Band concert band - Grade 1 SKU: CF.BPS105 Composed by Joseph Compello. S...(+)
Band concert band - Grade
1
SKU: CF.BPS105
Composed by Joseph
Compello. SWS FS. Carl
Fischer Beginning
Performance Series. Set
of Score and Parts. With
Standard notation.
8+2+8+2+5+2+2+8+3+6+3+1+1
+4+1+16+2 pages. Carl
Fischer Music #BPS105.
Published by Carl Fischer
Music (CF.BPS105).
ISBN 9781491147146.
UPC: 680160904648. 9 x 12
inches.
The Company
Bugler is a march
featuring the trumpet
section of a 1st year
band. It has all of the
traditional trappings of
a standard American
march, aside from the
modulation at the trio.
Composed with the
youngest of band students
in mind, this simple
march is the perfect
introduction to the
style.
Buglers Rule Orchestre d'harmonie - Débutant Carl Fischer
Band concert band - Grade 0.5 SKU: CF.PPS14 Composed by Joseph Compello. ...(+)
Band concert band - Grade
0.5
SKU: CF.PPS14
Composed by Joseph
Compello. Premiere
Performance Series. Set
of Score and Parts. With
Standard notation.
8+2+8+2+5+2+2+8+3+3+2+6+2
+3+1+1+2+1+12 pages.
Duration 1 minute, 57
seconds. Carl Fischer
Music #PPS14. Published
by Carl Fischer Music
(CF.PPS14).
ISBN
9780825892141. UPC:
798408092146. 9 x 12
inches.
Buglers
Rule is a trumpet section
feature for the youngest
of beginning bands, using
only the first six notes
of the B-flat scale. It
is written with a march
feel, so it can also be
used to introduce this
important style to
beginning players.
By Leo Arnaud. Arranged by Paul Lavender. Essential Elements - Concert Band, Exp...(+)
By Leo Arnaud. Arranged
by Paul Lavender.
Essential Elements -
Concert Band, Explorer
Level (begining Grade 1).
Score and full set of
parts. Book only.
Published by Hal Leonard.
Grade 3 Concert Band - Grade 3 SKU: HL.4000614 Arranged by Johnnie Vinson...(+)
Grade 3 Concert Band -
Grade 3
SKU:
HL.4000614
Arranged
by Johnnie Vinson. Score
and full set of parts.
Young Concert Band.
Concert, Fanfare,
Olympics. Full Score and
Parts. Published by Hal
Leonard (HL.4000614).
Buglers Rule Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band concert band - Grade 0.5 SKU: CF.PPS14F Composed by Joseph Compello....(+)
Band concert band - Grade
0.5
SKU: CF.PPS14F
Composed by Joseph
Compello. Premiere
Performance Series. Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #PPS14F.
Published by Carl Fischer
Music (CF.PPS14F).
ISBN 9780825892158.
UPC: 798408092153. 9 x 12
inches.
Buglers
Rule is a trumpet section
feature for the youngest
of beginning bands, using
only the first six notes
of the B-flat scale. It
is written with a march
feel, so it can also be
used to introduce this
important style to
beginning players.
Featuring: Syncopated Clock / Blue Tango / Bugler's Holiday. Arranged by Robert ...(+)
Featuring: Syncopated
Clock / Blue Tango /
Bugler's Holiday.
Arranged by Robert W.
Smith. For Concert Band.
Concert Band. Belwin Pop
Concert Band. Level: 3
(Medium Easy) (grade 3).
Conductor Score and
Parts. 252 pages.
Published by Alfred
Publishing.
The Company Bugler Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band concert band - Grade 1 SKU: CF.BPS105F Composed by Joseph Compello. ...(+)
Band concert band - Grade
1
SKU: CF.BPS105F
Composed by Joseph
Compello. SWS. Carl
Fischer Beginning
Performance Series. Full
score. With Standard
notation. 16 pages. Carl
Fischer Music #BPS105F.
Published by Carl Fischer
Music (CF.BPS105F).
ISBN 9781491147849.
UPC: 680160905348. 9 x 12
inches.
The Company
Bugler is a march
featuring the trumpet
section of a 1st year
band. It has all of the
traditional trappings of
a standard American
march, aside from the
modulation at the trio.
Composed with the
youngest of band students
in mind, this simple
march is the perfect
introduction to the
style.
Tirol Terra Fortis Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094734-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094734-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2009.
De Haske Publications
#DHP 1094734-010.
Published by De Haske
Publications
(BT.DHP-1094734-010).
