SKU: AP.WBCB9416C
UPC: 029156084597. English.
There's something inside us that 'loves a parade,' and George Gershwin's Strike Up The Band moves the pulse a bit quicker in everyone. Jerry Brubaker presents this playable, yet sparkling version for today's concert band or wind ensemble. Rousing, it is! (2:30).
SKU: BT.1891-12-140-MS
9x12 inches. English-German-French-Dutch.
You Raise Me Up is a concert band arrangement of one of the most popular ballads of all time by Takashi Hoshide. Composed by Rolf Løvland, who, inspired by traditional Irish melodies, asked Irish author and lyricist Brendan Graham to provide lyrics, the song has become a worldwide hit through pop artists such as Josh Groban and Westlife. Featuring a solo for euphonium or baritone player. De Noor Rolf Løvland van de groep Secret Garden componeerde een werk dat hij oorspronkelijk de titel Silent Story gaf. Het was gebaseerd op de melodie van de Ierse traditional Danny Boy. Løvland vroeg de Ierse tekst- en liedschrijverBrendan Graham woorden te bedenken bij zijn melodie. Het resultaat is You Raise Me Up dat in de vertolkingen van Josh Groban, de Ierse band Westlife en vele andere artiesten wereldwijd succes boekte. Takashi Hoshide maakte ereen roerende versie voor blaasorkest van.Der Norweger Rolf Løvland von der Gruppe Secret Garden komponierte ein Stück, das er ursprünglich Silent Story nannte, nach der Melodie des irischen Traditionals Danny Boy und bat den irischen Schriftsteller und Liedtexter Brendan Graham um einen Text zu seiner Melodie. Das Resultat, You Raise Me Up, wurde mit Josh Groban, der irischen Band Westlife und anderen Künstlern zu einem weltweiten Erfolg. Takashi Hoshide setzte die gefühlvolle Ballade in ein Solostück für Euphonium/Bariton und Blasorchester um.Le norvégien Rolf Løvland, membre du groupe Secret Garden, composa d’après un air traditionnel irlandais (Danny Boy), une chanson qu’il intitula dans un premier temps Silent Story. Il sollicita le parolier irlandais Brendan Graham d’écrire un texte pour cette mélodie. Le fantastique résultat, You Raise Me Up, est aujourd’hui la portée de tout orchestre gr ce l’émouvant arrangement réalisé par Takashi Hoshide pour euphonium solo et orchestre d’harmonie. Il norvegese Rolf Løvland, membro del gruppo Secret Garden compone, ispirato da un’aria tradizionale irlandese (Danny Boy), una canzone che intitola in un primo tempo Silent Story. Chiede al paroliere irlandese Brendan Graham di scrivere un testo per questa melodia. Il fantastico risultato, You Raise Me Up, è oggi accessibile a tutte le orchestre di fiati grazie al coinvolgente arrangiamento firmato Takashi Hoshide.
SKU: BT.1891-12-010-MS
SKU: HL.4003293
UPC: 884088864217. 9.0x12.0x0.096 inches.
Written in a driving fast tempo, this exciting work by Michael Oare incorporates the metric grouping of 3+3+2 as a recurring motif. At times superimposing layers of simple meter feel along with more complex patterns, Uproar generates energy and excitement while using a variety of textures and colors within the wind and percussion sections. An impressive-sounding work for young players. Dur: 3:30.
SKU: HL.4007365
UPC: 196288015543. 9.0x12.0x0.025 inches.
Recorded by Rick Astley in 1987, this familiar rock hit has remained popular due in part to its prank value! Whether you choose to Rick-Roll your audience or just play it for fun, this is guaranteed to bring a smile.
SKU: HL.4008643
ISBN 9798350114997. UPC: 196288189664.
During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing†exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.
SKU: HL.4007483
UPC: 196288058175.
SKU: HL.48024503
UPC: 888680896713. 9.0x12.0x0.108 inches.
