SKU: HL.4004273

UPC: 888680067106. 9x12 inches.

The music of Handel is considered the culmination of the Baroque period of music history, and his Water Music (1717) has endured in popularity for nearly 300 years! Performed from a barge traveling on the River Thames, King George I is said to have liked the music so much that he ordered it repeated several times. Originally three suites each consisting of multiple movements, Johnnie Vinson has skillfully adapted this arrangement for young players using “Alla Hornpipe” from the Suite in D Major, and the “Air” and “Allegro” from the Suite in F Major. Duration: 4:20.

SKU: AP.49091S

ISBN 9781470645939. UPC: 038081564319. English.

This delightful three-movement suite begins with a bright and bold Fanfare in 4/4 time. The second movement is a poignant lyrical Interlude in 3/4 time which features a trumpet solo. The third movement is a jaunty march in cut time that alternates between major and minor tonalities, giving it a bit of a quirky attitude.

Skybridge Suite was commissioned by the Sudlow Intermediate School Band, Davenport, Iowa (Terry Reiter, Director) dedicated to the memory of Robin Ciccotelli, Band Director of 20 years at the school.

Skybridge Suite correlates to Book 2, Level 4 of Sound Innovations for Concert Band. (4:10) This title available in MakeMusic Cloud.

SKU: BT.DHP-1063960-040

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

Norman Rockwell (1894-1978) is one of the most beloved American artists. Widley known for his cover illustrations of The Saturday Evening Post, he excelled at painting the lives of ordinary Americans with his warmth, detailedobservations, and sense of humor. Composer Hayato Hirose was inspired by three of Rockwell's major works and expressed his own impressions of them in this music. This heart-warming piece will add an embracing and touchingimpression to a concert, lifting the spirits of the audience.

Voor zijn sfeervolle compositie Norman Rockwell Suite liet Hirose zich inspireren door drie werken van de Amerikaanse kunstschilder Norman Rockwell. Deze is bekend om zijn illustraties voor The Saturday Evening Post,waarin hij de levens van gewone Amerikanen weergaf met warmte, oog voor detail en humor.

Zu seiner stimmungsvollen Komposition Norman Rockwell Suite ließ sich Hirose von drei Bildern des amerikanischen Malers Rockwell von der Mitte des 20. Jahrhunderts inspirieren.

Norman Rockwell Suite est une suite colorée, inspirée des trois plus grandes œuvres de l’illustrateur américain Norman Rockwell dont le nom est jamais identifié au Saturday Evening Post pour lequel il réalisa ses plus célèbres illustrations et couvertures.

SKU: AP.49551

ISBN 9781470649104. UPC: 038081569888. English.

Of all of Gordon Jacob's major contributions to the British wind band repertoire, the William Byrd Suite (written in 1923) stands as his most-often programmed work. Though originally based on six movements from William Byrd's Fitzwilliam Virginal Book, this setting for developing band incorporates two contrasting movements including The Earle of Oxford's Marche and Wolsey's Wilde. Like Jacob's wind band work, the music is not a mere transcription from the original keyboard collection, but rather stylized with his own inventive musical spirit for modern concert band. A wealth of material here that opens doors to teachable moments as musical textures---dynamic contrasts, articulations, scoring options---are continually changing. Bravo! (2:33) This title is available in MakeMusic Cloud.

SKU: BT.DHP-1012709-010

Carmen is the best known work by the French composer Georges Bizet (1838-1875). Criticised by the French public at the time of its creation because its plot was deemed indecent, the opera nevertheless came to be considered as a major work due to its captivating melodies, Spanish character and energetic rhythms. In this brilliant transcription for concert band Tohru Takahasi has remained faithful to the sparkling, joyful atmosphere of the scenes from the opera.

Ook buiten de theatrale context heeft de operamuziek van Bizet een beeldende kracht. Tohru Takahahsi’s bewerking van de Carmen Suite doet recht aan de dramatiek en grandeur van het origineel.

