Ostinati Fanfare [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-020
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Set (Score & Parts). De
Haske Publications #DHP
1115084-020. Published by
De Haske Publications
(BT.DHP-1115084-020).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Ostinati Fanfare [Conducteur] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-120
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Score Only. Composed
2012. 99 pages. De Haske
Publications #DHP
1115084-120. Published by
De Haske Publications
(BT.DHP-1115084-120).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Instruments en Do [Fake Book] - Intermédiaire Sher Music Company
For C instrument. Format: fakebook (spiral bound). With melody, chord names, int...(+)
For C instrument. Format:
fakebook (spiral bound).
With melody, chord names,
introductory text and
black and white photos.
Jazz and Pop. 438 pages.
9x12 inches. Published by
Sher Music Company.
Here I Stand Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
Composed by Larry Shackley. Sacred Anthem, General, Reformation. Octavo. Loren...(+)
Composed by Larry
Shackley. Sacred Anthem,
General, Reformation.
Octavo. Lorenz Publishing
Company #10/4895L.
Published by Lorenz
Publishing Company
(LO.10-4895L).
SATB choir, piano SKU: LO.10-5605L Composed by Lloyd Larson. Choral. Sacr...(+)
SATB choir, piano
SKU:
LO.10-5605L
Composed
by Lloyd Larson. Choral.
Sacred Anthem, General,
Memorial Services.
Octavo. Lorenz Publishing
Company #10/5605L.
Published by Lorenz
Publishing Company
(LO.10-5605L).
ISBN
9780787775131.
As
believers, we need to
always be reminded of the
truths contained in
Romans 8. This stunning
anthem, by Lloyd Larson,
will bring those precious
promises to mind every
time it is presented.
Scored for SATB voices
with organ or piano, and
incorporating the hymn
tune DIADEMATA, this
music is a grand
affirmation of God's
faithfulness to us.
SATB choir, piano SKU: LO.10-5837L Composed by Lloyd Larson. Choral. Sacr...(+)
SATB choir, piano
SKU:
LO.10-5837L
Composed
by Lloyd Larson. Choral.
Sacred Anthem. Octavo.
Lorenz Publishing Company
#10/5837L. Published by
Lorenz Publishing Company
(LO.10-5837L).
ISBN
9780787789862.
Writ
ten in honor of a
friendâ??s courageous
health battle, Carol M.
Hodgeâ??s thoughtful
lyric is the canvas for
this artfully crafted
piece by Lloyd Larson.
Set in a gentle cut time,
the music allows each
section of the ensemble
to showcase long melodic
lines and rich
harmonizations. After an
affirming
fortissimo moment,
the anthem gently
concludes with the
encouraging promise,
â??Godâ??s covenant of
peace abides with
me.â?.
Elegy and Affirmation Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Kjos Music Company
Band concert band - Grade 4 SKU: KJ.JB29 Composed by Jack Stamp. Bandwork...(+)
Band concert band - Grade
4
SKU: KJ.JB29
Composed by Jack Stamp.
Bandworks. Jazz. Score
and set of parts. Neil A.
Kjos Music Company #JB29.
Published by Neil A. Kjos
Music Company (KJ.JB29).
UPC:
8402700421.
Elegy
And Affirmation was
written in memory of
legendary composers Aaron
Copland and Leonard
Bernstein for their
invaluable contributions
to the continuing
evolution of American
music.
Being Who You Are Voix d'Enfants, Piano [Octavo] - Facile Seafarer Press
By Elizabeth Alexander. Text: Elizabeth Alexander. For Children's Choir (SA), pi...(+)
By Elizabeth Alexander.
Text: Elizabeth
Alexander. For Children's
Choir (SA), piano. (SA).
Level: easy. Duration 2
minutes. Published by
Seafarer Press.
We Need You, Lord Chorale SATB SATB, Piano [Octavo] Lorenz Publishing Company
Composed by Mary Mcdonald. For SATB choir, piano accompaniment (with optional or...(+)
Composed by Mary
Mcdonald. For SATB choir,
piano accompaniment (with
optional orchestration).
Sacred Anthem, General,
Lent. Octavo. Lorenz
Publishing Company
#10/4601L. Published by
Lorenz Publishing Company
(Following the Path of Salvation Through Hymns). By Mary Mcdonald. Arranged by J...(+)
(Following the Path of
Salvation Through Hymns).
