Concert Band/Harmonie and Piano - Grade 6

SKU: BT.DHP-1033417-010

Composed by Piet Swerts. Solo Spectrum. Concert Piece. Set (Score & Parts). Composed 2003. De Haske Publications #DHP 1033417-010. Published by De Haske Publications (BT.DHP-1033417-010).

Wings schetst een expressief muzikaal beeld door middel van drie fraaie klanklandschappen. De vorm van dit concerto voor piano en harmonieorkest is traditioneel: een vrije sonate, een romance en een toccata.

Wings - 'Flügel' - bewegt sich auf musikalischen Schwingen über drei Klangbereiche hinweg. Wings steht hier aber auch für den Flügel, der neben anderen Tasteninstrumenten Piet Swerts zu dieser Komposition inspirierte. So spielt auch das Klavier eine wichtige Rolle. Das Stück weist eine traditionelle Form auf: In der majestätischen Eröffnung wird ein Thema in verschiedenen Variationen vorgestellt; der langsame Mittelteil ist ein romantisches Lied; der Schlusssatz ist eine Aufsehen erregende Toccata, die auf einem rhythmischen und geheimnisvoll klingenden Ostinato basiert. Ein Werk voll Tiefe und Ausdruckskraft!

Wings (“Les ailes”) est une fl nerie aérienne d’une grande expressivité travers trois espaces sonores. La structure de ce concerto pour Piano et Orchestre d’Harmonie est traditionnelle dans sa forme (une sonate en forme libre ; une romance ; une toccata).

Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Snare Drum and more. - Grade 3

SKU: CF.CPS244

Composed by Michael Boo. Folio. Cps. Set of Score and Parts. 1+8+8+4+8+8+2+2+4+4+2+2+8+8+4+4+6+6+3+2+1+2+1+1+1+4+4+2+20 pages. Duration 3 minutes, 16 seconds. Carl Fischer Music #CPS244. Published by Carl Fischer Music (CF.CPS244).

ISBN 9781491157985. UPC: 680160916580. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

Trombone and String Quartet - Grade 4

SKU: HL.14033403

Composed by Bent Sorensen. Music Sales America. Classical. Set of Parts. Music Sales #KP00661. Published by Music Sales (HL.14033403).

ISBN 9788759858684. International (more than one language).

Bent Sorensen THE WINGS OF NIGHTI do not yet know what to write about this short piece which I have just finished.But like my Piano Concerto LA NOTTE, it seems to take place at night-time - or perhaps it is only because I wrote the piece by night. In short, the title is from Shakespeare's 'Romeo and Juliet'.Juliet sings to the night - the night of love: 'Come, night; come Romeo; come, thou day in night; For thou wilt lie upon the wings of nightWhither than new snow upon a raven's back.THE WINGS OF NIGHT was composed as a commission from the Warsaw Autumn for Christian Lindberg and the Silesian String Quartet.Bent Sorensen.

Band Bass Clarinet, Bass Drum, Bass Trombone, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Percussion 3, Piccolo, Snare Drum and more. - Grade 3

SKU: CF.CPS244F

Composed by Michael Boo. Sws. Cps. Full score. 20 pages. Duration 3 minutes, 16 seconds. Carl Fischer Music #CPS244F. Published by Carl Fischer Music (CF.CPS244F).

ISBN 9781491157992. UPC: 680160916597. 9 x 12 inches.

