Performed by Justin Timberlake. Piano/Vocal/Chords Songbook (Arrangements for pi...(+)
Performed by Justin
Timberlake.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. Size 9x12
inches. 128 pages.
Published by Hal Leonard.
A Guide to DJ-ing and Electronic Music. Composed by Austen Smart, Scott Smart...(+)
A Guide to DJ-ing and
Electronic Music.
Composed
by Austen Smart, Scott
Smart, and Tom Dent. Pro
Audio; Reference
Textbooks;
Resources; Textbook -
General. Faber Edition.
Book; Digital Download.
Faber Music
#12-0571540619.
Published by Faber Music
(Guitar TAB). For Guitar. This edition: Guitar TAB. Artist/Personality; Book; Gu...(+)
(Guitar TAB). For Guitar.
This edition: Guitar TAB.
Artist/Personality; Book;
Guitar Personality;
Guitar TAB. Rock.
Published by Alfred Music
Publishing
Inspire! Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1185978-010 Journey of a...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1185978-010
Journey of a Child's
Dream. Composed by
Satoshi Yagisawa. Concert
and Contest Collection
CBHA. Concert Piece. Set
(Score & Parts). Composed
2018. De Haske
Publications #DHP
1185978-010. Published by
De Haske Publications
(BT.DHP-1185978-010).
English-German-French-
Dutch.
Composer
Satoshi Yagisawa is very
popular in Asia, and has
a great reputation in
Singapore in particular.
He composed this piece in
2017 as a commission from
the Yishun Primary School
Concert Band. The title
Inspire! comes
from the initials of the
classroom names at the
school:
Independence,
Nation-Loving,
Sincerity,
Perseverance,
Integrity,
Respect and
Excellence. The
piece is imbued with
positivity and belief in
the future for the young
generations to
come.
Componist
Satoshi Yagisawa is enorm
populair in Azië, en
dan met name in
Singapore. Hij schreef
dit werk in 2017 in
opdracht van de
Singaporese Yishun
Primary School Concert
Band. De titel is
gebaseerd op de initialen
van de namen van de
klaslokalen in de school:
Independence,
Nation Loving,
Sincerity,
Perseverance,
Integrity,
Respect en
Excellence
(Onafhankelijkheid,
Liefde voor het land,
Oprechtheid, Volharding,
Integriteit, Respect en
Uitmuntendheid). Het werk
ademt optimisme en
verklankt een positief
geloof in de toekomst van
jonge
generaties.
Der
Komponist Satoshi
Yagisawa ist in Asien
sehr beliebt, ganz
besonders auch in
Singapur. Er komponierte
dieses Stück im Jahr
2017 als Auftragswerk
für die Yishun Primary
School Concert Band in
Singapur, wo der
Komponist großes
Ansehen genießt. Der
Titel Inspire!
ergab sich aus den
Initialen der Namen der
Klassenräume in der
Schule:
Independence,
Nation Loving,
Sincerity,
Perseverance,
Integrity,
Respect und
Excellence. Das
Stück strahlt eine
positive Stimmung und den
Glauben an die Zukunft
für die kommende junge
Generation aus.
Inspire! Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1185978-140 Journey of a...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1185978-140
Journey of a Child's
Dream. Composed by
Satoshi Yagisawa. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2018. 17 pages. De Haske
Publications #DHP
1185978-140. Published by
De Haske Publications
(BT.DHP-1185978-140).
English-German-French-
Dutch.
Composer
Satoshi Yagisawa is very
popular in Asia, and has
a great reputation in
Singapore in particular.
He composed this piece in
2017 as a commission from
the Yishun Primary School
Concert Band. The title
Inspire! comes
from the initials of the
classroom names at the
school:
Independence,
Nation-Loving,
Sincerity,
Perseverance,
Integrity,
Respect and
Excellence. The
piece is imbued with
positivity and belief in
the future for the young
generations to
come.
Componist
Satoshi Yagisawa is enorm
populair in Azië, en
dan met name in
Singapore. Hij schreef
dit werk in 2017 in
opdracht van de
Singaporese Yishun
Primary School Concert
Band. De titel is
gebaseerd op de initialen
van de namen van de
klaslokalen in de school:
Independence,
Nation Loving,
Sincerity,
Perseverance,
Integrity,
Respect en
Excellence
(Onafhankelijkheid,
Liefde voor het land,
Oprechtheid, Volharding,
Integriteit, Respect en
Uitmuntendheid). Het werk
ademt optimisme en
verklankt een positief
geloof in de toekomst van
jonge
generaties.