Providing a unique concert experience, this programmatic work depicts the story of what newspapers in 1916 described as “the poison soup plotâ€! At a Chicago banquet for dignitaries and politicians, a mass murder plot involving poison soup was hatched and nearly successful. However, thanks to a large number of unexpected guests, the dilution of the soup to feed everyone, and a quick thinking doctor with an antidote, tragedy was averted with no loss of life. Musical cues follow the events, and detailed program notes are included with the suggestion of including dancers to help tell the story. Imaginative and entertaining! Recorded by the University of Kansas Symphonic Band (Lawrence, KS) – Matthew O. Smith, conductor. Dur: ca. 7:45.
SKU: BT.DHP-1074346-010
This concert march does not begin with flourishing trumpets orloud tutti sounds: Jupiter opens refreshingly with percussioninstruments and the “high woodwindsâ€. This original introductionis followed by a broad melodic theme and gradually features otherinstrumental groups. Thus section by section the entire band ispresented. A fantastic entrance to the concert for all players! Jupiter opent verrassend met slagwerk en het ‘hoge hout’. Op deze originele inleiding volgt een breed melodisch thema in het middenregister en langzamerhand zetten ook andere instrumentale groepen in: zo komt het hele orkestuiteindelijk aan bod. Zoals in vergelijkbare marsen van Jan Van der Roost (bijvoorbeeld Arsenal, Mercury, Minerva, Helios en Artemis) is de triomelodie in Jupiter melodisch en lyrisch van karakter. In harmonischopzicht gebeuren bijzondere dingen - een handelsmerk van de componist.Dieser Konzertmarsch beginnt nicht mit strahlenden Trompeten oder lauten Tutti-Klängen: Jupiter eröffnet mit Schlaginstrumenten und den hohen Holzbläsern“. Diese originelle Einleitung wird von einem breiten melodischen Thema im mittleren Register abgelöst und bringt nach und nach auch andere Instrumentengruppen zum Vorschein: So wird schließlich das gesamte Blasorchester präsentiert. Ein schöner Einstieg ins Konzert für alle! Cette marche de concert ne s’ouvre ni sur des fanfares de trompettes, ni sur un puissant tutti, mais nous plonge dans un univers sonore rafraîchissant où dominent la percussion et les bois aigus. Cette introduction originale est suivie par l’exposition d’une ligne mélodique ample située dans le registre médium. Le tissu musical s’élargit d’autres groupes d’instruments et progressivement la formation se présente dans son intégralité. l’instar d’autres marches de Jan Van der Roost telles que Mercury, Arsenal, Minerva, Helios ou Artemis, Jupiter développe un trio particulièrement expressif. La mélodie prend quelquefois une tournure inattendue (même sur le planharmonique), une marque de fabrique du compositeur.
SKU: BT.DHP-1074346-140
This concert march does not begin with flourishing trumpets orloud tutti sounds: Jupiter opens refreshingly with percussioninstruments and the “high woodwindsâ€. This original introductionis followed by a broad melodic theme and gradually features otherinstrumental groups. Thus section by section the entire band ispresented. A fantastic entrance to the concert for all players! Jupiter opent verrassend met slagwerk en het ‘hoge hout’. Op deze originele inleiding volgt een breed melodisch thema in het middenregister en langzamerhand zetten ook andere instrumentale groepen in: zo komt het hele orkestuiteindelijk aan bod. Zoals in vergelijkbare marsen van Jan Van der Roost (bijvoorbeeld Arsenal, Mercury, Minerva, Helios en Artemis) is de triomelodie in Jupiter melodisch en lyrisch van karakter. In harmonischopzicht gebeuren bijzondere dingen - een handelsmerk van de componistDieser Konzertmarsch beginnt nicht mit strahlenden Trompeten oder lauten Tutti-Klängen: Jupiter eröffnet mit Schlaginstrumenten und den hohen Holzbläsern“. Diese originelle Einleitung wird von einem breiten melodischen Thema im mittleren Register abgelöst und bringt nach und nach auch andere Instrumentengruppen zum Vorschein: So wird schließlich das gesamte Blasorchester präsentiert. Ein schöner Einstieg ins Konzert für alle! Cette marche de concert ne s’ouvre ni sur des fanfares de trompettes, ni sur un puissant tutti, mais nous plonge dans un univers sonore rafraîchissant où dominent la percussion et les bois aigus. Cette introduction originale est suivie par l’exposition d’une ligne mélodique ample située dans le registre médium. Le tissu musical s’élargit d’autres groupes d’instruments et progressivement la formation se présente dans son intégralité. l’instar d’autres marches de Jan Van der Roost telles que Mercury, Arsenal, Minerva, Helios ou Artemis, Jupiter développe un trio particulièrement expressif. La mélodie prend quelquefois une tournure inattendue (même sur le planharmonique), une marque de fabrique du compositeur.
