Scottish Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000956-010 Composed by Pete...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000956-010
Composed by Peter Martin.
Arranged by Menno
Haantjes. Set (Score &
Parts). 164 pages.
Gobelin Music
Publications #GOB
000956-010. Published by
Gobelin Music
Publications
(BT.GOB-000956-010).
Scottish Dances
is based on three
Scottish traditionals:
Cock of the North, The
Bonnie Bank's O'Loch
Lomond and Marie's
Wedding.
I. Cock
of the North's name is
used for multiple things
or events. For example
for a locomotive to a
famous, it seems,
delicious liqueur, and
rallies to snowboard
competitions. Furthermore
is Cock O' the North a
nickname of a famous
Duke. (The 4th Duke of
Gordon). In this
composition Cock of the
North (a Jig) is a
traditional Scottish
bagpipe tune, regularly
played on tattoos by Pipe
Bands. Not infrequently
the drummers sing the
text.
Auntie
Mary, had a canary,
Up the leg of her
trousers While she
was sleeping Iwas
peeping Up the leg of
her trousers.
II.
The Bonnie Bank's O'Loch
Lomond is about a sad
story that took place
during an revolt against
the British. In 1745
Bonnie Prince Charlie had
to retreat. Two of his
men were captured. One
was convicted and
executed, while the other
was released. The spirit
of the executed soldier
would arrive in Scotland
via the 'low road'
(underworld) before his
companion, who had still
a long way to go.
You'll take the
high road And I'll
take the low road And
I'll be in Scotland afore
ye But me and my true
love will never meet
again On the Bonnie
Bonnie Banks of Loch
Lomond
III. In a
Scottish wedding, after
the official ceremonies,
there is often danced.
This is called a ceilidh.
For this we use
traditional Scottish
music such as Marie's
Wedding '. Mid dance
we go back to the church,
where a lovely song in
honor of the couple
sounds. Marie's
Wedding has been recorded
by Van Morrison (among
many others).
Step we gaely, on we go,
heel for heel and toe for
toe Arm and arm and
on we go, all for Marie's
wedding
Scottish
Dances is gebaseerd op
drie Schotse
traditionals: Cock of the
North, The Bonnie Bank's
O'Loch Lomond en Marie's
Wedding.
I. De
naam Cock of the North
wordt voor meerdere
dingen of evenementen
gebruikt. Van een
beroemdelocomotief tot
een, naar het schijnt,
een heerlijke likeur, en
van rally's tot snowboard
wedstrijden. Bovendien
was 'Cock O' the North'
een bijnaam van een
bekende hertog. (the 4th
Duke of Gordon) Het
in deze
compositiegebruikte Cock
of the North (een Jig) is
een traditioneel Schotse
bagpipe tune (doedelzak
liedje) wat regelmatig
gespeeld wordt op taptoes
door Pipebands. Niet
zelden zingen de
slagwerkers de tekst
mee.
Auntie Mary,
had acanary, Up the
leg of her trousers
While she was sleeping I
was peeping Up the
leg of her
trousers.
II.
'The Bonnie Bank's O'Loch
Lomond', gaat over een
triest verhaal dat zich
afspeelde tijdens een
opstand tegende Engelsen.
In 1745 moest Bonnie
Prince Charlie zich
terugtrekken. Twee van
zijn mannen werden
gevangen genomen. Eén
van hen werd veroordeeld
en geexecuteerd, terwijl
de ander vrijgelaten
werd. De geest van de
geexecuteerde soldaatzou
via de 'low road'
(onderwereld) eerder in
Schotland aankomen dan
zijn kameraad, die nog
een lange ruige weg te
gaan had.
You'll
take the high road
And I'll take the low
road And I'll be in
Scotland aforeye But
me and my true love will
never meet again On
the Bonnie Bonnie Banks
of Loch Lomond
III. Bij een Schotse
bruiloft wordt na de
officiele plechtigheden
vaak gedanst. Dit noemt
men een ceilidh. Hiervoor
gebruiktmen traditionele
Schotse muziek zoals
bijv. 'Marie's
Wedding'. Halverwege
de dans gaan we nog even
terug naar de kerk, waar
een lieflijk lied ter ere
van het bruidspaar
klinkt. Marie's
Wedding is o.a. door Van
Morrison opgenomen.
Scottish Dances Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000956-140 Composed by Pete...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000956-140
Composed by Peter Martin.
Arranged by Menno
Haantjes. Score Only.
Gobelin Music
Publications #GOB
000956-140. Published by
Gobelin Music
Publications
(BT.GOB-000956-140).
Scottish Dances
is based on three
Scottish traditionals:
Cock of the North, The
Bonnie Bank's O'Loch
Lomond and Marie's
Wedding.
I. Cock
of the North's name is
used for multiple things
or events. For example
for a locomotive to a
famous, it seems,
delicious liqueur, and
rallies to snowboard
competitions. Furthermore
is Cock O' the North a
nickname of a famous
Duke. (The 4th Duke of
Gordon). In this
composition Cock of the
North (a Jig) is a
traditional Scottish
bagpipe tune, regularly
played on tattoos by Pipe
Bands. Not infrequently
the drummers sing the
text.
Auntie
Mary, had a canary,
Up the leg of her
trousers While she
was sleeping Iwas
peeping Up the leg of
her trousers.
II.
The Bonnie Bank's O'Loch
Lomond is about a sad
story that took place
during an revolt against
the British. In 1745
Bonnie Prince Charlie had
to retreat. Two of his
men were captured. One
was convicted and
executed, while the other
was released. The spirit
of the executed soldier
would arrive in Scotland
via the 'low road'
(underworld) before his
companion, who had still
a long way to go.
You'll take the
high road And I'll
take the low road And
I'll be in Scotland afore
ye But me and my true
love will never meet
again On the Bonnie
Bonnie Banks of Loch
Lomond
III. In a
Scottish wedding, after
the official ceremonies,
there is often danced.
This is called a ceilidh.
For this we use
traditional Scottish
music such as Marie's
Wedding '. Mid dance
we go back to the church,
where a lovely song in
honor of the couple
sounds. Marie's
Wedding has been recorded
by Van Morrison (among
many others).
Step we gaely, on we go,
heel for heel and toe for
toe Arm and arm and
on we go, all for Marie's
wedding
Scottish
Dances is gebaseerd op
drie Schotse
traditionals: Cock of the
North, The Bonnie Bank's
O'Loch Lomond en Marie's
Wedding.
I. De
naam Cock of the North
wordt voor meerdere
dingen of evenementen
gebruikt. Van een
beroemdelocomotief tot
een, naar het schijnt,
een heerlijke likeur, en
van rally's tot snowboard
wedstrijden. Bovendien
was 'Cock O' the North'
een bijnaam van een
bekende hertog. (the 4th
Duke of Gordon) Het
in deze
compositiegebruikte Cock
of the North (een Jig) is
een traditioneel Schotse
bagpipe tune (doedelzak
liedje) wat regelmatig
gespeeld wordt op taptoes
door Pipebands. Niet
zelden zingen de
slagwerkers de tekst
mee.
Auntie Mary,
had acanary, Up the
leg of her trousers
While she was sleeping I
was peeping Up the
leg of her
trousers.
You'll
take the high road
And I'll take the low
road And I'll be in
Scotland aforeye But
me and my true love will
never meet again On
the Bonnie Bonnie Banks
of Loch Lomond
III. Bij een Schotse
bruiloft wordt na de
officiele plechtigheden
vaak gedanst. Dit noemt
men een ceilidh. Hiervoor
gebruiktmen traditionele
Schotse muziek zoals
bijv. 'Marie's
Wedding'. Halverwege
de dans gaan we nog even
terug naar de kerk, waar
een lieflijk lied ter ere
van het bruidspaar
klinkt. Marie's
Wedding is o.a. door Van
Morrison opgenomen.
Lebuïnus ex Daventria Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1115061-140 Composed by Peter...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1115061-140
Composed by Peter Kleine
Schaars. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2011. 48
pages. De Haske
Publications #DHP
1115061-140. Published by
De Haske Publications
(BT.DHP-1115061-140).
9x12 inches.
English-German-French-Dut
ch.
