in allen Zivilisationen gespielt. Vor allem auch zu Lebzeiten von Claude Debussy hörte die Musik auf die Stimme der Natur. Jedes Instrument schien Symbol eines Bildes oder einer Vorstellung zu sein. Genau diese typisch französische Empfindsamkeit zeichnet auch deutlich Maxime Aulios Whispering Wind mit seinen spannungsreichen Stimmungen, nebelhaften Linien und leuchtenden Farben aus. Ein sehr ausdruckvolles Werk!

« N’écoutez les conseils de personne, sinon du vent qui passe et nous raconte l’histoire du monde. » Claude Debussy / Depuis la nuit des temps, le vent a toujours occupé une place importante dans les civilisations. Dieu vénéré ou égérie des poètes, force motrice ou messager aérien, il emprunte toutes les formes, selon les peuples ou les époques. Les chemins du vent sont ceux qui ne sont pas tracés d’avance ; ils nous racontent mille histoires venues d’ailleurs. Les murmures du vent sont les sentiers diaphanes de l’ me, les couleurs de l’éphémère, la poésie des sons. Avec Claude Debussy, la musique écoutait les voix de la nature et l'imagination retrouvait auprès d'elleses droits primitifs. Chaque instrument semblait fait d’impressions et de suggestions. La partition cessait d'être développement pour devenir enveloppement. C’est cette sensibilité toute française que Debussy contribua façonner, que nous retrouvons dans Whispering Wind (“Les Murmures du Vent”) de Maxime Aulio. Des climats en suspens, des traits vaporeux, des couleurs lumineuses. Le vent caresse la toile, suggère, évoque seulement, mais avec une éblouissante précision. Le vent est une parole nomade qui voyage dans notre intérieur très longtemps.

“Non ascoltate i suggerimenti degli altri, ma ascoltate le lezioni del vento che passa raccontando la storia del mondo.” Claude Debussy Le strade del vento sono quelle che non sono tracciate in precedenza, ci raccontato mille storie di altri luoghi. I mormorii del vento sono i sentieri diafani dell’anima, i colori dell’effimero, la poesia dei suoni. Con Claude Debussy, la musica ascoltava le voci della natura. Ritroviamo questa sensibilit tutta francese che Debussy contribuì a formare in Whispering Wind (Il mormorio del vento), brano del giovane compositore francese Maxime Aulio. Tratti vaporosi, colori luminosi, il vento che accarezza, suggerisce, evoca con sorprendenteprecisione. Il vento è una parola nomade che viaggia a lungo nel nostro interiore.

Concert Band/Harmonie - Grade 3

SKU: BT.GOB-001009-140

Composed by Rob Goorhuis. Score Only. 24 pages. Gobelin Music Publications #GOB 001009-140. Published by Gobelin Music Publications (BT.GOB-001009-140).

The composition ".The Fever Tree". in 2008 was commissioned by the Music Association of Central and Eastern Netherlands St.Willibrord as a gift to all its members on the occasion of the formation of a national music organization and the elimination of the music union for Central and Eastern Netherlands St.Willibrord.
The fever tree is a controversial legend about St. Willibrord (658-739).
The daughter of a pagan chieftain of Hoemannen that made the area around
Heumen unsafe, was seriously ill. They feared for her life.
The chief of the gang turned to predatory Willibrord, who same time in this region led mission.
Willibrord commanded theman to repent and a headband of the girl
to a certain special tree to hang.
The desperate captain obeyed, and his daughter was a miraculous heal.
Then came the anger of the Hoemannen against their leader, who in their
eyes had committed treason by the group to convert. They abused themselves to him and killed him brutally.
The daughter remained behind in great sorrow, comforted by Willibrord.

The composition has the following scenes:
- Andante moderato - the calling of Willibrord
- Allegro moderato - Willibrord passes through the province of Brabant and try to people to repent
- Vivace - Hoemannen terrorize the inhabitants of the area Heumen
- Andante - the healing of the sick girl and the conversion of the centurion
- Inquieto - the revenge of the Hoemannen
- Adagio - elegy on the death of the chief

De compositie 'The Fever Tree' (De koortsboom) werd in 2008 geschreven in opdracht van de Muziekbond Midden- en Oost Nederland St.Willibrord, als geschenk aan al haar leden bij gelegenheid van de vorming van één landelijke muziekorganisatieen de opheffing van de muziekbond voor Midden- en Oost Nederland St.Willibrord.