SKU: AP.81-CB224483
ISBN 9781778930492. UPC: 685462030507. English.
Behold a Ladder Set Up on the Earth by Frank McKinney is a composition that touches upon both the thoughtful meditation and the emotional response to the lyrics of the African American slave spiritual We Are Climbing Jacob's Ladder. There are abundant opportunities for both sensitive and robust musical moments. A variation of the well-known theme is stated in the opening Adagio trumpet solo and then repeated several times throughout the piece. A more upbeat Allegro variation then enters before the familiar tune is finally introduced calmly by the bassoon. The climactic Religioso section presents the main theme in all of its call and response glory. (3:50).
SKU: FJ.B1552S
English.
Using no eighth notes in the winds, this relaxed work reflects a light-hearted stroll through the big city. An air of calm, cool confidence sets the mood as people dress to impress and hit the streets. Brief musical conversations are interjected as they meet others on their walk around town in this easy-to-play, yet tuneful offering.
About FJH Concert Band
Designed for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5
SKU: PR.465000130
ISBN 9781598064070. UPC: 680160600144. 9x12 inches.
Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s 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.Ihave 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.Ihave 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, doesn’t 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 Jefferson’s 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 Cruzatte’s 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), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Springâ€) and Fisher’s 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 Jefferson’s 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.
SKU: HL.44012271
UPC: 888680057664. English-German-French-Dutch.
Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and was part of a tour programme they gave in May 2012, a tour which included many areas that had been devastated by the 2011 earthquake and tsunami.The theme of the piece is the powerful ability of mankind to overcome such disasters and look forward to a positive future; it opens in an appropriately optimistic mood, featuring bright orchestral colours and extensive syncopation. A chorale-like fanfare is soon introduced on horns and euphonium, answered by chirpy woodwinds. The mood subsides until an alto saxophone introduces a brief quotation from the composer's The Sun Will RiseAgain, which was written to raise funds for victims of the 2011 disaster. The mood soon changes and the horns introduce a noble theme under woodwind flourishes. This leads to the main Vivo section of the piece which is characterised again by strong syncopations as part of a florid theme in the low woodwinds. This melody undergoes varied development by all sections of the band until the horn fanfare returns triumphally on the brass. This is extended and leads to a faster coda which brings together previous material in counterpoint to close the work in optimistic mood. Looking Up, Moving On is gecomponeerd in opdracht van het Tokyo Kosei Wind Orchestra. Het werk maakte deel uit van een programma uit mei 2012, dat werd uitgevoerd tijdens een tournee waarbij veel regio's werden bezocht die waren verwoest door de aardbeving en tsunami van 2011.Het thema van het werk is het buitengewone vermogen van de mens om dergelijke rampen te boven te komen en vooruit te kijken naar een positieve toekomst. De opening is dan ook optimistisch van karakter, met heldere orkestrale kleuren en een rijkelijke syncopering. Al snel wordt er een koraalachtige fanfare geintroduceerd door de hoorns en het euphonium, waarop een levendig antwoord volgt in dehoutblazerssectie. De