SKU: CF.SPS71
ISBN 9781491143544. UPC: 680160901043. Key: G minor.
Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,†Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind†blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship†or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower†sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska†is a partner dance where the dancers spin each other (släng in Swedish “to sling or tossâ€) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska†dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .
SKU: AP.30818S
UPC: 038081351582. English.
I pledge thee my allegiance, America, the bold, for this is my country to have and to hold. This is My Country is an American patriotic folk song composed in 1940. The words and lyrics are by Don Raye and Al Jacobs. This new arrangement by Jerry Brubaker ads a contemporary flair to this wonderful patriotic work opening with a fanfare-like statement leading to the charming familiar melody. A hearty addition to the repertoire that will complete every program. (2:43).
SKU: AP.41916S
UPC: 038081481722. English.
There is something about a crisp winter morning that makes one feel at home and at peace. This is a lyrical piece that encapsulates that feeling and gives students an opportunity to explore performing with a legato style. Intriguing harmonies, a beautiful melody, and a little bit of holiday spirit will help make this one of your favorites. (2:40) Winter Whispers correlates to Book 1, Level 5 of Sound Innovations for Concert Band.
SKU: BT.DHP-1043551-140
The Book of Urizen is Jacob de Haan his first Symphony for concert band, solo soprano, and a male narrator in which sound collages of expressions are used. The piece is inspired by the compelling visionary poem of the samename (which the poet illustrated himself) by the Englishman William Blake (1757-1827). The Vision, first movement and The Creation, second movement of The Book of Urizen are available by following editionnumber: DHP 1043551. The Web, the third movement of The Book of Urizen is available by the following edition number: DHP 1125252. Download the audio samples here: track 1, track 2, track 3In The Book of Urizen - Jacob de Haan zijn eerste symfonie voor harmonieorkest, zangstem (sopraan) en een mannelijke spreekstem - wordt gebruik gemaakt van geluidscollages. De compositie is ge nspireerd op het gelijknamigegedicht van William Blake (1757-1827). The Vision, het eerste deel en The Creation, het tweede deel van The Book of Urizen zijn beschikbaar via volgend editienummer: DHP 1043551. The Web, het derdedeel van The Book of Urizen is verkrijgbaar via editienummer: DHP 1125252. Download audiofragmenten hier: track 1, track 2, track 3The Book of Urizen ist Jacob de Haan seine erste Symphonie für Blasorchester, Gesang (Sopran) und (männliche) Sprechstimme, in welcher Botschaften durch Geräuschcollagen wiedergegeben werden. Als Inspirationsquelle dienteder gleichnamige Gedichtzyklus des großen englischen Dichters und Malers William Blake (1757-1827). The Vision, erster Satz und The Creation, zweiter Satz von The Book of Urizen sind unter der folgendenEditionsnummer erhältlich: DHP 1043551. The Web, der dritte Satz von The Book of Urizen , ist unter der folgenden Editionsnummer erhältlich: DHP 1125252. Laden Sie hier die Audiosamples herunter: track 1, track 2,track 3En 1794, l’écrivain, peintre, graveur, enlumineur, visionnaire et philosophe mystique anglais William Blake (1757-1827) dénonce dans The Book of Urizen (Le Livre d’Urizen), la loi de fer du monde moderne. Dans The Book ofUrizen - la première symphonie de Jacob de Haan pour Orchestre d’Harmonie, Soprano et un récitant - des collages sonores sont utilisés. The Vision, la première partie et The Creation, la deuxième partie de TheBook of Urizen sont disponibles sous le numéro d'éditionsuivant: DHP 1043551. The Web, la troisième partie de The Book of Urizen est disponible sous le numéro d'édition suivant: DHP 1125252. Télécharger lesextraits audio ici: track 1, track 2, track 3The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one,and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion,†which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together.†In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals.†His vision is rejected,and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury,†and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep,†they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In thesecond movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world.†Orc is fed at Enitharmon’s breast,which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race.The Web, third movement of The Book of Urizen is now available: DHP 1125252.
SKU: CF.CPS200
ISBN 9781491152355. UPC: 680160909858.