9x12 inches.
English-German-French-Dut
ch.
The
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) invited Belgian
composer Jan Van der
Roost to write a work to
mark the bicentenary of
the Tyrolean fight for
freedom, which was
settled in 1809. Various
musical elements reflect
this historical event.
First, a hymn-like
section rings out, based
on melodic fragments from
the ‘Tiroler
Landeshymne’ (by
Leopold Knebelsberger),
which intertwine in a
counterpoint-like
arrangement. The second
passage is more bellicose
in character, and mirrors
the fight of the
Tyroleans - under the
inspiring leadership of
freedom fighter Andreas
Hofer (1767-1810) -
against Bavarian, French
and Italian troops. Next,
a broad, chorale-style
melodyappears again:
here, the imposing beauty
of nature in Tyrol, and
the amiable, lively
temperament of the people
who live in this
mountainous region, are
glorified.This is neither
a programmatic work
around an historical
reconstruction, nor a
politically inspired
work: it is a combination
of factual and cultural
components, with an
artistic and sonorous
character. The use of the
flugelhorn in particular
gives Tirol Terra
Fortis its
‘couleur
locale’: for this
beautiful instrument can
invariably be found in
the Austrian wind band.
The commissioning music
society had therefore
specifically asked the
composer to incorporate
the instrument in this
work. It certainly
enhances the already
extensive colour palette
of the modern concert
band!
Een hymne
bestaand uit fragmenten
van het Tiroolse
volkslied. Strijdlustige
klanken in het tweede
deel. Tot slot een
melodie in koraalstijl
die de bewoners van Tirol
en de indrukwekkende
schoonheid van de natuur
beschrijft. Hebt ual een
idee? Tirol Terra
Fortis is een
programmatisch werk
rondom de geschiedenis
van Andreas Hofer en de
vrijheidsstrijd van Tirol
200 jaar geleden. De
bugel geeft dit
kunstzinnige en
klankvolle werk zijn
bijzondere
‘couleurlocaleâ€
™.
Eine Hymne
aus Fragmenten der
Tiroler Landeshymne,
kämpferische Klänge
im zweiten Teil und
schließlich eine
Melodie im Choralstil,
welche die eindrucksvolle
Schönheit der Natur
und die Menschen in Tirol
beschreibt. Sie haben es
erraten? Tirol Terra
Fortis ist ein
programmatisches Werk
rund um die Geschichte
Andreas Hofers und den
Freiheitskampf Tirols vor
200 Jahren. Der Einsatz
des Flügelhorns
verleiht diesem
künstlerischen und
klangvollen Werk ein
besonderes
Lokalkolorit.
La
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) ha invitato il
compositore belga Jan Van
der Roost a scrivere
un'opera per celebrare il
bicentenario
dell’Insorgenza
tirolese, che ebbe luogo
nel 1809. L'uso del
flicorno, in particolare,
conferisce al Tirol
Terra Fortis il suo
colore locale: questo
bellissimo strumento si
può sempre trovare
nelle bande
austriache.
Tirol Terra Fortis Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094734-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094734-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2009. 40
pages. De Haske
Publications #DHP
1094734-140. Published by
De Haske Publications
(BT.DHP-1094734-140).
9x12 inches.
English-German-French-Dut
ch.
The
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) invited Belgian
composer Jan Van der
Roost to write a work to
mark the bicentenary of
the Tyrolean fight for
freedom, which was
settled in 1809. Various
musical elements reflect
this historical event.
First, a hymn-like
section rings out, based
on melodic fragments from
the ‘Tiroler
Landeshymne’ (by
Leopold Knebelsberger),
which intertwine in a
counterpoint-like
arrangement. The second
passage is more bellicose
in character, and mirrors
the fight of the
Tyroleans - under the
inspiring leadership of
freedom fighter Andreas
Hofer (1767-1810) -
against Bavarian, French
and Italian troops. Next,
a broad, chorale-style
melodyappears again:
here, the imposing beauty
of nature in Tyrol, and
the amiable, lively
temperament of the people
who live in this
mountainous region, are
glorified.This is neither
a programmatic work
around an historical
reconstruction, nor a
politically inspired
work: it is a combination
of factual and cultural
components, with an
artistic and sonorous
character. The use of the
flugelhorn in particular
gives Tirol Terra
Fortis its
‘couleur
locale’: for this
beautiful instrument can
invariably be found in
the Austrian wind band.