sfeer wordt dan steeds kalmer totdat een altsaxofoon een kort citaat laat horen uit een eerder werk van de componist, The Sun Will Rise Again, dat werd geschreven om geld in te zamelen voor de slachtoffers van de ramp uit 2011. De stemming slaat vlug weer om: de hoorns introduceren een nobel thema, dat weerklinkt onder versieringen in het hout. Dit leidt naar het Vivo, het hoofdgedeelte, dat eveneens wordt gekenmerkt door sterke syncoperingen, als onderdeel van een sierlijk thema in het lage hout. De melodie ondergaat een gevarieerde ontwikkeling binnen alle secties van het orkest, totdat de hoornfanfare op triomfantelijke wijze terugkeert in het koper. De fanfare wordt vervolgens verder uitgewerkt en voert ons mee naar een snellere coda, die voorafgaand materiaal in contrapunt samenbrengt en de compositie in optimistische stemming afsluit. Looking Up, Moving Down wurde vom Tokyo Kosei Wind Orchestra in Auftrag gegeben und war Teil des Konzertprogramms einer Tour im Mai 2012, welche viele Gebiete einschloss, die vom Erdbeben und Tsunami im Jahr 2011 zerstort worden waren. Thema dieses Stuckes ist die gewaltige Fahigkeit der Menschheit, uber solche Katastrophen hinwegzukommen und voll Optimismus in die Zukunft zu blicken; es beginnt dementsprechend in einer positiven Stimmung mit strahlenden Orchesterfarben und einer ausgepragten Synkopierung. Schon bald wird eine choralartige Fanfare auf den Hornern und im Euphonium vorgestellt, die von munteren Holzblasern beantwortet wird. Die Stimmung flaut ab, bis einAltsaxophon ein kurzes Zitat aus The Sun Will Rise Again anspielt, das der Komponist zur Spendenbeschaffung fur die Opfer des Unglucks 2011 geschrieben hatte. Kurz darauf folgt ein Stimmungswechsel und die Horner prasentieren ein stattliches Thema, begleitet von Fanfaren in den Holzblasern. Dies fuhrt zum mit Vivo uberschriebenen Hauptteil des Stuckes, der wiederum von starken Synkopierungen gepragt ist, die Teil eines bluhenden Themas in den tiefen Holzblasern sind. Diese Melodie durchlauft eine vielgestaltige Entwicklung durch alle Instrumentengruppen des Blasorchesters, bis das Blech mit der Hornfanfare triumphal zuruckkehrt. Dies wird erweitert und fuhrt zu einer schnelleren Coda, in dem verschiedenes zuvor gehortes Material kontrapunktisch zusammenkommt, um das Werk in einer optimistischen Stimmung zu beenden. Looking Up, Moving On est une commande du Tokyo Kosei Wind Orchestra. Cette piece faisait partie du programme de la tournee effectuee par l'orchestre en mai 2012, qui s'est produit dans de nombreuses regions devastees par le tremblement de terre et le tsunami de 2011.La composition a pour theme l'immense capacite humaine a surmonter de telles catastrophes et envisager l'avenir de facon positive. Elle debute justement dans un climat optimiste comportant de vives couleurs orchestrales et des passages syncopes. Les cors et les euphonium introduisent bientot une fanfare en forme de choral a laquelle repondent des bois petillants. L'ambiance s'apaise jusqu'a ce qu'unsaxophone alto introduise un court extrait de The Sun Will Rise Again, du meme compositeur, une piece ecrite pour collecter des fonds en faveur des victimes du desastre de 2011. Le climat change hativement lorsque les cors introduisent un theme noble par-dessus des fioritures executees par les bois. Vient ensuite la principale section vivo de la piece, qui se caracterise, encore une fois, par des syncopes tres marquees dans le cadre d'un theme fleuri assure dans le registre grave des bois. Cette melodie fait l'objet de divers developpements par tous les pupitres de l'orchestre jusqu'au retour triomphant de la fanfare soutenue par les cuivres. Celle-ci se prolonge pour mener a une coda plus rapide qui rassemble les elements precedents en contrepoint pour clore la piece dans un climat optimiste.