Der
Komponist Satoshi
Yagisawa ist in Asien
sehr beliebt, ganz
besonders auch in
Singapur. Er komponierte
dieses Stück im Jahr
2017 als Auftragswerk
für die Yishun Primary
School Concert Band in
Singapur, wo der
Komponist großes
Ansehen genießt. Der
Titel Inspire!
ergab sich aus den
Initialen der Namen der
Klassenräume in der
Schule:
Independence,
Nation Loving,
Sincerity,
Perseverance,
Integrity,
Respect und
Excellence. Das
Stück strahlt eine
positive Stimmung und den
Glauben an die Zukunft
für die kommende junge
Generation aus.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style.
Chamber Music Piano SKU: PR.140401330 Composed by R. Nathaniel Dett. Edit...(+)
Chamber Music Piano
SKU: PR.140401330
Composed by R. Nathaniel
Dett. Edited by Lara
Downes. 32 pages.
Duration 18 minutes.
Theodore Presser Company
#140-40133. Published by
Theodore Presser Company
(PR.140401330).
ISBN
9781491134412. UPC:
680160684939.
Natha
niel Dett was among
America’s leading
composers in the early
20th century, and
MAGNOLIA SUITE is a
beautiful example of his
rich, hybrid style.
Deeply inspired by the
music and mission of
Samuel Coleridge-Taylor,
Dett’s piano music
springs from the late
Romantic traditions of
florid texture and
embellishment, along with
programmatic titles and
raw emotion. It is
notable for melody
writing inspired by and
paraphrasing
African-American song.
The 18-minute MAGNOLIA
SUITE contains five
movements, any of which
may also be performed
separately. This edition
by Lara Downes provides a
clean, new engraving that
corrects the many errors
and unclear indications
appearing in the
historical
printing. Robert
Nathaniel Dett was born
in a place that was built
on freedom. The little
village of Drummondville,
Ontario was founded by
enslaved Africans
– Dett’s
ancestors among them
– who traveled the
Underground Railroad out
of the American South
into Canada. Their
journey brought them to a
safe haven, a place where
fortunes and futures
could be transformed in
the span of one
generation, to lives full
of new possibilities. You
could call it “the
place where the rainbow
ends,†which is the
title of the last
movement of Dett’s
Magnolia Suite.When Dett
wrote these pieces, he
was a young teacher at
Lane College in
Tennessee, a historically
Black college that had
been founded in 1882, the
year of his birth. A
place built on freedom,
with the purpose of
educating
newly-emancipated slaves
– a place designed
to nurture the blossoming
of ideas, the vibrant
flowering of minds set
free. This music is
inspired by the gorgeous
splendor of the magnolia
blooms on that college
campus, and also by the
shared histories,
experiences, and
aspirations of the
community that Dett found
there.These five pieces
pay affectionate tribute
to lineage and legacy.
They express gratitude
for the bittersweet
beauties of the present;
nostalgia for the past (a
bit romanticized, as the
past always is); and an
effervescent optimism for
the future that awaits us
in the place where the
rainbow ends.
Composed by
Stuart Johnson. Band
Music. Score only.
Duration 12:00. Published
by G & M Brand Music
Publishers (CN.S11268).
Time Present,
Past and Future.... the
melodic themes of this
dance travel from the 5/4
meter of the present day,
to the 3/4 waltzes of the
past, to the 6/8 accented
phrases of the future.
Players will recognize
the themes as they
explore the variations
and new meters to each
dance.
Dances of
Time was commissioned by
the National School Band
Association and first
performed on 10 June 2000
at the Adrian Boult Hall,
Birmingham Conservatoire,
University of Central
England, by the Aldridge
School Wind Band ,
conducted by the
composer. Time Present,
Past and Future.... the
melodic themes of this
dance travel from the 5/4
meter of the present day,
to the 3/4 waltzes of the
past, to the 6/8 accented
phrases of the future.
Players will recognize
the themes as they
explore the variations
and new meters to each
dance.
Composed by
Stuart Johnson. Band
Music. Score and parts.