Much like a
film score, Peter Kleine
Schaars’
composition paints
colourful images while
telling the story of the
Anglo-Saxon monk, Lebu
nus. In around 768 AD,
Lebu nus founded a
mission in the Dutch
province of Deventer in
an effort to convert the
Pagan Saxons. Contrasting
themes describe the
Ijssel Valley, the Saxons
and Lebu nus,
construction on the
church and its subsequent
destruction in a clash
with the Saxons. The
Ijssel-Valley-theme
returns one more time in
a minor key before each
of the themes come
together again for one
rousing finale. Let
battle
commence!
Die
se filmmusikähnliche
Komposition erzählt
die Geschichte des
angelsächsischen
Mönchs Lebu nus, der
um das Jahr 768 im Zuge
der Missionierung der
heidnischen Sachsen eine
Kirche im
niederländischen
Deventer errichtete.
Aufeinander folgende,
kontrastive Themen
beschreiben das
Ijssel-Tal, die Sachsen
und Lebu nus, den
Kirchenbau und die
Zerstörung im Kampf
gegen die Sachsen. Es
erklingt noch einmal das
Ijssel-Tal-Thema in Moll,
bevor im schillernden
Finale alle Themen
zusammenkommen.
Questa
composizione, scritta
nello stile della musica
da film, racconta la
storia del monaco Lebu
nus che nell’anno
768 quando era incaricato
di convertire al
cristianesimo i sassoni
restati pagani, si
occupò anche della
costruzione di una chiesa
a Daventer (Paesi Bassi).
Temi contrastanti che si
susseguono descrivono la
valle di Iissel, i
sassoni e il monaco Lebu
nus. Il compositore
traduce in musica la
costruzione della chiesa
e la sua completa
distruzione ad opera dei
sassoni nel corso di una
battaglia. Il motivo
della valle di Ijssel
è ripreso ancora in
una tonalit minore, prima
che tutti i temi
accompagnino il brano al
suo scintillante
finale.
Lebuïnus ex Daventria Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1115061-010 Composed by Peter...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1115061-010
Composed by Peter Kleine
Schaars. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2011.
De Haske Publications
#DHP 1115061-010.
Published by De Haske
Publications
(BT.DHP-1115061-010).
9x12 inches.
English-German-French-Dut
ch.
Much like a
film score, Peter Kleine
Schaars’
composition paints
colourful images while
telling the story of the
Anglo-Saxon monk, Lebu
nus. In around 768 AD,
Lebu nus founded a
mission in the Dutch
province of Deventer in
an effort to convert the
Pagan Saxons. Contrasting
themes describe the
Ijssel Valley, the Saxons
and Lebu nus,
construction on the
church and its subsequent
destruction in a clash
with the Saxons. The
Ijssel-Valley-theme
returns one more time in
a minor key before each
of the themes come
together again for one
rousing finale. Let
battle
commence!
Die
se filmmusikähnliche
Komposition erzählt
die Geschichte des
angelsächsischen
Mönchs Lebu nus, der
um das Jahr 768 im Zuge
der Missionierung der
heidnischen Sachsen eine
Kirche im
niederländischen
Deventer errichtete.
Aufeinander folgende,
kontrastive Themen
beschreiben das
Ijssel-Tal, die Sachsen
und Lebu nus, den
Kirchenbau und die
Zerstörung im Kampf
gegen die Sachsen. Es
erklingt noch einmal das
Ijssel-Tal-Thema in Moll,
bevor im schillernden
Finale alle Themen
zusammenkommen.
Questa
composizione, scritta
nello stile della musica
da film, racconta la
storia del monaco Lebu
nus che nell’anno
768 quando era incaricato
di convertire al
cristianesimo i sassoni
restati pagani, si
occupò anche della
costruzione di una chiesa
a Daventer (Paesi Bassi).
Temi contrastanti che si
susseguono descrivono la
valle di Iissel, i
sassoni e il monaco Lebu
nus. Il compositore
traduce in musica la
costruzione della chiesa
e la sua completa
distruzione ad opera dei
sassoni nel corso di una
battaglia. Il motivo
della valle di Ijssel
è ripreso ancora in
una tonalit minore, prima
che tutti i temi
accompagnino il brano al
suo scintillante
finale.
Song of Hope Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115227-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115227-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Hymns & Chorals. Set
(Score & Parts). Composed
2012. De Haske
Publications #DHP
1115227-010. Published by
De Haske Publications
(BT.DHP-1115227-010).
9x12 inches.
English-German-French-Dut
ch.
2011 was a
disastrous year for
Japan: on March 11 the
northeast of the country
suffered a violent
earthquake, which
triggered a huge tsunami
and caused massive damage
to people and the
environment. The ensuing
problems with the nuclear
reactor atFukushima only
increased the misery: a
black day in the
country's
history... One almost
inevitable consequence of
such dramatic
circumstances is the
particular damage
suffered by the cultural
arts. And so it was in
Japan: various high
school wind orchestras in
the effected areas lost
their practice rooms
and/or instruments.It
will take a long time
before the damage
suffered is repaired -
and it will take great
effort to overcome the
psychological effects,
too. Focusing on the
latter, Yutada Nishida
(director of The
Bandwagon radio program)
asked a few composers
fora simple work that
could be played by many
orchestras. It just so
happened that the Osakan
Philharmonic Winds (with
whom Jan Van der Roost
had conducted a concert
exclusively of his own
works on September 25th)
had had a similar idea.
This concert saw the
baptism of Song of
Hope. This
pieceimmediately struck a
chord with musicians and
audience alike: it begins
bleakly in the low
register and evolves to a
more open, optimistic
close. There really is
hope for better
times!
2011 was
een rampzalig jaar voor
Japan: op 11 maart
teisterde een hevige
aardbeving het
noordoosten van het land,
bracht een enorme tsunami
teweeg en veroorzaakte
zeer grote schade aan
mens en natuur. De
daaruit voortvloeiende
problemenmet
dekernreactor van
Fukushima maakten de
ellende nog groter: een
zwarte pagina in het
bestaan van het land ...
Dat in dergelijke
dramatische
omstandigheden ook (en
vooral) het culturele
bestel een flinke knauw
krijgt, ishelaas een
haastonvermijdelijke
consequentie. Zo ook in
Japan: verschillende high
school bands in de
getroffen regio verloren
hun repetitieruimte en/of
instrumenten: het zal
lang duren voordat de
geleden schade is
hersteld - enhet zal ook
moeite kosten om er
mentaalweer bovenop te
geraken. Met het oog op
dat laatste aspect
verzocht Yutaka Nishida
(samensteller van het
radioprogramma The
Bandwagon) een paar
componisten om een
eenvoudig werkje te
schrijvendat speelbaar is
door een groot aantal
orkesten. Alsbij
toeval kwam een dergelijk
verzoek eveneens van de
kant van de OSAKAN
Philharmonic Winds,
waarmee Jan Van der Roost
op 25 september een
concert dirigeerde,
uitsluitend gewijdaan
eigen werken. Daar werd
Song of Hope dan
ook ten doop gehoudenen
het werkje sloeg meteen
aan bij uitvoerders en
publiek: na een tamelijk
donkere start in het lage
register evolueert het
tot een optimistischer en
opener slot.Er is
inderdaad hoop op betere
tijden!
Am 11.
März 2011 löste ein
heftiges Erdbeben in
Japan einen riesigen
Tsunami mit
desaströsen Folgen
für Mensch, Natur auch
das kulturelle Leben.
Yutaka Nishida vom
Radioprogramm The
Bandwagon bat daher
einige Komponisten,
darunter Jan Van
derRoost, ein einfaches,
für viele Orchester
spielbares Werk zu
schreiben. Song of
Hope beginnt
düster im tiefen
Register, um sich dann zu
einem optimistischeren
Schluss hin zu
entwickeln. Es gibt sie,
die Hoffnung auf bessere
Zeiten... !
Song of Hope Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115227-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115227-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Hymns & Chorals. Score
Only. Composed 2012. 20
pages. De Haske
Publications #DHP
1115227-140. Published by
De Haske Publications
(BT.DHP-1115227-140).
9x12 inches.
English-German-French-Dut
ch.