De koortsboom is een omstreden legende rond St. Willibrord (658-739).
De dochter van de heidense hoofdman van de Hoemannen, diehet gebied rond Heumen onveilig maakten, was ernstig ziek. Men vreesde voor haar leven. De hoofdman van de roofzuchtige bende wende zich tot Willibrord, die in dezelfde tijd in deze streek missioneerde. Willibrord gebood deman zich te bekeren én een hoofdband van het meisje aan een bepaalde, bijzondere boom te hangen. De radeloze hoofdman gehoorzaamde en zijn dochter werd op wonderbaarlijke wijze genezen. Toen keerde de woede van de Hoemannen zichtegen hun leider, die in hun ogen verraad had gepleegd aan de groep door zich te bekeren. Ze vergrepen zich aan hem en vermoordden hem op gruwelijke wijze. De dochter bleef in grote droefheid achter, getroost door Willibrord.

De compositie kent de volgende tableaus:

- Andante moderato - de roeping van Willibrord
- Allegro moderato - Willibrord trekt door het Brabantse land en tracht de bevolking te bekeren
- Vivace - deHoemannen terroriseren de inwoners van het gebied rond Heumen
- Andante - de genezing van het zieke meisje en de bekering van de hoofdman
- Inquieto - de wraak van de Hoemannen
- Adagio - treurzang over de doodvan de hoofdman.

By Mark Williams. Concert Band. Concert Band. Accent on Achievement. Contemporary; TV. Grade 1. Conductor Score and Parts. 128 pages. Duration 2:00:00

Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Marimba, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Snare Drum, Suspended Cymbal and more. - Grade 3

SKU: CF.CPS200F

Composed by Travis Weller. Concert Band (CPS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS200F. Published by Carl Fischer Music (CF.CPS200F).

ISBN 9781491153031. UPC: 680160910533.

Although some stories in Greek mythology reveal a different side to his character, Apollo was widely regarded to hold a cheerful personality and communicating joy through the music he played on his lyre. Apollo Arise is an energetic and spirited work for band ideal for opening a concert. The uplifting and exuberant melodic material lead the group on a sonic journey to capture the joy and light music can bring to both the audience and the performer.
Program NotesAmong the many stories in Greek mythology, Apollo holds a unique place as a complex Olympian god known for truth, prophecy, healing, poetry, plague, knowledge, light and music. Although some stories reveal a different side to his character, Apollo was widely regarded to hold a cheerful personality and communicated joy through the music he played on his lyre. Apollo Arise is an energetic and spirited work for band, ideal for opening a concert. The uplifting and exuberant melodic material lead the group on a sonic journey to capture the joy and light music can bring to both the audience and performer. From the dynamic opening fanfare to the soaring motifs and rhythms that follow, Apollo Arise provides a wonderful opportunity for the ensemble to reach for new musical heights in their performance!    Rehearsal Notes and SuggestionsThe opening twenty-four measures of the work are important for the rest of the work to unfold successfully. Encourage the ensemble to play with a unified articulation style, maintain a proper balance, and establish a consistent tempo through this section as several recurring rhythms must be performed consistently. Measure 38 features a trumpet solo, so be sure that the rest of the ensemble balances their line to support the solo instrument. In the section that begins at m. 67, there is an optional solo opportunity for trumpet and trombone. Both of these sections provide nice contrast against the full ensemble sections that are present in the work. The section at m. 81 includes a call-and-response section between woodwind, brass and percussion groups. Be sure that as groups enter, the tempo remains consistent and that the winds articulation style is unified and complimentary to the percussion. As the opening fanfare returns at m. 101, remind the ensemble to play with consistent style, balance and tempo as they did in the opening. As the ensemble begins the part of the journey with Apollo at m. 110, the music contains unique layers that must work together to be effective and set up the material that begins at m. 127. Encourage the group to play so they can hear all other lines, and allow their energy to grow into a focused musical celebration by the final note. Thank you in advance for your support of this music, and I wish you and your ensemble well as Apollo Arise welcomes the audience to your concert hall.

Concert Band - Grade 2

SKU: BT.CMP-0423-00-040

Composed by Douglas Court. Passport Series. Original Light Music. Set (Score and Parts). Composed 2000. Curnow Music #CMP 0423-00-040. Published by Curnow Music (BT.CMP-0423-00-040).

You'll be a-wearin' the green with CELTIC DANCE by Douglas Court. The unmistakable Galway Piper opens the piece, and through artful variation, playfully comes a-visitin' now and again, while original thematic material leads us on a tour of a lovely emerald musical countryside. The energetic joy of Irish dance and the internationally appealing flavor of Irish folk music come together in CELTIC DANCE to form a jewel of young band literature. Court's unerring sense of young player's abilities makes this one a pot o' gold!

Celtic Dance is een fris, jeugdig stuk dat de levendigheid van de dans verbindt met de sfeer van de Ierse volksmuziek. De compositie begint met de volksliedklanken van de Galway Piper, die vervolgens worden gecombineerdmet origineel muzikaal materiaal. Met dit stuk worden beelden van het groene Ierse landschap opgeroepen.

