SKU: PR.16500103F

ISBN 9781491131763. UPC: 680160680290.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

SKU: PR.16500101F

ISBN 9781491131725. UPC: 680160680252.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

SKU: HL.298905

ISBN 9781540059901. UPC: 888680955274. 9.0x12.0x0.556 inches.

This updated second edition features 100 songs from the silver screen in larger-than-usual fake book notation and all in the key of C. Songs include: Born Free • Chariots of Fire • City of Stars (from La La Land) • Endless Love • Footloose • Ghostbusters • Happy (from Despicable Me 2) • I Will Always Love You (from The Bodyguard) • Theme from Jaws • Let It Go (from Frozen) • A Million Dreams (from The Greatest Showman) • My Heart Will Go On (Love Theme from Titanic) • Nine to Five • Over the Rainbow (from The Wizard of Oz) • Shallow (from A Star Is Born) • Singin' in the Rain • Summer Nights (from Grease) • (I've Had) The Time of My Life (from Dirty Dancing) • The Wind Beneath My Wings (from Beaches) • Yellow Submarine • and more.

SKU: BT.DHP-1185967-020

The music collected in Movie Main Theme Miracles are surely among the most famous, popular and successful melodies in the history of film: Peter Kleine Schaars has arranged the themes from Braveheart, Top Gun, Star Trek and Mission: Impossible into a fabulous medley for concert band, that will appeal not just to film buffs but any audience.

Movie Main Theme Miracles bevat een verzameling thema’s die behoren tot de bekendste, geliefdste en succesvolste melodieën uit de geschiedenis van de filmmuziek. Peter Kleine Schaars verwerkte de hoofdthema’s van de soundtracks van Braveheart, Mission: Impossible, Star Trek en Top Gun tot een briljante medley. Movie Main Theme Miracles: niet alleen voor filmliefhebbers een lust voor het oor!

Die in Movie Main Theme Miracles versammelten Filmmusikthemen gehören zu den bekanntesten, beliebtesten und erfolgreichsten Melodien der Filmgeschichte: Peter Kleine Schaars verarbeitete die Hauptthemen der Soundtracks von Braveheart, Mission: Impossible, Star Trek sowie Top Gun zu einem brillanten Medley fu r Blasorchester, das nicht nur die Herzen von Cineasten höher schlagen lässt.

Peter Kleine Schaars a rassemblé dans cet arrangement les principaux thèmes de musique de film dans l’histoire du cinéma. Movie Main Theme Miracles est un medley flamboyant susceptible de figurer au répertoire de tous les orchestres d’harmonie. Charmez votre public avec les célèbres thèmes de Braveheart, Mission: Impossible, Star Trek et Top Gun.

Come suggerisce il titolo, le colonne sonore sapientemente raggruppate da Peter Kleine Schaars in questa raccolta sono tra le più note e amate della storia del cinema. Un brillante medley che propone le musiche di Braveheart, Top Gun, Star Trek e Mission: Impossible. Un brano che entusiasmer non solo i cinefili.

SKU: BT.DHP-1135408-010

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

The music collected in Movie Main Theme Miracles are surely among the most famous, popular and successful melodies in the history of film: Peter Kleine Schaars has arranged the themes from Braveheart, Top Gun, Star Trek and Mission: Impossible into a fabulous medley for concert band, that will appeal not just to film buffs but any audience.

Movie Main Theme Miracles bevat een verzameling thema’s die behoren tot de bekendste, geliefdste en succesvolste melodieën uit de geschiedenis van de filmmuziek. Peter Kleine Schaars verwerkte de hoofdthema’s van de soundtracks van Braveheart, Mission: Impossible, Star Trek en Top Gun tot een briljante medley. Movie Main Theme Miracles: niet alleen voor filmliefhebbers een lust voor het oor!

Die in Movie Main Theme Miracles versammelten Filmmusikthemen gehören zu den bekanntesten, beliebtesten und erfolgreichsten Melodien der Filmgeschichte: Peter Kleine Schaars verarbeitete die Hauptthemen der Soundtracks von Braveheart, Mission: Impossible, Star Trek sowie Top Gun zu einem brillanten Medley für Blasorchester, das nicht nur die Herzen von Cineasten höher schlagen lässt.