2011 was a
disastrous year for
Japan: on March 11 the
northeast of the country
suffered a violent
earthquake, which
triggered a huge tsunami
and caused massive damage
to people and the
environment. The ensuing
problems with the nuclear
reactor at Fukushima only
increased the misery: a
black day in the
country’s
history…One almost
inevitable consequence of
such dramatic
circumstances is the
particular damage
suffered by the cultural
arts. And so it was in
Japan: various high
school wind orchestras in
the effected areas lost
their practice rooms
and/or instruments. It
will take a long time
before the damage
suffered is
repaired—and it
will take great effort to
overcome thepsychological
effects, too. Focusing on
the latter, Yutada
Nishida (director of The
Bandwagon radio program)
asked a few composers for
a simple work that could
be played by many
orchestras. It just so
happened that the Osakan
Philharmonic Winds (with
whom Jan Van der Roost
had conducted a concert
exclusively of his own
works on September 25th)
had had a similar idea.
This concert saw the
baptism of Song of Hope.
This piece immediately
struck a chord with
musicians and audience
alike: it begins bleakly
in the low register and
evolves to a more open,
optimistic close. There
really is hope for better
times!
2011 was
een rampzalig jaar voor
Japan: op 11 maart
teisterde een hevige
aardbeving het
noordoosten van het land,
bracht een enorme tsunami
teweeg en veroorzaakte
zeer grote schade aan
mens en natuur. De
daaruit voortvloeiende
problemenmet de
kernreactor van Fukushima
maakten de ellende nog
groter: een zwarte pagina
in het bestaan van het
land ... Dat in
dergelijke dramatische
omstandigheden ook (en
vooral) het culturele
bestel een flinke knauw
krijgt, ishelaas een
haast onvermijdelijke
consequentie. Zo ook in
Japan: verschillende high
school bands in de
getroffen regio verloren
hun repetitieruimte en/of
instrumenten: het zal
lang duren voordat de
geleden schade is
hersteld - enhet zal ook
moeite kosten om er
mentaal weer bovenop te
geraken. Met het oog op
dat laatste aspect
verzocht Yutaka Nishida
(samensteller van het
radioprogramma The
Bandwagon) een paar
componisten om een
eenvoudig werkje te
schrijvendat speelbaar is
door een groot aantal
orkesten. Als bij toeval
kwam een dergelijk
verzoek eveneens van de
kant van de OSAKAN
Philharmonic Winds,
waarmee Jan Van der Roost
op 25 september een
concert dirigeerde,
uitsluitend gewijdaan
eigen werken. Daar werd
Song of Hope dan ook ten
doop gehouden en het
werkje sloeg meteen aan
bij uitvoerders en
publiek: na een tamelijk
donkere start in het lage
register evolueert het
tot een optimistischer en
opener slot.Er is
inderdaad hoop op betere
tijden!
Am 11.
März 2011 löste ein
heftiges Erdbeben in
Japan einen riesigen
Tsunami mit
desaströsen Folgen
für Mensch, Natur auch
das kulturelle Leben.
Yutaka Nishida vom
Radioprogramm The
Bandwagon bat daher
einige Komponisten,
darunter Jan Van der
Roost, ein einfaches,
für viele Orchester
spielbares Werk zu
schreiben. Song of
Hope beginnt
düster im tiefen
Register, um sich dann zu
einem optimistischeren
Schluss hin zu
entwickeln. Es gibt sie,
die Hoffnung auf bessere
Zeiten... !
Il 2011 è
stato un anno tragico per
il Giappone; al
devastante terremoto e al
non meno catastrofico
tsunami dell’11
marzo, sono seguiti i
gravi problemi al
reattore nucleare di
Fukushima. Il settore
della cultura in
generale, e quello della
musica in particolare
hanno sofferto
immensamente a causa di
questi nefasti eventi
naturali. Song of
Hope è un brano
che ha profondamente
commosso esecutori e
pubblico.Song of
Hope inizia nel
registro acuto con suoni
oscuri e melanconici, ma
si sviluppa in un clima
di ottimismo, come a
voler simboleggiare un
futuro più sereno.
The Ultimate '80s Party Hits Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1135409-010 Composed by Clayd...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1135409-010
Composed by Claydes
Smith, Dennis Thomas,
Earl Toon, Eumir Deadato,
George Brown, George
Merrill, James Patterson,
James Taylor, Jim
Steinman, Kevin Adams,
Kevin Rowland, Robert
Bell, Robert Mickens,
Ronald Bell, and Shannon
Rubicam. Arranged by
Peter Kleine Schaars.
Peter's Popular
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2012. De Haske
Publications #DHP
1135409-010. Published by
De Haske Publications
(BT.DHP-1135409-010).
9x12 inches.
English-German-French-Dut
ch.
Which are your
favourite hits from the
1980s? There are
certainly many answers to
this question - but many
responses are likely to
contain these songs: Kool
and the Gang’s
disco classic
Celebration,
Come On Eileen by
Dexy’s Midnight
Runners, Whitney
Houston’s I
Wanna Dance With
Somebody and Total
Eclipse of the Heart
by Bonnie Tyler. These
four numbers have been
arranged by Peter Kleine
Schaars as a fantastic
’80s retro medley
for concert
band.
Wat zijn uw
lievelingshits van de
jaren tachtig? Daarop
kunt u natuurlijk met
vele mogelijkheden
antwoorden. Maar de kans
is groot dat u sowieso
een van onderstaande hits
noemt! In The Ultimate
80’s Party
Hits verwerkte Peter
Kleine Schaars de
volgende
‘toffe’
nummers:
Celebration van
Cool and the Gang,
Come on Eileen van
de Dexys Midnight
Runners, I Wanna Dance
with Somebody van
Whitney Houston en
Total Eclipse of the
Heart van Bonnie
Tyler.
Was sind
ihre Lieblings-Hits aus
den 80er-Jahren? Die
Antwort auf diese Frage
fällt sicherlich
vielfältig aus -
ebenso sicher werden aber
diese vier Lieder sehr
häufig dabei sein: der
Disco-Hit
Celebration von
Kool and the Gang,
Come on Eileen von
den Dexys Midnight
Runners, I Wanna Dance
with Somebody von
Whitney Houston und
Total Eclipse of the
Heart von Bonnie
Tyler. Diese vier Titel
wurden von Peter Kleine
Schaars zu einem
wunderbaren
80’s-Revival-Medle
y für Blasorchester
zusammengefügt.
Quali sono le
vostre canzoni preferite
degli anni ’80? A
questa domanda, le
risposte sono sicuramente
le più svariate; ci
sono però delle
canzoni che si
posizionano ai primi
posti per tutti. Si
tratta di veri e propri
successi intramontabili,
gemme del repertorio,
come Celebration
di Kool and The Gang,
Come on Eileen dei
Dexys Midnight Runners,
I Wanna Dance With
Somebody di Whitney
Houston e Total
Eclipse of the Heart
di Bonnie Tyler, tutti
raccolti in questo
splendido revival firmato
Peter Kleine Schaars.
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1135409-140 Composed by Clayd...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1135409-140
Composed by Claydes
Smith, Dennis Thomas,
Earl Toon, Eumir Deadato,
George Brown, George
Merrill, James Patterson,
James Taylor, Jim
Steinman, Kevin Adams,
Kevin Rowland, Robert
Bell, Robert Mickens,
Ronald Bell, and Shannon
Rubicam. Arranged by
Peter Kleine Schaars.
Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2012. 28 pages. De Haske
Publications #DHP
1135409-140. Published by
De Haske Publications
(BT.DHP-1135409-140).
9x12 inches.
English-German-French-Dut
ch.
Which are your
favourite hits from the
1980s? There are
certainly many answers to
this question - but many
responses are likely to
contain these songs: Kool
and the Gang’s
disco classic
Celebration,
Come On Eileen by
Dexy’s Midnight
Runners, Whitney
Houston’s I
Wanna Dance With
Somebody and Total
Eclipse of the Heart
by Bonnie Tyler. These
four numbers have been
arranged by Peter Kleine
Schaars as a fantastic
’80s retro medley
for concert
band.
Wat zijn uw
lievelingshits van de
jaren tachtig? Daarop
kunt u natuurlijk met
vele mogelijkheden
antwoorden. Maar de kans
is groot dat u sowieso
een van onderstaande hits
noemt! In The Ultimate
80’s Party
Hits verwerkte Peter
Kleine Schaars de
volgende
‘toffe’
nummers:
Celebration van
Cool and the Gang,
Come on Eileen van
de Dexys Midnight
Runners, I Wanna Dance
with Somebody van
Whitney Houston en
Total Eclipse of the
Heart van Bonnie
Tyler.