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.
SKU: CF.CPS200F
ISBN 9781491153031. UPC: 680160910533.
SKU: 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.
SKU: CF.YPS208
ISBN 9781491152287. UPC: 680160909780. Key: D minor.
SKU: BT.AMP-449-010
English-German-French-Dutch.
The Legend of Spirit Island was commissioned by the Twin Ports Wind Orchestra, Duluth, Minnesota (Mark Whitlock, conductor), to honour the euphonium player, Dick Carlson. The piece takes its title from a local legend about Spirit Island, which lies in a gap of the St. Louis River called Spirit Lake. The legend tells the story of Chaska, the son of a Dakota Chief, and Wetona, the daughter of Ojibwe Chief Buckado. He was handsome and she was beautiful; it wasn’t long before they fell in love. This is a challenging euphonium solo in which the versatile soloist can explore very expressive melodic sequences, as well as energetic, technical sections.The Legend of Spirit Island werd geschreven in opdracht van de het Twin Ports Wind Orchestra uit Duluth, Minnesota (dirigent Mark Whitlock) als eerbetoon aan euphoniumspeler Dick Carlson. De titel van het werk is afkomstig van een lokale legende over Spirit Island, dat dicht bij Duluth in een verbreding van de St. Louis River Spirit Lake ¬ligt. Deze legende gaat over Chaska, de zoon van een Dakota-opperhoofd, en Wetona, de dochter van Ojibwe-opperhoofd Buckado. Hij was knap en zij was mooi; het duurde niet lang of de twee waren verliefd op elkaar. De uitdagende euphoniumsolo biedt de solist de mogelijkheid om expressieve melodieën te verkennen en zijn of haarspeelvaardigheid te demonstreren. The Legend of Spirit Island wurde vom Twin Ports Wind Orchestra aus Duluth, Minnesota (Dirigent: Mark Whitlock), in Auftrag gegeben, um den Euphoniumspieler Dick Carlson zu ehren. Der Titel des Stückes leitet sich von einer Legende über die Insel Spirit Island ab, die in einem Bereich des St. Louis River liegt, der Spirit Lake genannt wird. Die Legende handelt von Chaska, dem Sohn eines Dakota-Häuptlings, und Wetona, der Tochter des Ojibwe-Häuptlings Buckado. Er war gut aussehend und sie war schön, und so dauerte es nicht lange, bis sie sich ineinander verliebten. In diesem anspruchsvollen Stück kann der Euphonium-Solist sehr ausdrucksvolle melodische Sequenzen, aber auchenergiegeladene, technische Abschnitte erkunden. The Legend of Spirit Island est une commande du Twin Ports Wind Orchestra de Duluth, Minnesota (dirigé par Mark Whitlock), en l’honneur de son joueur d’euphonium, Dick Carlson. L’œuvre prend son titre d’une légende locale concernant Spirit Island, une île qui se trouve dans un élargissement du fleuve St. Louis appelé Spirit Lake. La légende raconte l’histoire de Chaska, fils d’un chef des Dakotas, et de Wetona, la fille du chef des Ojibwés, Buckado. Il était beau et elle était magnifique, et il n’a pas fallu longtemps pour qu’ils tombent amoureux. Ce solo exigeant pour euphonium solo permet au soliste polyvalent d’explorer des séquences mélodiques très expressives,ainsi que des sections énergiques et techniques. The Legend of Spirit Island è stata commissionata dalla Twin Ports Wind Orchestra, Duluth, Minnesota (Mark Whitlock, direttore), per onorare il suonatore di eufonio Dick Carlson. Il titolo si ispira da una leggenda locale sullo spirito dell’isola, che si troverebbe in un punto del fiume St.Louis chiamato Spirit Lake. La leggenda racconta la storia di Chaska, il figlio di Dakota Chief, e Wetona,la figlia di Ojibwe Chief Buckado. Lui era bello e lei era bellissima; non passò molto tempo prima che si innamorassero. Un brano per eufonio solista molto impegnativo nel quale un solista con versatilit può esplorare sequenze melodiche molto espressive, oltre a sezioni tecnicheenergiche.
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: 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.
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