Peter Kleine Schaars a rassemblé dans cet arrangement les principaux thèmes de musique de film dans l’histoire du cinéma. Movie Main Theme Miracles est un medley flamboyant susceptible de figurer au répertoire de tous les orchestres d’harmonie. Charmez votre public avec les célèbres thèmes de Braveheart, Mission: Impossible, Star Trek et Top Gun.

Come suggerisce il titolo, le colonne sonore sapientemente raggruppate da Peter Kleine Schaars in questa raccolta sono tra le più note e amate della storia del cinema. Un brillante medley che propone le musiche di Braveheart, Top Gun, Star Trek e Mission: Impossible. Un brano che entusiasmer non solo i cinefili.

SKU: BT.DHP-1145604-070

ISBN 9789043140805. English-German-French-Dutch.

For string ensembles that play in various instrumentations, the Flexible String Trios series offers an ingenious solution: the set contains a three-part score and nine individual parts for violin, viola and cello. This means that the piecescan be played in any combination of string instruments, depending on the available musicians.

Discover the Classics is a collection of six very easy arrangements of classical themes from the Baroque, Classical and Romantic periods (17th to 19th century). The parts are simple and attractively presented and remain close to the original.

Voor strijkers-ensembles die in wisselende bezettingen spelen biedt de Flexible String Trios serie een uitgekiend concept. In de partituur worden 3 stemmen aangegeven, waarbij iedere stem door zowel viool, altviool of cello kan wordeningevuld. Op deze manier kunnen de stukken in allerlei combinaties van strijkinstrumenten worden gespeeld. Zowel combinaties met dezelfde als met verschillende strijkinstrumenten zijn mogelijk. In het laatste geval is het wel aan te raden het hoogstgestemde instrument de hoogst genummerde stem te laten spelen. Dit levert een juiste klankbalans en daardoor het mooiste resultaat.

Discover the Classics is een verzameling arrangementen van klassieke themas die dateren uit de baroktijd, klassieke tijd en romantiek (17e tot en met de 19e eeuw). De partijen zijn eenvoudig en aantrekkelijk geschreven en blijven dicht bijhet origineel. Discover the Classics bevat zes uitdagende arrangementen - heerlijk om te spelen en uitermate geschikt voor uitvoeringen!

Für Streichensembles, die in wechselnden Besetzungen spielen, bietet die Serie Flexible String Trios ein ausgeklügeltes Konzept. Das Set enthält eine Partitur für drei Stimmen sowie neun Einzelstimmen für Violine, Viola und Violoncello. Aufdiese Weise können allerlei Kombinationen von Streichinstrumenten gebildet werden, je nach verfügbaren Spielern.

Discover the Classics ist eine Sammlung von sechs sehr einfachen Arrangements klassischer Themen aus der Barockzeit, der Klassik und der Romantik (17. bis 19. Jahrhundert). Die Stimmen sind einfach und attraktiv ausgeschrieben und bleiben naham Original.

Pour les Ensembles Cordes qui jouent en instrumentation variable, la collection Flexible String Trios offre de multiples avantages : Le set complet contient un conducteur trois voix et neuf parties séparées car chaque voix est déclinéepour chacun des trois instruments. Ceci signifie que toutes les combinaisons instrumentales pourront être envisagées.

Discover the Classics rassemble une collection de six thèmes de styles baroque, classique et romantique (allant du XVIIe au XIXe siècle). Les arrangements très faciles sont simples et attrayants tout en restant fidèles aux compositionsoriginales.

SKU: AP.BD9932

UPC: 029156993707. English.

The history of our great nation was written by the pioneers who braved all the elements and hardships they faced on a daily basis. In a salute to those men and women who began their trek near Independence, Missouri, and ended it at the Columbia River region of Oregon, Michael Story brings us a sound portrait of this very important pathway. With bold sonic strokes from the winds and percussion, the work moves with energy and drive. This is an important contribution to the concert and contest literature for the young concert band.