Was sind
ihre Lieblings-Hits aus
den 80er-Jahren? Die
Antwort auf diese Frage
fällt sicherlich
vielfältig aus -
ebenso sicher werden aber
diese vier Lieder sehr
häufig dabei sein: der
Disco-Hit
Celebration von
Kool and the Gang,
Come on Eileen von
den Dexys Midnight
Runners, I Wanna Dance
with Somebody von
Whitney Houston und
Total Eclipse of the
Heart von Bonnie
Tyler. Diese vier Titel
wurden von Peter Kleine
Schaars zu einem
wunderbaren
80’s-Revival-Medle
y für Blasorchester
zusammengefügt.
Quali sono le
vostre canzoni preferite
degli anni ’80? A
questa domanda, le
risposte sono sicuramente
le più svariate; ci
sono però delle
canzoni che si
posizionano ai primi
posti per tutti. Si
tratta di veri e propri
successi intramontabili,
gemme del repertorio,
come Celebration
di Kool and The Gang,
Come on Eileen dei
Dexys Midnight Runners,
I Wanna Dance With
Somebody di Whitney
Houston e Total
Eclipse of the Heart
di Bonnie Tyler, tutti
raccolti in questo
splendido revival firmato
Peter Kleine Schaars.
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2
SKU: CF.YPS204
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+3+1+1+4+16+2+4 pages.
Duration 2 minutes, 24
seconds. Carl Fischer
Music #YPS204. Published
by Carl Fischer Music
(CF.YPS204).
ISBN
9781491152249. UPC:
680160909742. Key: D
minor.
Avalonâ€
Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King!
Avalon Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2
SKU: CF.YPS204F
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#YPS204F. Published by
Carl Fischer Music
(CF.YPS204F).
ISBN
9781491152928. UPC:
680160910427.
Avalo
n–Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King!
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125256-140 A Tone Poem fo...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1125256-140
A Tone Poem for Wind
Orchestra. Composed
by Satoshi Yagisawa.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2012. 28 pages.
De Haske Publications
#DHP 1125256-140.
Published by De Haske
Publications
(BT.DHP-1125256-140).
9x12 inches.
English-German-French-Dut
ch.
Like the
Eagle, We Soar and
Rise was commissioned
by Yuying Secondary
School Concert Band and
Yuying Alumni Association
for the 2010 centenary of
the school’s
foundation. The piece was
named by a friend of the
composer named Steven
Phua, who originally
suggested commissioning a
new piece to Satoshi
Yagisawa. The piece
furthermore takes its
name from the text of the
Yuying Secondary School
song.This composition is
based on three different
concepts: the first one
demonstrates ‘The
founders’ passion
for education’;
the second concept
illustrates
‘Hardship in war
time’; the third
one ‘To the
future’ describes
the inner strength people
find to overcome
struggles. Thispiece
concludes with a fanfare,
which is the sound of
hope that leads to a
brighter future in a
positive direction.The
world premiere of this
piece was conducted by
Faizal Bin Othman, who is
one of the leading
educators in Singapore,
and was performed by the
Yuying Secondary School
Concert Band.
Like the
Eagle, We Soar and
Rise is geschreven in
opdracht van de Yuying
Secondary School Concert
Band en de Yuying Alumni
Association, ter
gelegenheid van het
honderdjarig bestaan van
de school in 2010. Het
werk kreeg zijnnaam van
een vriend van de
componist, Steven Phua,
van wie in eerste
instantie het voorstel
kwam een nieuw werk bij
Satoshi Yagisawa in
opdracht te geven. De
titel is gebaseerd op de
tekst van het schoollied
van de Yuying
SecondarySchool. De
compositie is gestoeld op
drie verschillende
gegevens: het eerste
weerspiegelt de liefde
voor onderwijs van de
oprichters destijds, het
tweede behelst de
ontberingen in
oorlogstijd, en het derde
betreft de kijk op
detoekomst -waarbij de
innerlijke kracht van
mensen helpt
moeilijkheden te
overwinnen. Het werk
eindigt met een fanfare:
de klank van hoop die vol
optimisme een betere
toekomst verkondigt. De
wereldpremière werd
uitgevoerd door de
YuyingSecondary School
Concert Band, onder
leiding van Faizal Bin
Othman, een van de meest
gerenommeerde
muziekpedagogen in
Singapore.
Like
the Eagle, We Soar and
Rise war ein
Kompositionsauftrag des
Blasorchesters der Yuying
Secondary School und des
Yuying-Alumni-Verbandes
(Singapur). Anlass des
Auftrags war das
hundertjährige
Jubiläum der
Schulgründung im Jahr
2010. Der Werktitel
stammt von einem Freund
des Komponisten namens
Steven Phua, der auch die
Idee hatte, ein neues
Stück von Satoshi
Yagiswa schreiben zu
lassen. Außerdem
bezieht sich der Titel
auf den Text des
Schulliedes.Dieses Werk
basiert auf drei
unterschiedlichen
Konzepten: Das erste
spiegelt die Leidenschaft
der Gründer für das
Lehren wider; das zweite
Konzept beschreibt die
Not in Kriegszeiten; das
dritte Konzept mit dem
TitelTo the Future“
(zur Zukunft hingewandt)
handelt von der inneren
Stärke, die Menschen
entwickeln, um
Schwierigkeiten zu
überwinden. Das Werk
endet mit einer Fanfare,
die der Hoffnung auf eine
bessere Zukunft Klang
verleiht.Die Weltpremiere
von Like the Eagle, We
Soar and Rise wurde
von Faizal Bin Othman,
einem der führenden
Lehrbeauftragten von
Singapur, dirigiert. Es
spielte das Blasorchester
der Yuying Secondary
School.
La movimentata
storia di un istituto
scolastico in occasione
dei festeggiamenti per il
suo centenario, ha spinto
Satoshi Yagisawa a
comporre questo brano
basandosi su tre idee ben
distinte: la passione per
lo studio, la sofferenza
durante i periodi di
guerra e la speranza in
un futuro migliore,
simboleggiato dalla
fanfara finale.
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125256-010 A Tone Poem fo...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1125256-010
A Tone Poem for Wind
Orchestra. Composed
by Satoshi Yagisawa.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2012. De
Haske Publications #DHP
1125256-010. Published by
De Haske Publications
(BT.DHP-1125256-010).
9x12 inches.
English-German-French-Dut
ch.
Like the
Eagle, We Soar and
Rise was commissioned
by Yuying Secondary
School Concert Band and
Yuying Alumni Association
for the 2010 centenary of
the school’s
foundation. The piece was
named by a friend of the
composer named Steven
Phua, who originally
suggested commissioning a
new piece to Satoshi
Yagisawa. The piece
furthermore takes its
name from the text of the
Yuying Secondary School
song.This composition is
based on three different
concepts: the first one
demonstrates ‘The
founders’ passion
for education’;
the second concept
illustrates
‘Hardship in war
time’; the third
one ‘To the
future’ describes
the inner strength people
find to overcome
struggles. Thispiece
concludes with a fanfare,
which is the sound of
hope that leads to a
brighter future in a
positive direction.The
world premiere of this
piece was conducted by
Faizal Bin Othman, who is
one of the leading
educators in Singapore,
and was performed by the
Yuying Secondary School
Concert Band.
Like the
Eagle, We Soar and
Rise is geschreven in
opdracht van de Yuying
Secondary School Concert
Band en de Yuying Alumni
Association, ter
gelegenheid van het
honderdjarig bestaan van
de school in 2010. Het
werk kreeg zijnnaam van
een vriend van de
componist, Steven Phua,
van wie in eerste
instantie het voorstel
kwam een nieuw werk bij
Satoshi Yagisawa in
opdracht te geven. De
titel is gebaseerd op de
tekst van het schoollied
van de Yuying
SecondarySchool. De
compositie is gestoeld op
drie verschillende
gegevens: het eerste
weerspiegelt de liefde
voor onderwijs van de
oprichters destijds, het
tweede behelst de
ontberingen in
oorlogstijd, en het derde
betreft de kijk op
detoekomst -waarbij de
innerlijke kracht van
mensen helpt
moeilijkheden te
overwinnen. Het werk
eindigt met een fanfare:
de klank van hoop die vol
optimisme een betere
toekomst verkondigt. De
wereldpremière werd
uitgevoerd door de
YuyingSecondary School
Concert Band, onder
leiding van Faizal Bin
Othman, een van de meest
gerenommeerde
muziekpedagogen in
Singapore.