The commissioning music
society had therefore
specifically asked the
composer to incorporate
the instrument in this
work. It certainly
enhances the already
extensive colour palette
of the modern concert
band!
Een hymne
bestaand uit fragmenten
van het Tiroolse
volkslied. Strijdlustige
klanken in het tweede
deel. Tot slot een
melodie in koraalstijl
die de bewoners van Tirol
en de indrukwekkende
schoonheid van de natuur
beschrijft. Hebt ual een
idee? Tirol Terra
Fortis is een
programmatisch werk
rondom de geschiedenis
van Andreas Hofer en de
vrijheidsstrijd van Tirol
200 jaar geleden. De
bugel geeft dit
kunstzinnige en
klankvolle werk zijn
bijzondere
‘couleurlocaleâ€
™.
Eine Hymne
aus Fragmenten der
Tiroler Landeshymne,
kämpferische Klänge
im zweiten Teil und
schließlich eine
Melodie im Choralstil,
welche die eindrucksvolle
Schönheit der Natur
und die Menschen in Tirol
beschreibt. Sie haben es
erraten? Tirol Terra
Fortis ist ein
programmatisches Werk
rund um die Geschichte
Andreas Hofers und den
Freiheitskampf Tirols vor
200 Jahren. Der Einsatz
des Flügelhorns
verleiht diesem
künstlerischen und
klangvollen Werk ein
besonderes
Lokalkolorit.
La
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) ha invitato il
compositore belga Jan Van
der Roost a scrivere
un'opera per celebrare il
bicentenario
dell’Insorgenza
tirolese, che ebbe luogo
nel 1809. L'uso del
flicorno, in particolare,
conferisce al Tirol
Terra Fortis il suo
colore locale: questo
bellissimo strumento si
può sempre trovare
nelle bande
austriache.
For Symphonic Band. Composed by Eric Ewazen. Southern Music. 44 pages. So...(+)
For Symphonic
Band. Composed by
Eric Ewazen. Southern
Music. 44 pages. Southern
Music Company #S939FS.
Published by Southern
Music Company
(HL.144839).
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-0981153-140 Arranged by Naohi...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-0981153-140
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Original Light
Music. Score Only.
Composed 1998. De Haske
Publications #DHP
0981153-140. Published by
De Haske Publications
(BT.DHP-0981153-140).
De
aanstekelijke muziek van
Benny Goodman was de
drijvende kracht achter
het swingtijdperk van de
jaren dertig. Met de
bekende hits
Let’s Dance,
Stompin' at the Savoy,
Moonglow en Sing,
Sing, Sing is deze
energieke engoed
geschreven medley een
gepast eerbetoon aan het
honderdste geboortejaar
van de ‘King of
Swing’.
An
Benny Goodman, der vor
mehr als 100 Jahren in
Chicago gebunden wurde,
knüpfen sich viele
Erinnerungen. Naohiro
Iwai widmete dem
großen
Jazzklarinettisten und
Big-Band-Leader eine
musikalische Hommage mit
einem stilgerechten
Medley für
Blasorchester aus
Memories of You,
Don’t Be that Way,
Stompin’ at the
Savoy, Flying Home, Bugle
Call Rag und Sing,
Sing, Sing.
Concert Band (Full Score) - Grade 3 SKU: HL.44012846 Full Score Only(+)
Concert Band (Full Score)
- Grade 3
SKU:
HL.44012846
Full
Score Only. Arranged
by Naohiro Iwai. De Haske
Concert Band. Original
Light Music. Softcover.
Composed 1998. De Haske
Publications #0981153140.
Published by De Haske
Publications
(HL.44012846).
UPC:
888680647711.
De
aanstekelijke muziek van
Benny Goodman was de
drijvende kracht achter
het swingtijdperk van de
jaren dertig. Met de
bekende hits Let's
Dance, Stompin' at the
Savoy, Moonglow en
Sing, Sing, Sing
is deze energieke engoed
geschreven medley een
gepast eerbetoon aan het
honderdste geboortejaar
van de 'King of
Swing'.
An Benny
Goodman, der vor mehr als
100 Jahren in Chicago
gebunden wurde, knupfen
sich viele Erinnerungen.
Naohiro Iwai widmete dem
grossen
Jazzklarinettisten und
Big-Band-Leader eine
musikalische Hommage mit
einem stilgerechten
Medley fur Blasorchester
aus Memories of You,
Don't Be that Way,
Stompin' at the Savoy,
Flying Home, Bugle Call
Rag und Sing,
Sing, Sing.
