SKU: YM.GTL01096480

ISBN 9784636964806.

CD maching score of rock heroine LiSA, who was appointed as a main vocalist of the Rock Band Group Girls Dead Monster in the TV animation program Angel Beats! in Sprint, 2010. After her debut as a slolo singer in Spring, 2011 with mini CD, she has sung many title songs for Japanese animation like Fate/ZeroSword Art Online and Underachiever in Magic High School; 8 pages for photographes and her messages to each song requested for this book.
Ben Shu Pei He LiSADe Yao Gun Ying Xiong Zhuan Ji Fa Xing . LiSAZai 2010Nian Chun Ji De Dian Shi Dong Hua Tian Shi De Xin Tiao Zhong De Yao Gun Le Dui Girls Dead MonsterBan Yan Zhu Chang De Jiao Se . 2011Nian Chun Fa Xing Mi Ni Zhuan Ji ,Yi Dan Ren Ge Shou Shen Fen Chu Dao . Yan Chang Guo Hen Duo Ri Ben Dong Man De Zhu Ti Ge ,Bi Ru Ming Yun Zhi Ye Qian Chuan , Dao Jian Shen Yu Yi Ji Mo Fa Ke Gao Xiao De Lie Deng Sheng . Ben Shu Ling Bao Han 8Ye De Ge Ren Xie Zhen Ji Zhuan Fang . Fen Si Bi Ru .

1. Catch the Moment; 2. Thrill, Risk, Heartless; 3. oath sign; 4. ASH; 5. Rally Go Round; 6. Hello Good Day; 7. No More Time Machine; 8. Hi FiVE!; 9. Cosmic Jet Coaster; 10. Brave Freak Out; 11. ROCK-mode '18; 12. Mr. Launcher; 13. Believe in ourselves; 14. best day, best way.

SKU: PR.114424540

ISBN 9781491138106. UPC: 680160693498.

THE WHITE HORSE explores the idea of extremes, composed to shine a light on the musicianship and raw virtuosity of the performer above any other of its properties. Pann writes that he was inspired by a 1980s dance music video whose energy expresses “the effect of a drug-induced euphoric frenzy in its seeming randomness at times, but also in its immediate back-and-forth between pyrotechnics and more subdued, blissed moments.”  .
THE WHITE HORSE is a single-movement solo for alto saxophone which explores the idea of extremes. My greatest hope is that it shines a light on the musicianship and raw virtuosity of the performer above any other of its properties. When I was first asked to write this work, my thoughts went to a 1983 music video by the Danish band, Laid Back. Their song “White Horse” is about using (or riding) the drug heroin. In this way, I wanted to write a single-movement piece that has the effect of a drug-induced euphoric frenzy in its seeming randomness at times, but also in its immediate back-and-forth between pyrotechnics and more subdued, blissed moments. Also, I simply like the phrase “The White Horse” and think it will lend the work some appropriate intrigue.  .

SKU: CF.YPS212F

ISBN 9781491152997. UPC: 680160910496.

Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.
Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.” They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.  That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.

SKU: BO.B.3585

Agitato: This is a movement with a clear romantic intention, as well as passionate. It is like a projection of different colors in an atmosphere of lightness. In this case I probably had Mendelssohn in the back of my mind. Everything in it is extroverted. Vigor and gentleness alternate until reaching the end, where I make a clear allusion to the music of Bach. The movement ends in a fast arpeggio.

Capriccio: This part has a humorous touch to it. An evidently burlesque subject matter matches the various rhythmic and harmonic combinations. I do not wish to conceal a similarity of style with the music of Prokofiev. As a reminder, my Sonatina for violin solo comes from an idea taken from this Russian master's Sonata, also for violin solo. The mood is marcato and sharp, alternating expressive moments with others of a mysterious nature. To end up with, a fast and lively coda.

Ricordo: It has a burlesque introduction, but this serves as a preamble to the expressive nature of the whole. There are several emotional atmospheres in which harmony plays an essential part. The left hand will be responsible for the melody while the right hand constantly draws semiquavers all in a reflexive mood. In the end, the music fades away gently.

Animato: This movement brings us back to the extroverted mood of the Agitato. It transitions from an impressionistic atmosphere at the beginning, to a vigorous and energetic climate. Groups of 4, 5 and 6 notes with semiquavers cause certain instability, controlled, on the other hand, by an unchanging tempo. The movement ends in a forceful marcato, though in an overall maestoso atmosphere.

SKU: BT.DHP-0910329-010

This quiet piece with its broad tones was originally written for brass band on request of Robert Leveugle, chairman of the composers own band: Brass Band Midden Brabant (Belgium). The direct cause was a visit to the beautiful cathedral of theEnglish city Canterbury, in which so many fine compositions sounded throughout the centuries. Later on, Jan Van der Roost rescored this piece for symphonic wind band, exploring the full richness of colours of this formation. Besides solo phrases forseveral instruments, there are some massive tutti passages making the wind orchestra sound like a majestic organ. By the way: an ad libitum organ part adds an extra richness, colour and power to this piece, making it sound even more broad andgrand.

Dieses ruhige Stück mit seinen breiten Tönen wurde ursprünglich für Brass Band geschrieben, im Auftrag von Robert Leveugle, dem Vorsitzenden der Brass Band, dem der Komponist angehört: die Brass Band Midden Brabant (Belgien). Später orchestrierte JanVan der Roost das Stück neu für Symphonisches Blasorchester, wobei er die reichhaltige Klangfarbenpalette dieser Formation voll ausnutzte. Neben Solo-Abschnitten für verschiedene Instrumente gibt es einige massive Tutti-Passagen, die dasBlasorchester wie ein riesiges Organ klingen lassen. Übrigens: Eine optionale Orgelstimme verleiht diesem Stück noch mehr Klangfülle, -farbe und Kraft, sodass es noch breiter und großartiger klingt.

Jan Van der Roost a composé Canterbury Choral la demande de Robert Leveugle, président du Brass Band Midden Brabant. Cette œuvre, empreinte de sérénité et de solennité, s’inspire de la beauté majestueuse de la célèbre cathédrale de la villede Canterbury, haut-lieu, de la culture musicale anglaise. Canterbury Choral alterne des passages en solo et des phrases en tutti. Les sonorités sont amples et rondes. Les courbes sont fluides, légères et brillantes. Les tutti, puissants etsoutenus, rappellent la richesse sonore et la générosité de l’orgue d’église.
Canterbury Choral est dédié Robert et Annie Leveugle.

Uno dei più bei pezzi lenti mai scritti. Ideale per un momento di tranquillit del vostro concerto.