Like
the Eagle, We Soar and
Rise war ein
Kompositionsauftrag des
Blasorchesters der Yuying
Secondary School und des
Yuying-Alumni-Verbandes
(Singapur). Anlass des
Auftrags war das
hundertjährige
Jubiläum der
Schulgründung im Jahr
2010. Der Werktitel
stammt von einem Freund
des Komponisten namens
Steven Phua, der auch die
Idee hatte, ein neues
Stück von Satoshi
Yagiswa schreiben zu
lassen. Außerdem
bezieht sich der Titel
auf den Text des
Schulliedes.Dieses Werk
basiert auf drei
unterschiedlichen
Konzepten: Das erste
spiegelt die Leidenschaft
der Gründer für das
Lehren wider; das zweite
Konzept beschreibt die
Not in Kriegszeiten; das
dritte Konzept mit dem
TitelTo the Future“
(zur Zukunft hingewandt)
handelt von der inneren
Stärke, die Menschen
entwickeln, um
Schwierigkeiten zu
überwinden. Das Werk
endet mit einer Fanfare,
die der Hoffnung auf eine
bessere Zukunft Klang
verleiht.Die Weltpremiere
von Like the Eagle, We
Soar and Rise wurde
von Faizal Bin Othman,
einem der führenden
Lehrbeauftragten von
Singapur, dirigiert. Es
spielte das Blasorchester
der Yuying Secondary
School.
La movimentata
storia di un istituto
scolastico in occasione
dei festeggiamenti per il
suo centenario, ha spinto
Satoshi Yagisawa a
comporre questo brano
basandosi su tre idee ben
distinte: la passione per
lo studio, la sofferenza
durante i periodi di
guerra e la speranza in
un futuro migliore,
simboleggiato dalla
fanfara finale.
Concert band - Grade 4 SKU: MH.1-59913-070-X Composed by Timothy Broege. ...(+)
Concert band - Grade 4
SKU:
MH.1-59913-070-X
Composed by Timothy
Broege. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 10:00. Published
by Manhattan Beach Music
(MH.1-59913-070-X).
ISBN
9781599130705.
Prog
ram Notes: Stylistically
diverse -- tranquil,
spirited pastoral,
sensitive, energetic --
exhibiting a remarkable
palette, the five
movements of SINFONIA IX
form a unique symphonic
statement. Movement I,
Prelude, is about
contrasts: A lazy,
smooth, motive in brasses
alternates with, and then
joins, an active and
detached motive in
woodwinds. The spirited
Movement II, Morley's
Ghost, is an intricate
canonic collage and
homage to that venerable
theoretician & composer,
Thomas Morley. By
contrast, movement III,
Dialog, speaks in a
relaxed, lyrical, and
pastoral language as it
develops its gently
rising and falling
motives. Movement IV,
Waltz, innocently
celebrates the joys of
childhood with a lilting
melody and rondo form.
For the rousing Finale,
Movement V begins with a
martial call of
repeated-notes, heralding
a headstrong journey of
power and excitement.
Like a number of the
composer's other works,
SINFONIA IX is based on
earlier material: A brass
sextet, written in 1966
when the composer was
nineteen years old, forms
the raw material for the
first, third and fifth
movements, while a later
work, Martin's Waltz (a
children's piece for
flutes and clarinets
composed in 1975) is the
basis of the fourth
movement. The second
movement, however, is a
fanciful contrapuntal
commentary on Thomas
Morley's 16th-century
canzonet, Fire and
Lightning. SINFONIA IX is
dedicated to John
Raforth, a distinguished
band director and music
educator at West High
School in Madison,
Wisconsin. The work was
commissioned by his
friends and former
students, and was
completed in 1977. Its
first publication some
twenty years later is a
result of the increasing
attention paid by
university band directors
to the earlier Sinfonias,
particularly Sinfonia III
(Hymns and Dances);
Sinfonia V (Sinfonia
Sacra et Profana); and
now, Sinfonia IX. Whereas
the first two works are
wind ensemble
compositions that have
been championed equally
by the concert band,
Sinfonia IX is the
composer's first
college-level Sinfonia
written especially for
concert band. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1-2, 2
Oboe, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 3 Bb
Bass Clarinet, 2 Bassoon,
4 Eb Alto Saxophone, 2 Bb
Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1-2, 2 F Horn 3-4, 3
Trombone 1, 3 Trombone 2,
3 Baritone B.C., 2
Baritone T.C., 4 Tuba, 3
String Bass, 2 Timpani, 5
Percussion.
Concert band - Grade 4 SKU: MH.1-59913-071-8 Composed by Timothy Broege. ...(+)
Concert band - Grade 4
SKU:
MH.1-59913-071-8
Composed by Timothy
Broege. Suitable for high
school, community, and
college bands. Conductor
Full Score. Duration
10:00. Published by
Manhattan Beach Music
(MH.1-59913-071-8).
ISBN
9781599130712.
Prog
ram Notes: Stylistically
diverse -- tranquil,
spirited pastoral,
sensitive, energetic --
exhibiting a remarkable
palette, the five
movements of SINFONIA IX
form a unique symphonic
statement. Movement I,
Prelude, is about
contrasts: A lazy,
smooth, motive in brasses
alternates with, and then
joins, an active and
detached motive in
woodwinds. The spirited
Movement II, Morley's
Ghost, is an intricate
canonic collage and
homage to that venerable
theoretician & composer,
Thomas Morley. By
contrast, movement III,
Dialog, speaks in a
relaxed, lyrical, and
pastoral language as it
develops its gently
rising and falling
motives. Movement IV,
Waltz, innocently
celebrates the joys of
childhood with a lilting
melody and rondo form.
For the rousing Finale,
Movement V begins with a
martial call of
repeated-notes, heralding
a headstrong journey of
power and excitement.
Like a number of the
composer's other works,
SINFONIA IX is based on
earlier material: A brass
sextet, written in 1966
when the composer was
nineteen years old, forms
the raw material for the
first, third and fifth
movements, while a later
work, Martin's Waltz (a
children's piece for
flutes and clarinets
composed in 1975) is the
basis of the fourth
movement. The second
movement, however, is a
fanciful contrapuntal
commentary on Thomas
Morley's 16th-century
canzonet, Fire and
Lightning. SINFONIA IX is
dedicated to John
Raforth, a distinguished
band director and music
educator at West High
School in Madison,
Wisconsin. The work was
commissioned by his
friends and former
students, and was
completed in 1977. Its
first publication some
twenty years later is a
result of the increasing
attention paid by
university band directors
to the earlier Sinfonias,
particularly Sinfonia III
(Hymns and Dances);
Sinfonia V (Sinfonia
Sacra et Profana); and
now, Sinfonia IX. Whereas
the first two works are
wind ensemble
compositions that have
been championed equally
by the concert band,
Sinfonia IX is the
composer's first
college-level Sinfonia
written especially for
concert band. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1-2, 2
Oboe, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 3 Bb
Bass Clarinet, 2 Bassoon,
4 Eb Alto Saxophone, 2 Bb
Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1-2, 2 F Horn 3-4, 3
Trombone 1, 3 Trombone 2,
3 Baritone B.C., 2
Baritone T.C., 4 Tuba, 3
String Bass, 2 Timpani, 5
Percussion.
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 6. Conductor
Full Score. Duration
21:00. Published by
Manhattan Beach Music.
Dancing on the Seashore Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 4 SKU: BT.DHP-0880105-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 4
SKU:
BT.DHP-0880105-015
Composed by Jan
Hadermann. Applause
Series. Original Light
Music. Set (Score &
Parts). Composed 1988. De
Haske Publications #DHP
0880105-015. Published by
De Haske Publications
(BT.DHP-0880105-015).
The bubbly
rhythms in Jan
Haderman’s Dancing
on the Seashore will wow
and amaze musicians and
audiences alike. The
percussionist, as well as
brass players, have ample
opportunity to prove they
can hold their own as
they step into the
spotlight.
Wat is
er mooier dan dansen op
het strand? Neem uw
publiek en muzikanten mee
naar zee met de
sprankelende ritmes van
Dancing on the Seashore!
Het perfecte werk om uw
slagwerk en koper hun
solistische kwaliteiten
te laten
tonen.