Duration 12:00. Published
by G & M Brand Music
Publishers (CN.R10268).
Time Present,
Past and Future.... the
melodic themes of this
dance travel from the 5/4
meter of the present day,
to the 3/4 waltzes of the
past, to the 6/8 accented
phrases of the future.
Players will recognize
the themes as they
explore the variations
and new meters to each
dance.
Dances of
Time was commissioned by
the National School Band
Association and first
performed on 10 June 2000
at the Adrian Boult Hall,
Birmingham Conservatoire,
University of Central
England, by the Aldridge
School Wind Band ,
conducted by the
composer. Time Present,
Past and Future.... the
melodic themes of this
dance travel from the 5/4
meter of the present day,
to the 3/4 waltzes of the
past, to the 6/8 accented
phrases of the future.
Players will recognize
the themes as they
explore the variations
and new meters to each
dance.
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1216355-010 Ava Max - Bi...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1216355-010
Ava Max - Billie
Eilish - Dua Lipa.
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop and Rock.
Set (Score and Parts).
Composed 2021. De Haske
Publications #DHP
1216355-010. Published by
De Haske Publications
(BT.DHP-1216355-010).
English-German-French-
Dutch.
Ava Max,
Billie Eilish and Dua
Lipa: altogether, they
possess a great deal of
girl power. That was all
Peter Kleine Schaars
needed to arrange this
exciting, great-sounding
and playable pop medley.
With hits like â??Kings
and Queensâ??,â??My
Futureâ?? and â??Break
My Heartâ??, these
female artists from
todayâ??s pop scene
certainly gave the year
2020 an entertaining
boost!
Ava Max,
Billie Eilish en Dua
Lipa: samen zijn ze goed
voor een flinke dosis
girlpower. Meer was er
voor Peter Kleine Schaars
niet nodig om een
spetterende, maar vooral
goed klinkende en
speelbare popmedley te
arrangeren. Met hitsals
â??Kings and Queensâ??,
â??My Futureâ?? en
â??Break My Heartâ??
wisten deze vrouwelijke
artiesten uit de
hedendaagse popmuziek het
jaar 2020 toch nog
behoorlijk wat schwung te
geven!
Ava Max,
Billie Eilish und Dua
Lipa sie alle stehen
für extrem viel
Girlpower. Mehr brauchte
Peter Kleine Schaars
nicht, um dieses
spannende, groÃ?artig
klingende und gut
spielbare Pop-Medley zu
arrangieren. Mit Hits wie
Kings andQueensâ??, My
Futureâ?? und Break My
Heartâ?? haben die
Künstlerinnen aus der
heutigen Popszene dem
Jahr 2020 einen
unterhaltsamen Schub
verliehen!
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1216355-140 Ava Max - Bi...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1216355-140
Ava Max - Billie
Eilish - Dua Lipa.
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop and Rock.
Score Only. Composed
2021. 34 pages. De Haske
Publications #DHP
1216355-140. Published by
De Haske Publications
(BT.DHP-1216355-140).
English-German-French-
Dutch.
Ava Max,
Billie Eilish and Dua
Lipa: altogether, they
possess a great deal of
girl power. That was all
Peter Kleine Schaars
needed to arrange this
exciting, great-sounding
and playable pop medley.
With hits like
‘Kings and
Queens’,‘My
Future’ and
‘Break My
Heart’, these
female artists from
today’s pop scene
certainly gave the year
2020 an entertaining
boost!
Ava Max,
Billie Eilish en Dua
Lipa: samen zijn ze goed
voor een flinke dosis
girlpower. Meer was er
voor Peter Kleine Schaars
niet nodig om een
spetterende, maar vooral
goed klinkende en
speelbare popmedley te
arrangeren. Met hitsals
‘Kings and
Queens’, ‘My
Future’ en
‘Break My
Heart’ wisten deze
vrouwelijke artiesten uit
de hedendaagse popmuziek
het jaar 2020 toch nog
behoorlijk wat schwung te
geven!
Ava Max,
Billie Eilish und Dua
Lipa sie alle stehen
für extrem viel
Girlpower. Mehr brauchte
Peter Kleine Schaars
nicht, um dieses
spannende, großartig
klingende und gut
spielbare Pop-Medley zu
arrangieren. Mit Hits wie
Kings andQueens“,
My Future“ und
Break My Heart“
haben die
Künstlerinnen aus der
heutigen Popszene dem
Jahr 2020 einen
unterhaltsamen Schub
verliehen!