Ein frisches, jugendliches Stück für junge Musiker! Celtic Dance verbindet die kraftvolle Ausgelassenheit des Tanzes mit dem unverwechselbaren Flair irischer Volksmusik. Der berühmte 'Galway Piper' - Klang eröffnet die Komposition und wird in deren Verlauf mit originalem musikalischen Material kombiniert. Die grüne irische Landschaft und ihr Zauber sind förmlich zu spüren!

La musique traditionnelle irlandaise se caractérise par sa lumineuse gaieté. Celtic Dance (â??Danse celtiqueâ?) débute avec le célèbre air Galway Piper qui devient le fil conducteur de lâ???uvre. Soumis ensuite de nombreuses variations, réalisées avec finesse, il nous emmène pour un voyage travers lâ??histoire de la musique traditionnelle irlandaise.

Concert Band (SCORE+PARTS) - Grade 5

SKU: HL.4007467

Composed by Thierry Deleruyelle. De Haske Concert Band. Concert. Softcover. Duration 990 seconds. De Haske Publications #033197. Published by De Haske Publications (HL.4007467).

UPC: 196288050070. 9.0x12.0 inches.

Keystone tells the story of the Odeon of Vriezenveen, a town in the Netherlands. “Odeon” is the name of ancient Greek and Roman buildings used for activities such as singing, music and poetry. This was the name chosen in 1998 by several members of the 'Vriezenveense Harmonie' for the cultural ceter they decided to have built. The piece starts slowly with the bass instruments, then speeds up in a counterpoint passage where the main motif moves from one set of instruments to another. After a slow section, the music speeds up again to reach a majestic chorale symbolising the splendid Odeon.

Concert Band (Score and Parts)

SKU: HL.4008921

Composed by Otto M. Schwarz. Symphonic Dimensions. Symphonic. Softcover. Duration 555 seconds. Hal Leonard #SDP1422201. Published by Hal Leonard (HL.4008921).

UPC: 196288277521.

A sinister legend hangs over the Borgia family, a legend of corruption, abuse of power, orgies, sex and murder. These rumors proliferated especially during the papacy of Alexander VI, a descendant of the family, who was even called the Antichrist. On his death, contemporary witnesses reported that the devil himself prowled around the death chamber and a black dog run along the corridors of the Vatican as his emissary. One might say that this Borgia pope, who ruled together with his family with the greatest brutality, became demonized. Unscrupulousness, poison-toting, incest and other malice are to this day the hallmarks of this pontiff. 2. NEPOTISM Rodrigo Borgia was elected Pope on August 11, 1492. From the very start, the new pope was prepared to use any means to eliminate his opponents, either through the infamous “Borgia poison” or by excommunication and execution. His son Cesare, who wanted little to do with the church, was appointed cardinal against his will. Alessandro Farnese, broth of Giulia Farnese, the Pope's mistress, also became a cardinal. Numerous Spaniards were brought into the country and were appointed to ecclesiastical posts. This infuriated the opponents of Alexander VI. The Dominican Girolamo Savonarola from Florence demanded the removal of the Pope. He was tortured and banned. Giuliano della Rovere wanted to convene councils to depose the Pope, which Alexander managed to prevent through artful political maneuverings. Through great brutality, brillian political skill and power games, this pope was able to achieve his goal of leaving for his children a great legacy. Alexander VI constantly changed his allies and always acted unscrupulously to improve his financial situation and expand his sphere of influence. At the centre of the second movement of this work is the medieval hymn Dies Irae (Day of Wrath), which acts as a warning in the background condemning the Pope's actions.

Concert Band - Grade 4

SKU: HL.44010430

Grade 4 - Score Only. Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Score Only. Composed 2008. 64 pages. Anglo Music Press #AMP236-140. Published by Anglo Music Press (HL.44010430).

UPC: 884088414610. 9x12 inches. English-German-French-Dutch.

The piece traces key events in the life of Haakon the Good, later to become King Haakon I (ca. 921-960), who had been fostered by King Athelstan of England as part of a peace agreement made by his father (“The Future King”). The English king brought him up in the Christian religion and, on the news of his father's death, provided him with ships and men for an expedition against his half-brother Eirik Bloodaxe, who had been proclaimed king of Norway. On his arrival he travelled north (“The Journey to Trondheim”), where he began to gain the support of the landowners by promising to give up the rights of taxation his father had previously claimed. Elrik's sons allied themselves with the Danes, but were invariably defeated by Haakon, who was successful in everything he undertook except in his attempt to introduce Christianity to the country (“The Missionary King”), which aroused an opposition he did not feel strong enough to face. One of his most famous victories was “The Battle of Rastarkalv” (near Frei) in 955. By placing ten standards far apart along a low ridge (to give the impression his army was bigger than it actually was), he managed to fool Eirik's sons that they were outnumbered (the ten standards are represented by ten loud chords that begin in m. 420). The Danes fled and were slaughtered by Haakon's army.