Die
spritzigen Rhythmen in
Jan Hadermans Tanz am
Strand“ werden Ihre
Musiker gleichermaßen
wie das Publikum
begeistern. Schlagzeuger
und Blechbläser
können in
verschiedenen Passagen
von Dancing on the
Seashore ihre
solistischen
Qualitäten unter
Beweis stellen.
Ritmi
incandescenti sono i
protagonisti di questo
brano che entusiasmer il
pubblico. Dancing on the
Seashore è un brano
ritmato e dinamico che si
caratterizza per
l’utilizzo di un
unico motivo melodico
sviluppato a più
riprese dalle diverse
sezioni della banda. I
motivi ritmici, molto
accentuati, costituiscono
un elemento fluido che
unisce le varie parti
dell’organico.
Concert Band/Harmonie - Grade 4 SKU: BT.1165-04-140-MS Arranged by Toshio...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1165-04-140-MS
Arranged by Toshio
Mashima. New Sounds for
Concert Band. Pop & Rock.
Score Only. Composed
2004. Music Sales
#1165-04-140 MS.
Published by Music Sales
(BT.1165-04-140-MS).
Can't Take
My Eyes Off You war
ein Riesenerfolg für
das Duo Bob Crewe und Bob
Gaudio. Bekannte
Künstler, wie unter
anderem Diana Ross,
Gloria Gaynor und
später die Pet Shop
Boys, brachten den Titel
über drei Jahrzehnte
hinweg immer wieder in
die Hitparaden und die
Menschen in den Discos
zum Tanzen. Toshio
Mashima bearbeitete den
unwiderstehlich flotten
Popsongs für
Blasorchester. Bei diesem
Titel kann niemand still
sitzen!
There have been
many arrangements of
Beatles’ songs for
various kinds of
ensembles, so rather than
just producing a further
medley of Beatles’
hits, Peter Kleine
Schaars has added a new
twist to them with this
excellent new work. All
You Need Is Love and With
a Little Help from my
Friends pass by in a
swing march, Michelle
sounds like a newly
composed ballad and When
I’m Sixty Four is
played in Dixie swing
style. A Hard
Day’s Night is
transformed into a funk
theme with a samba
interlude, Let It Be into
a slow march, and
Ob-La-Di, Ob-La-Da in a
rock beat. Experience The
Beatles as you have never
heard them before.
By Traditional. Arranged by Michael Story and Michael Story. Concert Band. Conce...(+)
By Traditional. Arranged
by Michael Story and
Michael Story. Concert
Band. Concert Band.
Belwin Beginning Band.
Christmas; Winter. Grade
1. Conductor Score and
Parts. 128 pages
Town of the Seven Hills Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1175782-010 Suite for Co...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1175782-010
Suite for Concert
Band. Composed by
Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece. Set
(Score & Parts). Composed
2017. De Haske
Publications #DHP
1175782-010. Published by
De Haske Publications
(BT.DHP-1175782-010).
English-German-French-
Dutch.
This
4-movement suite tells
the story of the
beautiful French town
‘Tulle’ that
was built on seven hills,
just like Rome and
Lisbon. The composer
depicts the history of
the town, as well as
important events such as
the bloodbath during
World War II, the fabric
‘tulle’
after which the town is
named and the festive
annual fair. Since Tulle
is also known for the
production of accordions,
the composer added an
‘ad libitum’
accordion part. A really
charming and stylish
concert or contest
work!
Deze suite
in vier delen vertelt het
verhaal van het mooie
Franse stadje Tulle, dat
net als Rome en Lissabon
gebouwd is op zeven
heuvels. De componist
beschrijft de
geschiedenis van Tulle,
met aandacht voor
belangrijke
gebeurtenissen als het
bloedbad in de Tweede
Wereldoorlog, de
fijnmazige stof tule, die
naar het stadje genoemd
is, en een feestelijke
jaarkermis. Omdat Tulle
ook bekendstaat om de
accordeons die er
vervaardigd worden, heeft
de componist een ad
libitum
accordeonpartij bij dit
werk geschreven. Een
charmant en stijlvol
concert- of
wedstrijdwerk!
Questa suite
composta di 4 movimenti
racconta la storia della
bellissima citt francese
di “Tulleâ€
costruita su sette
colline, come Roma e
Lisbona. Il compositore
racconta la storia della
citt e i suoi eventi
importanti come il bagni
di sangue durante la
Seconda Guerra Mondiale,
la fabbrica di
“tulleâ€, dopo
i quali la citt è
stata chiamata e la fiera
annuale estiva. Dal
momento che Tulle è
noto anche per la
produzione di
fisarmoniche, il
compositore ha aggiunto
una parte di fisarmonica
“ad libitumâ€.
Un concerto veramente aff
ascinante ed elegante o
un brano adatto ad un
concorso.
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1175782-140 Suite for Co...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1175782-140
Suite for Concert
Band. Composed by
Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2017. De Haske
Publications #DHP
1175782-140. Published by
De Haske Publications
(BT.DHP-1175782-140).
English-German-French-
Dutch.
This
4-movement suite tells
the story of the
beautiful French town
‘Tulle’ that
was built on seven hills,
just like Rome and
Lisbon. The composer
depicts the history of
the town, as well as
important events such as
the bloodbath during
World War II, the fabric
‘tulle’
after which the town is
named and the festive
annual fair. Since Tulle
is also known for the
production of accordions,
the composer added an
‘ad libitum’
accordion part. A really
charming and stylish
concert or contest
work!
Deze suite
in vier delen vertelt het
verhaal van het mooie
Franse stadje Tulle, dat
net als Rome en Lissabon
gebouwd is op zeven
heuvels. De componist
beschrijft de
geschiedenis van Tulle,
met aandacht voor
belangrijke
gebeurtenissen als het
bloedbad in de Tweede
Wereldoorlog, de
fijnmazige stof tule, die
naar het stadje genoemd
is, en een feestelijke
jaarkermis. Omdat Tulle
ook bekendstaat om de
accordeons die er
vervaardigd worden, heeft
de componist een ad
libitum
accordeonpartij bij dit
werk geschreven. Een
charmant en stijlvol
concert- of
wedstrijdwerk!
Questa suite
composta di 4 movimenti
racconta la storia della
bellissima citt francese
di “Tulleâ€
costruita su sette
colline, come Roma e
Lisbona. Il compositore
racconta la storia della
citt e i suoi eventi
importanti come il bagni
di sangue durante la
Seconda Guerra Mondiale,
la fabbrica di
“tulleâ€, dopo
i quali la citt è
stata chiamata e la fiera
annuale estiva. Dal
momento che Tulle è
noto anche per la
produzione di
fisarmoniche, il
compositore ha aggiunto
una parte di fisarmonica
“ad libitumâ€.
Un concerto veramente aff
ascinante ed elegante o
un brano adatto ad un
concorso.
Richard Rodgers in Concert Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Concert Band Accompaniment. Arranged by Paul Murtha, Mac Huff. Score and full se...(+)
Concert Band
Accompaniment. Arranged
by Paul Murtha, Mac Huff.
Score and full set of
parts. Young Band
(Concert Band). Grade 3.
Size 9x12 inches.
Published by Hal Leonard.
Music of the Spheres Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-028-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.AMP-028-140
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2005. 68
pages. Anglo Music Press
#AMP 028-140. Published
by Anglo Music Press
(BT.AMP-028-140).
English-German-French-
Dutch.
The piece
reflects the composer's
fascination with the
origins of the universe
and deep space in
general. The title comes
from a theory, formulated
by Pythagoras, that the
cosmos was ruled by the
same laws he had
discovered that govern
the ratios of note
frequencies of the
musical scale.
(‘Harmonia’
in Ancient Greek, which
means scale or tuning
rather than harmony -
Greek music was
monophonic). He also
believed that these
ratios corresponded to
the distances of the six
known planets from the
sun and that the planets
each produced a musical
note which combined to
weave a continuous
heavenly melody (which,
unfortunately, we humans
cannot hear). In this
work, these six notesform
the basis of the sections
MUSIC OF THE SPHERES and
HARMONIA. The pieces
opens with a horn solo
called t = 0, a name
given by some scientists
to the moment of the Big
Bang when time and space
were created, and this is
followed by a depiction
of the BIG BANG itself,
as the entire universe
bursts out from a single
point. A slower section
follows called THE LONELY
PLANET which is a
meditation on the
incredible and unlikely
set of circumstances
which led to the creation
of the Earth as a planet
that can support life,
and the constant search
for other civilisations
elsewhere in the
universe. ASTEROIDS AND
SHOOTING STARS depicts
both the benign and
dangerous objects that
are flying through space
and which constantly
threaten our planet, and
the piece ends with THE
UNKNOWN, leaving in
question whether our
continually expanding
exploration of the
universe will eventually
lead to enlightenment or
destruction.