Carmen ist wohl das berühmteste und meistgespielte Werk des Musiktheaters. Auch außerhalb des Theaterkontexts mangelt es der Musik von Georges Bizet nicht an Ausdruckskraft und Dramatik. Nach dem Tode des Komponisten wurden einige Passagen der Oper für die Carmen Suite exzerpiert, die mit dieser Bearbeitung von Tohru Takahashi, die der Dramatik und Größe des Originals vollkommen gerecht wird, nun auch für Blasorchester zugänglich ist.

Carmen est l’œuvre la plus célèbre du compositeur français Georges Bizet (1838-1875). Cette brillante transcription reste fidèle l’atmosphère pétillante et vive des scènes de l’opéra.

SKU: FL.FX070907

Suite Pastiche, built of ten movements is a travel through time, since Antiquity. It redraws brass instruments history and evolution. This music was played by ensemble orchestra from Limoux music school, i.e. by young musiciens, and does not embed major technical difficulties. Everything was treated with humor, sometimes with caricature, thus the title. This movement is the introduction jingle.

SKU: CL.MHT-0012-01

SKU: MH.1-59913-054-8

ISBN 9781599130545.

Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

SKU: BT.DHP-1125313-010

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

Sa Música - ‘Our Music’ - is the music from Mallorca, an island with a long and difficult past. The work tells of the Greeks, who once erected a temple on the island; of the Romans who occupied the island; and of traditional processions that continue to take place. A Spanish fiesta and a lyrical section, which is inspired by a famous pirate poem, bring this work to a close with Spanish flair.This theme can also be sung in the original Spanish with one or more singers or choir (available separately: DHP 1125313-050).

Sa Música, ‘Haar’ muziek, de muziek van Mallorca, een eiland met een bewogen geschiedenis. Het werk verhaalt van de Grieken die een tempel oprichtten op het eiland. En van de Romeinen die het eiland bezetten. Maar ook van de traditionele rooms-katholieke processies die daar nog steeds in ere worden gehouden. Een Spaanse fiesta en een lyrisch deel, gebaseerd op een beroemd piratengedicht, besluit dit werk met Spaanse flair. Dit thema kan worden gewzongen in het Spaans, met een of meer zangers/zangeressen of een koor (koorpartijen zijn separaat verkrijgbaar: DHP 1125313-050).

Sa Música - ‘Ihre Musik’ - ist die Musik der Insel Mallorca, die auf eine bewegte Geschichte zurückblicken kann. Das Werk erzählt von den Griechen, die einst einen Tempel auf der Insel errichteten, von den Römern, die die Insel besetzten und von den traditionellen Prozessionen, die heute noch in Ehren gehalten werden. Eine spanische Fiesta und ein lyrischer Teil, der von einem berühmten Piratengedicht inspiriert ist, runden dieses Werk mit spanischem Flair ab. Dieses Thema kann auch von einem oder mehreren Sängern oder einem Chor zum originalen spanischen Text gesungen werden. Chorstimmen erhältlich: DHP 1125313-050.

Sa Música évoque l’histoire et l’ambiance de l’île espagnole de Majorque, l’une des îles Baléares. L’oeuvre débute avec une introduction majestueuse s’inspirant de motifs grecs. Peu peu, les influences espagnoles se distinguent clairement dans le thème rapide qui vient ensuite, une véritable fiesta. A cette ambiance festive succède le calme, avec un lent passage lyrique que Jacob de Haan a composé sur le texte du célèbre poème sur les pirates, Canción del pirata. Une pièce pétillante ! Ce thème peut être interprété dans sa version espagnole d'origine ou chanté par un ou plusieurs chanteurs ou un choeur (voix disponibles séparément: DHP 1125313-050).

Sa Música si ispira alla storia e alle atmosfere dell’isola di Mallorca nell’arcipelago delle Baleari. Il brano apre con una maestosa introduzione che vuole ricordare le gesta dei colonizzatori greci; segue un tema che riprende le tradizionali processioni che si tengono sull’isola e che anticipa un tema tipicamente spagnolo. A questa atmosfera festiva segue la calma con un passaggio lirico che Jacob de Haan ha composto sul testo del celebre poema Cancion del pirata. (This theme can also be sung in the original Spanish with one or more singers or choir (available separately: DHP 1125313-050).