Le 30 mai 1909,
naissait a Chicago,
Benjamin David Goodman,
clarinettiste,
saxophoniste et leader de
Big Band. En 1934, Benny
Goodman fonde son premier
orchestre et lance l'ere
du swing. Il sera sacre
<< roi du swing >> au
Carnegie Hall de New York
en 1938. Il enchantera de
son style et de sa
sonorite plus de
cinquante ans d'histoire
du jazz, jusqu'a la fin
de sa vie. Interpretez
six des plus grands
succes du King of Swing :
Memories of You, Don't
Be That Way, Stompin' at
the Savoy, Flying Home,
Bugle Call Rag et Sing,
Sing, Sing.
Concert Band (Score & Parts) - Grade 3 SKU: HL.44012845 For Concert Ba...(+)
Concert Band (Score &
Parts) - Grade 3
SKU:
HL.44012845
For
Concert Band (Set of
Score and Parts).
Arranged by Naohiro Iwai.
De Haske Concert Band.
Concert Piece. Softcover.
Composed 1998. De Haske
Publications #0981153010.
Published by De Haske
Publications
(HL.44012845).
Benny
Goodman Memories
arranged by
Naohiro
Iwai for Concert
Band.
De
aanstekelijke muziek van
Benny Goodman was de
drijvende kracht achter
het swingtijdperk van de
jaren dertig. Met de
bekende hits Let's
Dance, Stompin' at the
Savoy, Moonglow en
Sing, Sing, Sing
is deze energieke engoed
geschreven medley een
gepast eerbetoon aan het
honderdste geboortejaar
van de 'King of
Swing'.
An Benny
Goodman, der vor mehr als
100 Jahren in Chicago
gebunden wurde, knupfen
sich viele Erinnerungen.
Naohiro Iwai widmete dem
grossen
Jazzklarinettisten und
Big-Band-Leader eine
musikalische Hommage mit
einem stilgerechten
Medley fur Blasorchester
aus Memories of You,
Don't Be that Way,
Stompin' at the Savoy,
Flying Home, Bugle Call
Rag und Sing,
Sing, Sing.
Le 30 mai 1909,
naissait a Chicago,
Benjamin David Goodman,
clarinettiste,
saxophoniste et leader de
Big Band. En 1934, Benny
Goodman fonde son premier
orchestre et lance l'ere
du swing. Il sera sacre
<< roi du swing >> au
Carnegie Hall de New York
en 1938. Il enchantera de
son style et de sa
sonorite plus de
cinquante ans d'histoire
du jazz, jusqu'a la fin
de sa vie. Interpretez
six des plus grands
succes du King of Swing :
Memories of You, Don't
Be That Way, Stompin' at
the Savoy, Flying Home,
Bugle Call Rag et Sing,
Sing, Sing.
A Man's Destiny Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1195826-010 Yn Ieren en Si...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1195826-010
Yn Ieren en Sinen.
Composed by Jan de Haan.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2019. De
Haske Publications #DHP
1195826-010. Published by
De Haske Publications
(BT.DHP-1195826-010).
English-German-French-
Dutch.
A
Man’s Destiny
has the Frisian line
‘Yn Ieren en
Sinen’
(‘with much
conviction’) as
its subtitle. The work
was commissioned by CMV
Harmonie Sneek (based in
Friesland, The
Netherlands) to
acknowledge their 95th
anniversary. The composer
based this work on the
life of a former member
of the band, who played
flugelhorn in the
ensemble until the age of
86. Their favourite piece
of music,
‘Canon’ by
Thomas Tallis, provided a
great deal of musical
inspiration for this
characteristic and
versatile
work.
A
Man’s Destiny
heeft als ondertitel de
Friese regel ‘Yn
Ieren en Sinen’
(vanuit volle
overtuiging) meegekregen.
Het werk is geschreven in
opdracht van de CMV
Harmonie Sneek ter
gelegenheid van haar
95-jarig jubileum. De
componist baseerde de
compositie op het leven
van een oud-lid van de
vereniging een man die
tot zijn 86e jaar de
bugel bespeelde. Diens
lievelingslied,
‘Tallis’
Canon’ van Thomas
Tallis, is dan ook de
muzikale inspiratiebron
geweest voor dit
karakteristieke en
veelzijdige
werk.