On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Donat be concerned if you donat have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isnat essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isnat critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes donat sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft. Don't be concerned if you don't have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn't essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn't critical if you do have those other low woodwinds. The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred. When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39. In the slower section after m. 41, be careful that the diminuendos on the half notes don't sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows. The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.
On Wings of Flight is a jubilant, short overture that is meant to convey the wonder of soaring high above the ground. Programmatically, it can represent either the flight of birds or aircraft.Don’t be concerned if you don’t have some of the lower voice color instruments such as bass clarinet, baritone saxophone, and/or bassoon. Those instruments are doubled in the low brass. Bass trombone isn’t essential as it doubles tuba, but a lack or scarcity of bass trombone and/or tuba isn’t critical if you do have those other low woodwinds.The repetitive eighth-note accents should be lighter than normal so the ongoing effect is more propulsive than heavy. Keep those eighth-note patterns locked into the tempo so the band refrains from unwittingly accelerating. Think of the legato accented notes as slightly separated as opposed to being slurred.When the accented whole notes surrounded by rests are played, be sure they are held out for a full four counts. Save the crescendo for m. 19 and quickly drop back down in volume at m. 21. At m. 31, the whole notes do not crescendo to the same ff volume as the melody. Those parts are to save their crescendo for m. 35. Pay attention to the instruments that do not diminuendo at m. 39.In the slower section after m. 41, be careful that the diminuendos on the half notes don’t sag in pitch as the notes get softer. Trumpets and horns at m. 49 must not play their notes as accents. Give particular attention to the diminuendos in the melody at m. 56, so that they fade out as the volume of the other instruments grows.The accented notes at mm. 85 and 86 should each be heard through the volume of the rest of the instruments, so that the addition of each pitch is adequately heard. If you wish, you may place more emphasis on the accents in the last two measures of the piece than you did earlier throughout the piece.

Concert Band - Grade 4 - Score Only. By Steven Bryant. (Score). Eric Whitacre Concert Band. 24 pages. Published by Hal Leonard.

Concert Band/Harmonie - Grade 6

SKU: BT.DHP-1033417-210

Composed by Piet Swerts. Solo Spectrum. Concert Piece. Score Only. Composed 2003. De Haske Publications #DHP 1033417-210. Published by De Haske Publications (BT.DHP-1033417-210).

Wings schetst een expressief muzikaal beeld door middel van drie fraaie klanklandschappen. De vorm van dit concerto voor piano en harmonieorkest is traditioneel: een vrije sonate, een romance en een toccata.

Wings (“Les ailes”) est une fl nerie aérienne d’une grande expressivité travers trois espaces sonores. La structure de ce concerto pour Piano et Orchestre d’Harmonie est traditionnelle dans sa forme (une sonate en forme libre ; une romance ; une toccata).

Composed by Hilary Tann (1947-). For Voice Solo and Oboe. 8 pages. Duration 3.5'. Published by Oxford University Press

Grade 2

SKU: CL.024-4824-01

Composed by Romeyn. Young Concert Band. Extra full score. C.L. Barnhouse #024-4824-01. Published by C.L. Barnhouse (CL.024-4824-01).

On Wings Of Glory is a bold and celebratory concert opener of impeccable quality and style for young bands. A bright and authoritative opening fanfare leads to a memorable melodic theme. As the music continues, this theme grows and develops, with added flourishes, countermelodies, and changing textures. The piece then ends as it began, in a shimmering, celebrative style, but even more powerfully. A natural for concert or festival performances, On Wings Of Glory is also appropriate for graduations, sporting events, or any other event where a celebratory piece is called for. Truly outstanding!

Choral (Highlights)

SKU: HL.48188528

All God's Chillun Got Wings. Composed by Georges Aubanel. Leduc. Softcover. Composed 2015. Heugel & Cie #HE32700. Published by Heugel & Cie (HL.48188528).

Aubanel Negro Spirituals 3eme Serie All God's Chillun Got Wings 3 Part.

Composed by Jeff Silbar, Larry Henley. Single (no lyrics) for solo piano. From the motion picture "Beaches". G Major. 4 pages. Published by Alfred Publishing.

8 Popular Pieces Arranged for String Quartet Score & Parts. By Various Composers. Arranged by Barrie Carson Turner. (String Quartet). Schott. Book only. Size 9x12 inches. 48 pages. Published by Schott.

By Joyce Eilers. (SSAB). Discovery Choral. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.

SATB. By Michael Joncas. Arranged by Benjamin Harlan. (SATB). Daybreak Choral Series. Size 6.75x10.5 inches. 12 pages. Published by Hal Leonard.