Orchestra Concert Band SKU: PR.44641256L For Orchestra. Composed b...(+)
Orchestra Concert Band
SKU: PR.44641256L
For Orchestra.
Composed by Ellen Taaffe
Zwilich. This edition:
Orchestra version.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
28 pages. Duration 12
minutes. Theodore Presser
Company #446-41256L.
Published by Theodore
Presser Company
(PR.44641256L).
UPC:
680160596010. 11 x 17
inches. Key: A
major.
Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall a each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall -- each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements.I. FanfareThe
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall — each
testing the capacities of
the other. I decided to
have the ensemble greet
and salute the new Ruby
Diamond Hall with a
Fanfare that includes
offstage brass players in
3 different locations in
the audience.II.
Reminiscence and
CelebrationThe 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future.
Orchestra Concert Band SKU: PR.446412560 For Orchestra. Composed b...(+)
Orchestra Concert Band
SKU: PR.446412560
For Orchestra.
Composed by Ellen Taaffe
Zwilich. This edition:
Orchestra version. Sws.
Contemporary. Full score.
With Standard notation.
Composed 2010. 28 pages.
Duration 12 minutes.
Theodore Presser Company
#446-41256. Published by
Theodore Presser Company
(PR.446412560).
ISBN
9781598063738. UPC:
680160596003. 9x12
inches. Key: A
major.
Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall a each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall -- each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements.I. FanfareThe
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall — each
testing the capacities of
the other. I decided to
have the ensemble greet
and salute the new Ruby
Diamond Hall with a
Fanfare that includes
offstage brass players in
3 different locations in
the audience.II.
Reminiscence and
CelebrationThe 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future.
Like a Child Ensemble de cuivres [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Brass Band - Grade 3 SKU: BT.GOB-000912-030 Composed by Andreas Ludwig Sc...(+)
Brass Band - Grade 3
SKU:
BT.GOB-000912-030
Composed by Andreas
Ludwig Schulte. Set
(Score & Parts). Gobelin
Music Publications #GOB
000912-030. Published by
Gobelin Music
Publications
(BT.GOB-000912-030).
The young have
the future. This is the
statement made at the
beginning of ‘Like a
Child’ by Andreas
Ludwig Schulte. The
opening radiates strength
and ambition, but one is
also made to wonder which
direction will be chosen,
which choices will have
to be made. After the
introduction the first
steps on the path of life
are taken, still somewhat
unsteadily (the 3/4th
time used illustrates
this uncertainty).
However, the child has
now set off and will meet
the future with an open
mind, unafraid, even
though experience will
teach it how easily it
can be
hurt. Fortunately, it
is sometimes allowed to
be vulnerable and it
discovers there will
always be someone to
offer shelter,support and
love. (Adagio) The
last part breathes a far
greater independence.
Youth is able to face the
future, it can even take
on the whole world!
Wie de jeugd
heeft, heeft de toekomst.
Met dit statement begint
deze compositie van
Andreas Ludwig Schulte.
Het begin straalt
kracht en ambitie uit.
Maar welke kant gaat het
op, welke keuzes moeten
gemaakt worden? Na de
inleidingworden de eerste
schreden op het levenspad
gezet, het is nog wat
onzeker (de driekwarts
maat voelt een beetje
wankel). Toch gaan we
daarna op pad,
onbevangen, met open
vizier de toekomst
tegemoet al blijken er
toch noch
kwetsbaremomenten te
bestaan. Gelukkig
mogen we dat soms ook
zijn en dan is er altijd
wel iemand bij wie we
geborgenheid, steun en
liefde ontvangen.
(Adagio) Het laatste
deel straalt al veel meer
zelfstandigheid uit. Laat
maarkomen die toekomst,
we kunnen de wereld
aan!
Like a Child Ensemble de cuivres [Conducteur] - Facile Gobelin Music Publications
Brass Band - Grade 3 SKU: BT.GOB-000912-130 Composed by Andreas Ludwig Sc...(+)
Brass Band - Grade 3
SKU:
BT.GOB-000912-130
Composed by Andreas
Ludwig Schulte. Score
Only. 20 pages. Gobelin
Music Publications #GOB
000912-130. Published by
Gobelin Music
Publications
(BT.GOB-000912-130).