Dit
werk weerspiegelt de
fascinatie van de
componist voor het
heelal. Het begint met
een hoornsolo met de naam
t = 0, waarmee
sommige wetenschappers de
oerknal aanduiden. Dan
volgt een weergave van de
oerknal zelf. Het
volgendegedeelte, The
Lonely Planet, is een
meditatie over het
ongelooflijke samenspel
van omstandigheden dat
leidde tot het ontstaan
van de Aarde.
Asteroids and Shooting
Stars beschrijft
objecten in de ruimte.
Het werkeindigt met
The Unknown,
waarmee we in het
ongewisse blijven over de
gevolgen van onze verdere
verkenning van het
universum. In 2005 won
Philip Sparke met
Music of the
Spheres de National
Band Association/William
D.Revelli Memorial Band
Composition
Contest.
Dieses
Werk handelt vom Weltall
und unserem Platz im
Universum, auf dem
Weltbild von Pythagoras
basierend. Am einfachsten
lässt sich diese
außergewöhnliche
Komposition wohl als
Filmmusik ähnliches
Stück beschreiben ?
Musik zu einem
Science-Fiction-Film
eines Ripley Scott oder
Steven Spielberg oder
auch Musik, wie sie ein
John Williams oder Danny
Elfman schreiben
würde: absolut
stimmungsvoll, brillant
instrumentiert mit
Klangfarben, Strukturen,
Effekten und Timbres,
gemischt mit
fließenden
musikalischen Linien, die
die Substanz des Themas
auf den Punkt treffen.
Dieses atemberaubende
neue Stück hebt Ihr
Blasorchester auf ein
höheres Niveau, sowohl
im technischen als
auchmusikalischen Sinn.
Music of the
Spheres evidenza il
fascino che le origini
dell’universo
esercitano su Philip
Sparke. Il titolo
proviene da una teoria
del matematico greco
Pitagora, secondo la
quale il cosmo è retto
dalle stesse leggi che
governano i rapporti di
frequenza tra le note
della scala musicale.
Questa composizione
inizia con un assolo di
corno chiamato t = 0,
nozione che definisce il
momento del big-bang.
The Lonely Planet
(Il pianeta solitario)
è una meditazione
sulle circostanze che
hanno portato alla
creazione della terra.
Asteroids and Shooting
Stars (Asteroidi e
Stelle cadenti) descrive
i molteplici oggetti che
si muovono nello spazio e
che rappresentano
unrischio per il nostro
pianeta. Le battute
finali portano verso
l’ignoto (The
Unknown) sollevando
una domanda la cui
risposta resta in
sospeso: la nostra
continua avanzata
nell’esplorazione
dell’Universo
porter un giorno alla
scoperta o alla
distruzione?
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
African Scenes Orchestre d'harmonie - Débutant De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 1.5 SKU: BT.DHP-1135407-015 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 1.5
SKU:
BT.DHP-1135407-015
Composed by Eric J. Hovi.
De Haske Flexible Series.
Original Light Music. Set
(Score and Parts).
Composed 2012. De Haske
Publications #DHP
1135407-015. Published by
De Haske Publications
(BT.DHP-1135407-015).
9x12 inches.
English-German-French-Dut
ch.
This work in
four sections is written
for a four-part variable
instrumentation together
with drums. We start
off_x001E_ in the
_x001F_first movement on
an adventurous safari. In
the second and third
movements weâ??re on the
hunt for great beasts of
Africa, which can also be
heard with all their
stomping, screeching and
yelling. A wonderful
musical safari that all
musicians and listeners
alike will enjoy!
Dit werk voor
vierstemmige variabele
bezetting met slagwerk
beschrijft in vier
deeltjes verschillende
taferelen van het
Afrikaanse continent. In
het eerste deel gaan we
op safari. In het tweede
deel gaan we op zoek naar
een olifant, een
neushoorn, een luipaard
een leeuw en een buffel.
Welke reptielen kunnen we
ontdekken in het derde
deel? En hoe kan het
beter stoppen dan met een
â??Monkey Rockâ???
Tijdens het werk kun je
actief verschillende
dierengeluiden nabootsen,
waardoor je je echt in de
jungle
waant!
Dieses
vierteilige Werk ist
für eine vierstimmig
variable Besetzung und
Schlagzeug
instrumentiert. Der Titel
spricht schon für
sich: In African
Scenes spielt der
schwarze Kontinent die
Hauptrolle. Im ersten
Satz starten wir zu einer
abenteuerlichen Safari.
Im zweiten Teil geht es
auf die Suche nach den
?Big Fiveâ?? - den
groÃ?en Fünfâ??:
Elefant, Nashorn,
Leopard, Löwe und
Büffel. Im dritten
Satz begegnen wir
allerlei unheimlichen
Reptilien, bevor das Werk
fröhlich mit dem
?Monkey Rockâ?? endet,
in dem auch ein Affenruf
vertont
wird.
Questo
brano in quattro parti
è pensato per
strumentazione variabile
a quattro voci e
percussioni. Il titolo
parla da solo: in
African Scenes il
continente nero riveste
il ruolo principale. Il
primo movimento vede i
protagonisti iniziare un
avventuroso safari. Nella
seconda parte inizia la
ricerca dei
â??Big-Fiveâ?:
elefante, rinoceronte,
leopardo, leone e bufalo.
Il terzo movimento si
caratterizza
dallâ??inaspettato
incontro con rettili
rari, e precede il quarto
e ultimo movimento.
Monkey Rock, in
stile più giocoso,
rappresenta lâ??incontro
con una simpatica e
vivace scimmietta.
African Scenes Orchestre d'harmonie [Conducteur] - Débutant De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 1.5 SKU: BT.DHP-1135407-215 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 1.5
SKU:
BT.DHP-1135407-215
Composed by Eric J. Hovi.
De Haske Flexible Series.
Original Light Music.
Score Only. Composed
2012. 10 pages. De Haske
Publications #DHP
1135407-215. Published by
De Haske Publications
(BT.DHP-1135407-215).
9x12 inches.
English-German-French-Dut
ch.
This work in
four sections is written
for a four-part variable
instrumentation together
with drums. We start
off_x001E_ in the
_x001F_first movement on
an adventurous safari. In
the second and third
movements we’re on
the hunt for great beasts
of Africa, which can also
be heard with all their
stomping, screeching and
yelling. A wonderful
musical safari that all
musicians and listeners
alike will enjoy!
Dit werk voor
vierstemmige variabele
bezetting met slagwerk
beschrijft in vier
deeltjes verschillende
taferelen van het
Afrikaanse continent. In
het eerste deel gaan we
op safari. In het tweede
deel gaan we op zoek naar
een olifant, een
neushoorn, een luipaard
een leeuw en een buffel.
Welke reptielen kunnen we
ontdekken in het derde
deel? En hoe kan het
beter stoppen dan met een
‘Monkey
Rock’? Tijdens het
werk kun je actief
verschillende
dierengeluiden nabootsen,
waardoor je je echt in de
jungle
waant!
Dieses
vierteilige Werk ist
für eine vierstimmig
variable Besetzung und
Schlagzeug
instrumentiert. Der Titel
spricht schon für
sich: In African
Scenes spielt der
schwarze Kontinent die
Hauptrolle. Im ersten
Satz starten wir zu einer
abenteuerlichen Safari.
Im zweiten Teil geht es
auf die Suche nach den
‚Big Five’ -
den großen
Fünf“: Elefant,
Nashorn, Leopard, Löwe
und Büffel. Im dritten
Satz begegnen wir
allerlei unheimlichen
Reptilien, bevor das Werk
fröhlich mit dem
‚Monkey
Rock’ endet, in
dem auch ein Affenruf
vertont
wird.
Questo
brano in quattro parti
è pensato per
strumentazione variabile
a quattro voci e
percussioni. Il titolo
parla da solo: in
African Scenes il
continente nero riveste
il ruolo principale. Il
primo movimento vede i
protagonisti iniziare un
avventuroso safari. Nella
seconda parte inizia la
ricerca dei
“Big-Fiveâ€:
elefante, rinoceronte,
leopardo, leone e bufalo.