SKU: 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.
SKU: CF.PPS18F
ISBN 9780825892233. UPC: 798408092238. 9 x 12 inches.
Take lots of familiar Christmas tunes, mix them all together in a march style and you have Christmas Mash-Up. It is set for the youngest of players using only the first six notes and the most difficult rhythm in the winds is a quarter note. This one is perfect for featuring your band after as little as ten weeks of study and their very first holiday concert. Mash-ups are a pop culture sensation and Christmas Mash-Up will turn your band into exactly that!
SKU: CF.PPS18
ISBN 9780825892226. UPC: 798408092221. 9 x 12 inches.
SKU: KJ.WB299
ISBN 9788402700544. UPC: 8402700543.
Introduce your students to program music with this light-hearted, whimsical piece that paints a musical picture of a playful puppy!
About Standard of Excellence in Concert
The Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz.
SKU: HL.44012270
UPC: 888680057657. English-German-French-Dutch.
Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and featured in their concert programme in their May 2012 tour, which took in many areas destroyed by the earthquake and tsunami in 2011. The timeless message of thismoving work is the belief in the tremendous capacity of humankind to recover from such disasters and look optimistically to the future.
Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and featured in their concert programme in their May 2012 tour, which took in many areas destroyed by the earthquake and tsunami in 2011.
The timeless message of this moving work is the belief in the tremendous capacity of humankind to recover from such disasters and look optimistically to the future.
SKU: BT.DHP-1145567-010
English-German-French-Dutch.
Energy, an irrepressible call to the dance floor and punchy ‘pumping’ basses are the perfect mix of ingredients for Pump It Up! Nimble melodies and zestful rhythms over a tight beat supply the rest: this top new title by Jacob de Haan is asure-fire hit, evoking memories of top entertainment hits such as Cornfield Rock, Queen’s Park Melody and Discoduction.Tomeloze energie, dansplezier en ‘pompende’ bassen vormen de perfecte combinatie van ingrediënten voor de titel Pump It Up! Pakkende melodielijnen en swingende ritmes op een strakke beat doen de rest. Succes verzekerd met dezenieuwe topper van Jacob de Haan, een nummer dat herinneringen oproept aan zijn vroegere hits Cornfield Rock, Queens’ Park Melody en Discoduction.Energie, unbändige Tanzlust und druckvolle pumpende“ Bässe bilden die perfekte Kombination von Zutaten für den Titel Pump It Up!. Spannende Melodielinien und schwungvolle Rhythmen über einem straffen Beat sorgen für den Rest: Der Erfolg istsicher mit diesem neuen Spitzentitel von Jacob de Haan, der Erinnerungen an frühen Top-Unterhaltungstitel wie Cornfield Rock, Queen’s Park Melody und Discoduction weckt.De l’énergie, une envie irrépressible de danser et une ligne de basse pleine pression forment la combinaison idéale de cette oeuvre “pumpante†! La captivante mélodie et les rythmes impétueux se chargent du reste, savoir, faire de Pump It Up! une oeuvre dynamique et plaisante rassemblant les très grands succès de Jacob de Haan : Cornfield Rock, Queen’s Park Melody et Discoduction. Lorsque les souvenirs se font la part belle !Una strepitosa energia, unita ad un’irrefrenabile voglia di ballare al suono di bassi “roboanti†rappresentano una perfetta combinazione degli ingredienti che compongono il brano Pump It Up! Emozionanti melodie e ritmi briosi sulla base di unsemplice beat fanno il resto: il successo è assicurato con questo nuovo brano di Jacob de Haan, che ricorda i suoi precedenti brani di intrattenimento come Cornfield Rock, Queen’s Park Melody e Discoduction.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version