The young have
the future. This is the
statement made at the
beginning of ‘Like a
Child’ by Andreas
Ludwig Schulte. The
opening radiates strength
and ambition, but one is
also made to wonder which
direction will be chosen,
which choices will have
to be made. After the
introduction the first
steps on the path of life
are taken, still somewhat
unsteadily (the 3/4th
time used illustrates
this uncertainty).
However, the child has
now set off and will meet
the future with an open
mind, unafraid, even
though experience will
teach it how easily it
can be
hurt. Fortunately, it
is sometimes allowed to
be vulnerable and it
discovers there will
always be someone to
offer shelter,support and
love. (Adagio) The
last part breathes a far
greater independence.
Youth is able to face the
future, it can even take
on the whole world!
Wie de jeugd
heeft, heeft de toekomst.
Met dit statement begint
deze compositie van
Andreas Ludwig Schulte.
Het begin straalt
kracht en ambitie uit.
Maar welke kant gaat het
op, welke keuzes moeten
gemaakt worden? Na de
inleidingworden de eerste
schreden op het levenspad
gezet, het is nog wat
onzeker (de driekwarts
maat voelt een beetje
wankel). Toch gaan we
daarna op pad,
onbevangen, met open
vizier de toekomst
tegemoet al blijken er
toch noch
kwetsbaremomenten te
bestaan. Gelukkig
mogen we dat soms ook
zijn en dan is er altijd
wel iemand bij wie we
geborgenheid, steun en
liefde ontvangen.
(Adagio) Het laatste
deel straalt al veel meer
zelfstandigheid uit. Laat
maarkomen die toekomst,
we kunnen de wereld
aan!
Composed
by Michael Boo. Sws. Bps.
Full score. 16 pages.
Duration 2:20. Carl
Fischer Music #BPS137F.
Published by Carl Fischer
Music (CF.BPS137F).
ISBN 9781491158494.
UPC: 680160917099. 9 x 12
inches.
Fanfare and
Jubilation is a Grade 1
work that is playable by
any beginning band with
any instrumentation due
to extensive doubling.
The mood is regal and
optimistic and is
non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldnat be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you donat have
access to Timpani or a
timpanist. Bells cover a
wide rangea|the lower
octave sections should
not be played louder just
because theyare low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
donat get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isnat plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion. Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue. Percussion
accents are to played
with more emphasis than
non-accented notes, but
shouldn't be perceived as
being much louder.
Timpani is only two
pitches and is optional.
The piece will not suffer
at all if you don't have
access to Timpani or a
timpanist. Bells cover a
wide range...the lower
octave sections should
not be played louder just
because they're low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate. Think
of the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don't get carried away
and give them more
emphasis than is
musically desired. At m.
21, be careful that the
bass line isn't plodding
or over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section. There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future. Fanfare
and Jubilation is a Grade
1 work that is playable
by any beginning band
with any instrumentation
due to extensive
doubling. The mood is
regal and optimistic and
is non-programmatic,
conveying no picturesque
image or storyline. It is
appropriate for any
occasion.Accents are to
be emphasized more than
non-accented notes, but
are not to be hammered
hard. Stress that
accented notes are to be
played with the same good
tone as the other notes
and that pitches should
not suffer from the
additional emphasis.
Think of the accents as
more of an additional
emphasis from the air
column and not the
tongue.Percussion accents
are to played with more
emphasis than
non-accented notes, but
shouldn’t be
perceived as being much
louder. Timpani is only
two pitches and is
optional. The piece will
not suffer at all if you
don’t have access
to Timpani or a
timpanist. Bells cover a
wide range…the
lower octave sections
should not be played
louder just because
they’re low
pitched, as those notes
will still be
appropriately heard while
supporting the melody. Do
not use brass mallets.
Balter 10 Phenolic
mallets or equivalent
(such as clear Balter
Lexan or white Medium
Hard Poly models) are
most appropriate.Think of
the m. 10 accented
quarter notes tied to the
half notes (and similar
later examples) as being
akin to Horn rips in a
Hollywood movie. They are
to be emphasized slightly
but should not be
blaring. Even though they
are the only things
happening on counts 2 and
3, care must be given
that the young players
don’t get carried
away and give them more
emphasis than is
musically desired.At m.