Il terzo movimento si
caratterizza
dall’inaspettato
incontro con rettili
rari, e precede il quarto
e ultimo movimento.
Monkey Rock, in
stile più giocoso,
rappresenta
l’incontro con una
simpatica e vivace
scimmietta.
Composed by Adam Gorb.
Arranged by Michael
Brand. Band Music. Score
only. Duration 4:20.
Published by G & M Brand
Music Publishers
(CN.S11242).
Scenes from an
English Landscape is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end of
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax.
This is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. I
imagined a community of
villagers coming out of
church and filling a
village square with their
vibrant presence. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end o
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax. Adam Gorb was
born in Cardiff and
started composing at the
age of ten. His first
work broadcast on
national radio was
written when he was
fifteen. He studied at
Cambridge University
(1977-1980) and the Royal
Academy of Music
(1991-1993) where he
graduated with the
highest honours including
the Principal's Prize. He
has been on the staff at
the London College of
Music and Media, the
junior Academy of the
Royal Academy of Music
and, since 2000 he has
been the Head of School
of Composition at the
Royal Northern College of
Music in Manchester .
International recognition
came in 1994 with the US
Walter Beeler Prize for
his work Metropolis .
With it began what has
developed into probably
the most important wind
ensemble catalogue by a
contemporary composer,
ranging from extremely
challenging to the most
accessible, at all
technical levels, seized
on by players
internationally, widely
recorded and now
absolutely central to the
world's wind repertoire.
Equally important though
are his works for dance,
and concert pieces like
the chamber orchestral
Weimar , the Violin
Sonata , a Clarinet
Concerto for the Royal
Liverpool Philharmonic
Orchestra and Diaspora
for strings (for the
Goldberg Ensemble).
Deceptively mainstream at
first glance, they
display the same
inventive brilliance,
pulsating sound world,
striking use of rhythm
and an undogmatic absence
of stylistic hang-ups to
embrace jazz and
serialism in works where
power, poetry, irony and
pathos, often underlaid
by a theatrical and
deeply subversive
element, coalesce in an
integrated, highly
individual musical voice.
Gorb is also not afraid
to draw on the vivid
musical heritage of his
Jewish roots, sometimes
directly, often in a more
subsumed or radically
creative way. The crucial
and consistent feature of
Gorb's work though is
that it communicates
strongly without
patronizing players or
audiences. He firmly
believes that if
contemporary music - any
music - does not impact
on listeners then its
message is irrelevant; it
is lost.
Whistle While You Work Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053972-140 From Snow Whit...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053972-140
From Snow White and
the Seven Dwarfs.
Arranged by Toshio
Mashima. New Sounds for
Concert Band. Pop & Rock.
Score Only. Composed
2005. 28 pages. De Haske
Publications #DHP
1053972-140. Published by
De Haske Publications
(BT.DHP-1053972-140).
9x12 inches.
The
1937 Walt Disney-film
Snow White and the Seven
Dwarfs has fascinated and
touched many generations
with its unforgettable
fairy tale figures. The
timeless music is also
captivating with the
catchy song Whistle While
You Work being a song
know by young and old
alike throughout the
world. This version for
concert band will ensure
your audience leave the
concert hall with a
spring in their step!
De Walt
Disney-film Snow White
and the Seven Dwarfs
(Sneeuwwitje en de
zeven dwergen) uit
1937 heeft met zijn
onvergetelijke
sprookjespersonages al
verschillende generaties
geboeid en vertederd. Ook
de tijdloze muziekis nog
altijd de moeite waard:
de aanstekelijke song
Whistle While You
Work brengt de
luisteraar meteen in een
goed
humeur!
Whistle
While You Work ist
eines der bezaubernden
Lieder aus dem
Walt-Disney-
Filmklassiker
Schneewittchen von
1937.
Schneewittchen war
weltweit der absolut
erfolgreichste Film der
30er Jahre und wurde erst
von Vom Winde
verweht
übertroffen. Mit
Ich pfeif ein kleines
Lied, wie der Gesang
der sieben Zwerge in der
deutschen Fassung
heißt, könnaen Sie
nun in einer
unterhaltsamen
Bearbeitung fröhlich
stimmen.
Uno
dei film tra i più
conosciuti
dell’industria
cinematografica,
Biancaneve e i Sette
Nani, primo
lungometraggio della Walt
Disney, ha saputo
catturare
l’immaginazione di
intere generazioni.
L’animazione è
piena di grazia e finezza
e i personaggi, ognuno a
modo proprio, restano
indimenticabili. La
musica è deliziosa e
alcune canzoni tra le
quali Whistle While
You Work sono
divenute inni al
buonumore.
Whistle While You Work Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053972-010 From Snow Whit...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053972-010
From Snow White and
the Seven Dwarfs.
Arranged by Toshio
Mashima. New Sounds for
Concert Band. Pop & Rock.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053972-010. Published by
De Haske Publications
(BT.DHP-1053972-010).
9x12 inches.
The
1937 Walt Disney-film
Snow White and the Seven
Dwarfs has fascinated and
touched many generations
with its unforgettable
fairy tale figures. The
timeless music is also
captivating with the
catchy song Whistle While
You Work being a song
know by young and old
alike throughout the
world. This version for
concert band will ensure
your audience leave the
concert hall with a
spring in their step!
De Walt
Disney-film Snow White
and the Seven Dwarfs
(Sneeuwwitje en de
zeven dwergen) uit
1937 heeft met zijn
onvergetelijke
sprookjespersonages al
verschillende generaties
geboeid en vertederd. Ook
de tijdloze muziekis nog
altijd de moeite waard:
de aanstekelijke song
Whistle While You
Work brengt de
luisteraar meteen in een
goed
humeur!
Whistle
While You Work ist
eines der bezaubernden
Lieder aus dem
Walt-Disney-
Filmklassiker
Schneewittchen von
1937.
Schneewittchen war
weltweit der absolut
erfolgreichste Film der
30er Jahre und wurde erst
von Vom Winde
verweht
übertroffen. Mit
Ich pfeif ein kleines
Lied, wie der Gesang
der sieben Zwerge in der
deutschen Fassung
heißt, könnaen Sie
nun in einer
unterhaltsamen
Bearbeitung fröhlich
stimmen.
Uno
dei film tra i più
conosciuti
dell’industria
cinematografica,
Biancaneve e i Sette
Nani, primo
lungometraggio della Walt
Disney, ha saputo
catturare
l’immaginazione di
intere generazioni.
L’animazione è
piena di grazia e finezza
e i personaggi, ognuno a
modo proprio, restano
indimenticabili. La
musica è deliziosa e
alcune canzoni tra le
quali Whistle While
You Work sono
divenute inni al
buonumore.
I'm So Excited Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1043705-140 Arranged by Peter...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1043705-140
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Original
Light Music. Score Only.
Composed 2004. De Haske
Publications #DHP
1043705-140. Published by
De Haske Publications
(BT.DHP-1043705-140).
The sisters
Ruth, Anita and June
Pointer from West Oakland
in California learned how
to sing in the sixties in
church where their father
was a minister. At the
beginning of the 1970s
they entered the music
business, where they
proved to have a mastery
of many styles -
including rhythm & blues,
jazz, and country.
However, the Pointer
Sisters acquired
international fame at the
beginning of the eighties
with their soul-like pop
music. A great hit was
the up-tempo number
I’m So
Excited, which is
still a success on every
dance floor. This
sparkling arrangement by
Peter Kleine Schaars
certainly provides the
excitement that is
suggested in the
title.
Die
Pastorentöchter Ruth,
Anita und June Pointer
aus Kalifornien lernten
in den 60er-Jahren in der
Kirche ihres Vaters das
Singen. Anfang der
70er-Jahre stiegen sie
ins Musikgeschäft ein
und bewiesen ihr
Können in vielen
Stilen - darunter Rhythm
& Blues, Jazz und
Country. Der
internationale Ruhm kam
jedoch zu Beginn der 80er
mit ihrer soulartig
angehauchten Popmusik.
Ein Riesenhit war I'm
So Excited, heute
noch ein Erfolg auf allen
Tanzflächen. Diese
spritzige Bearbeitung
für Blasorchester
sorgt mit Sicherheit
für Aufregung - das im
Titel versprochene
?excitement!
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.