By Mary Mcdonald.
Arranged by Jean Anne
Shafferman. For SATB
choir, piano (with
optional orchestration).
Cantatas. Holy Week,
Eastertide, Sacred.
Choral score and
performance CD. Published
by Lorenz Publishing
Company
(Following the Path of Salvation Through Hymns). Composed by Mary Mcdonald. Arra...(+)
(Following the Path of
Salvation Through Hymns).
Composed by Mary
Mcdonald. Arranged by
Jean Anne Shafferman. For
SAB choir and piano (with
optional orchestration).
Cantatas. Holy Week,
Eastertide, Sacred.
Choral octavo. Published
by Lorenz Publishing
Company
Clarinet and Piano - very difficult SKU: BT.DHP-1165740-401 For Solo B...(+)
Clarinet and Piano - very
difficult
SKU:
BT.DHP-1165740-401
For Solo Bb Clarinet
and Piano. Composed
by Jan Van der Roost. De
Haske Clarinet Series.
Book and Part(s).
Composed 2016. 36 pages.
De Haske Publications
#DHP 1165740-401.
Published by De Haske
Publications
(BT.DHP-1165740-401).
Mixed choir SKU: ST.B954 Composed by Andrew Pratt and Jan Berry. Edited b...(+)
Mixed choir
SKU:
ST.B954
Composed by
Andrew Pratt and Jan
Berry. Edited by Andrew
Pratt. Hymns & Relgious
Drama. Words and music to
refresh the church's
ministry of healing. .
Edited by Jan Berry and
Andrew Pratt with Janet
Eldred and Anne Sardeson.
Pages: 152. Format:
Paperback. Choral Score.
Stainer & Bell Ltd.
#B954. Published by
Stainer & Bell Ltd.
(ST.B954).
ISBN
9780852499542.
The
outcome of a fruitful
collaboration of
theologians, writers and
musicians working at the
retreat and therapeutic
centre of Holy Rood House
in Yorkshire, this new
collection articulates
the needs of a
contemporary ministry of
healing through the
agency of hymns, the
church's most resonant
and expressive form of
worship.
Acknowledging the impact
of medical science in
vastly expanding the
range of the possible in
every aspect of our
living and dying,
eighty-three texts tackle
a rich diversity of
themes: infant death,
illness and suffering,
ageing and dementia, the
genome, mortality and
bereavement, grief and
lament, pain and despair
- including pain and
despair from the failure
of healing - but also
wisdom and resilience,
healing as part of a
spiritual holism of mind
and body, and as a
metaphor for social and
political justice and
care for the environment.
The wealth of music
includes new tunes and
familiar ones, and the
anthology concludes with
a section of twelve short
or repetitive texts to be
used in conjunction with
prayer.
Hymns of Hope and
Healing is the
product of many voices,
from those of widely
experienced authors to
others taking their
promising early steps in
the form. It will provide
a vehicle for worship and
reflection for those
involved in chaplaincy,
in therapies and
counselling, and all in
the wider church with an
interest in this ancient
ministry. Witnessed
through the life, death
and resurrection of
Christ, it is refreshed
and re-imagined here for
a time both of
breathtaking scientific
advance, and of an urgent
need to affirm our
wholeness and faith while
embracing the momentous
challenges to our
traditional understanding
of health and
healing.
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.50566030 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.50566030
Introduction and
performance notes by
Emmanuelle Bertrand.
Composed by Claude
Debussy. Editions Durand.
Classical, French,
Impressionist. Softcover.
Editions Durand
#DD01676800. Published by
Editions Durand
(HL.50566030).
ISBN
9798350104448. UPC:
196288168393.
9.0x12.0x0.147
inches.
Debussy
composed the Sonate for
cello and piano in
Normandy, in July 1915.
At the age of 53,
distressed by the war and
afflicted by an illness
that prevented him from
composing, he resumed his
work with the writing of
this Sonate. Though his
intention of assertinga
French style in the
tradition of the great
masters of the 18th
century, Debussy
repeatedly affirmed the
absence of a programmatic
idea in the sonata:
“I have written
nothing but pure music.
[...] in the old form, so
flexible (without the
grandiloquence of modern
sonatas)â€. This
volume is part of
“Musique
françaiseâ€, a
series designed for
students and teachers as
well as professionals; it
offers historical
introduction and
performance suggestions
by the notable cellist
Emmanuelle Bertrand.