21, be careful that the
bass line isn’t
plodding or
over-emphasized due to
the accents. Those
players should be aware
of the sudden drop in
volume and lack of
accents at m. 25.
Attention to sudden
dynamic shifts will add
interest to the piece and
present a more musical
performance. Throughout
this entire section, try
to get all winds to
sustain a single breath
through four bars until
the breath marks. If they
are unable to do so,
please explain the
concept of staggered
breathing between members
of their section.There
may be a tendency among
the players to blast out
m. 57 to the end. Notes
should have more power
than the section from mm.
21-56, but are still to
be approached musically.
Explaining such concepts
during their early
musical development will
go far in helping them
develop good traits that
will pay off dividends in
the future.
Like a Child Fanfare [Conducteur] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000809-120 Composed by Andreas Ludwig ...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000809-120
Composed by Andreas
Ludwig Schulte. Score
Only. 20 pages. Gobelin
Music Publications #GOB
000809-120. Published by
Gobelin Music
Publications
(BT.GOB-000809-120).
The young have
the future. This is the
statement made at the
beginning of ‘Like a
Child’ by Andreas
Ludwig Schulte. The
opening radiates strength
and ambition, but one is
also made to wonder which
direction will be chosen,
which choices will have
to be made. After the
introduction the first
steps on the path of life
are taken, still somewhat
unsteadily (the 3/4th
time used illustrates
this uncertainty).
However, the child has
now set off and will meet
the future with an open
mind, unafraid, even
though experience will
teach it how easily it
can be
hurt. Fortunately, it
is sometimes allowed to
be vulnerable and it
discovers there will
always be someone to
offer shelter,support and
love. (Adagio) The
last part breathes a far
greater independence.
Youth is able to face the
future, it can even take
on the whole world!
Wie de jeugd
heeft, heeft de toekomst.
Met dit statement begint
deze compositie van
Andreas Ludwig Schulte.
Het begin straalt
kracht en ambitie uit.
Maar welke kant gaat het
op, welke keuzes moeten
gemaakt worden? Na de
inleidingworden de eerste
schreden op het levenspad
gezet, het is nog wat
onzeker (de driekwarts
maat voelt een beetje
wankel). Toch gaan we
daarna op pad,
onbevangen, met open
vizier de toekomst
tegemoet al blijken er
toch noch
kwetsbaremomenten te
bestaan. Gelukkig
mogen we dat soms ook
zijn en dan is er altijd
wel iemand bij wie we
geborgenheid, steun en
liefde ontvangen.
(Adagio) Het laatste
deel straalt al veel meer
zelfstandigheid uit. Laat
maarkomen die toekomst,
we kunnen de wereld
aan!
Like a Child Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000752-140 Composed by Andrea...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000752-140
Composed by Andreas
Ludwig Schulte. Score
Only. Gobelin Music
Publications #GOB
000752-140. Published by
Gobelin Music
Publications
(BT.GOB-000752-140).
The young have
the future. This is the
statement made at the
beginning of ‘Like
a Child’ by
Andreas Ludwig
Schulte. The opening
radiates strength and
ambition, but one is also
made to wonder which
direction will be chosen,
which choices will have
to be made. After the
introduction the first
steps on the path of life
are taken, still somewhat
unsteadily (the 3/4th
time used illustrates
this uncertainty).
However, the child has
now set off and will meet
the future with an open
mind, unafraid, even
though experience will
teach it how easily it
can be
hurt. Fortunately, it
is sometimes allowed to
be vulnerable and it
discovers there will
always be someone to
offer shelter,support and
love. (Adagio) The
last part breathes a far
greater independence.
Youth is able to face the
future, it can even take
on the whole world!
Wie de jeugd
heeft, heeft de toekomst.
Met dit statement begint
deze compositie van
Andreas Ludwig Schulte.
Het begin straalt
kracht en ambitie uit.
Maar welke kant gaat het
op, welke keuzes moeten
gemaakt worden? Na de
inleidingworden de eerste
schreden op het levenspad
gezet, het is nog wat
onzeker (de driekwarts
maat voelt een beetje
wankel). Toch gaan we
daarna op pad,
onbevangen, met open
vizier de toekomst
tegemoet al blijken er
toch noch
kwetsbaremomenten te
bestaan. Gelukkig
mogen we dat soms ook
zijn en dan is er altijd
wel iemand bij wie we
geborgenheid, steun en
liefde ontvangen.
(Adagio) Het laatste
deel straalt al veel meer
zelfstandigheid uit. Laat
maarkomen die toekomst,
we kunnen de wereld
aan!
Like a Child Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000809-020 Composed by Andreas Ludwig ...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000809-020
Composed by Andreas
Ludwig Schulte. Set
(Score & Parts). 8 pages.
Gobelin Music
Publications #GOB
000809-020. Published by
Gobelin Music
Publications
(BT.GOB-000809-020).
The young have
the future. This is the
statement made at the
beginning of ‘Like a
Child’ by Andreas
Ludwig Schulte. The
opening radiates strength
and ambition, but one is
also made to wonder which
direction will be chosen,
which choices will have
to be made. After the
introduction the first
steps on the path of life
are taken, still somewhat
unsteadily (the 3/4th
time used illustrates
this uncertainty).
However, the child has
now set off and will meet
the future with an open
mind, unafraid, even
though experience will
teach it how easily it
can be
hurt. Fortunately, it
is sometimes allowed to
be vulnerable and it
discovers there will
always be someone to
offer shelter,support and
love. (Adagio) The
last part breathes a far
greater independence.
Youth is able to face the
future, it can even take
on the whole world!
Wie de jeugd
heeft, heeft de toekomst.
Met dit statement begint
deze compositie van
Andreas Ludwig Schulte.
Het begin straalt
kracht en ambitie uit.
Maar welke kant gaat het
op, welke keuzes moeten
gemaakt worden? Na de
inleidingworden de eerste
schreden op het levenspad
gezet, het is nog wat
onzeker (de driekwarts
maat voelt een beetje
wankel). Toch gaan we
daarna op pad,
onbevangen, met open
vizier de toekomst
tegemoet al blijken er
toch noch
kwetsbaremomenten te
bestaan. Gelukkig
mogen we dat soms ook
zijn en dan is er altijd
wel iemand bij wie we
geborgenheid, steun en
liefde ontvangen.
(Adagio) Het laatste
deel straalt al veel meer
zelfstandigheid uit. Laat
maarkomen die toekomst,
we kunnen de wereld
aan!
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.
Like a Child Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000752-010 Composed by Andrea...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000752-010
Composed by Andreas
Ludwig Schulte. Set
(Score & Parts). 160
pages. Gobelin Music
Publications #GOB
000752-010. Published by
Gobelin Music
Publications
(BT.GOB-000752-010).
The young have
the future. This is the
statement made at the
beginning of ‘Like a
Child’ by Andreas
Ludwig Schulte. The
opening radiates strength
and ambition, but one is
also made to wonder which
direction will be chosen,
which choices will have
to be made. After the
introduction the first
steps on the path of life
are taken, still somewhat
unsteadily (the 3/4th
time used illustrates
this uncertainty).
However, the child has
now set off and will meet
the future with an open
mind, unafraid, even
though experience will
teach it how easily it
can be
hurt. Fortunately, it
is sometimes allowed to
be vulnerable and it
discovers there will
always be someone to
offer shelter,support and
love. (Adagio) The
last part breathes a far
greater independence.
Youth is able to face the
future, it can even take
on the whole world!
Wie de jeugd
heeft, heeft de toekomst.
Met dit statement begint
deze compositie van
Andreas Ludwig Schulte.
Het begin straalt
kracht en ambitie uit.
Maar welke kant gaat het
op, welke keuzes moeten
gemaakt worden? Na de
inleidingworden de eerste
schreden op het levenspad
gezet, het is nog wat
onzeker (de driekwarts
maat voelt een beetje
wankel). Toch gaan we
daarna op pad,
onbevangen, met open
vizier de toekomst
tegemoet al blijken er
toch noch
kwetsbaremomenten te
bestaan. Gelukkig
mogen we dat soms ook
zijn en dan is er altijd
wel iemand bij wie we
geborgenheid, steun en
liefde ontvangen.
(Adagio) Het laatste
deel straalt al veel meer
zelfstandigheid uit. Laat
maarkomen die toekomst,
we kunnen de wereld
aan!