A
Man’s Destiny
hat den friesischen
Ausspruch Yn Ieren en
Sinen“ (mit
großer Überzeugung)
als Untertitel. Das Werk
wurde von der CMV
Harmonie Sneek (aus
Friesland in den
Niederlanden)
anlässlich ihres
95-jährigen Bestehens
in Auftrag gegeben. Der
Komponist widmete sich in
diesem Werk dem Leben
eines ehemaligen
Orchestermitglieds, das
bis zum Alter von 86
Jahren in dem Ensemble
Flügelhorn gespielt
hat. Sein
Lieblingsstück
Canon“ von Thomas
Tallis diente als
wichtige musikalische
Inspirationsquelle für
diese charakteristische
und vielseitige
Komposition.
A Man's Destiny Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1195826-140 Yn Ieren en Si...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1195826-140
Yn Ieren en Sinen.
Composed by Jan de Haan.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2019. 43 pages.
De Haske Publications
#DHP 1195826-140.
Published by De Haske
Publications
(BT.DHP-1195826-140).
English-German-French-
Dutch.
A
Man’s Destiny
has the Frisian line
‘Yn Ieren en
Sinen’
(‘with much
conviction’) as
its subtitle. The work
was commissioned by CMV
Harmonie Sneek (based in
Friesland, The
Netherlands) to
acknowledge their 95th
anniversary. The composer
based this work on the
life of a former member
of the band, who played
flugelhorn in the
ensemble until the age of
86. Their favourite piece
of music,
‘Canon’ by
Thomas Tallis, provided a
great deal of musical
inspiration for this
characteristic and
versatile
work.
A
Man’s Destiny
heeft als ondertitel de
Friese regel ‘Yn
Ieren en Sinen’
(vanuit volle
overtuiging) meegekregen.
Het werk is geschreven in
opdracht van de CMV
Harmonie Sneek ter
gelegenheid van haar
95-jarig jubileum. De
componist baseerde de
compositie op het leven
van een oud-lid van de
vereniging een man die
tot zijn 86e jaar de
bugel bespeelde. Diens
lievelingslied,
‘Tallis’
Canon’ van Thomas
Tallis, is dan ook de
muzikale inspiratiebron
geweest voor dit
karakteristieke en
veelzijdige
werk.
A
Man’s Destiny
hat den friesischen
Ausspruch Yn Ieren en
Sinen“ (mit
großer Überzeugung)
als Untertitel. Das Werk
wurde von der CMV
Harmonie Sneek (aus
Friesland in den
Niederlanden)
anlässlich ihres
95-jährigen Bestehens
in Auftrag gegeben. Der
Komponist widmete sich in
diesem Werk dem Leben
eines ehemaligen
Orchestermitglieds, das
bis zum Alter von 86
Jahren in dem Ensemble
Flügelhorn gespielt
hat. Sein
Lieblingsstück
Canon“ von Thomas
Tallis diente als
wichtige musikalische
Inspirationsquelle für
diese charakteristische
und vielseitige
Komposition.
Composed by
Chris Ferguson. Beginning
Band (BPS). Set of Score
and Parts. With Standard
notation.
8+2+8+2+5+2+2+8+3+6+3+1+1
+2+1+16+2 pages. Duration
1:43. Carl Fischer Music
#BPS120. Published by
Carl Fischer Music
(CF.BPS120).
ISBN
9781491152065. UPC:
680160909568.
An
exceptionally clever
idea, to combine the
standard bugle calls into
an easy march for
beginning students.Â
It is something they
already know, and can be
successful on right
away. We are
delighted to welcome
composer/educator Chris
Ferguson to the Carl
Fischer catalog. He
brings a wealth of
experience working with
beginners that has
translated into this
wonderful new march for
young
students. Reveille
March is inspired by the
bugle calls found
throughout military
history.The “Rev
eille†call is the
signal used to awaken the
troops for morning roll
call and accompanies the
raising of the
flag. At the
conductor’s
discretion, the soli
sections (measures 29 and
37) may also be performed
as solos in reference to
the traditional solo
bugle call.“To the
Color†(measure 49)
is used to signal the end
of a soldier’s
day. It is also used when
a full band is not
available to render
honors and commands all
the same courtesies as
our National Anthem.
Composed
by Chris Ferguson.
Beginning Band (BPS).
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #BPS120F.
Published by Carl Fischer
Music (CF.BPS120F).
ISBN 9781491152744.
UPC:
680160910243.
An
exceptionally clever
idea, to combine the
standard bugle calls into
an easy march for
beginning students.Â
It is something they
already know, and can be
successful on right
away. We are
delighted to welcome
composer/educator Chris
Ferguson to the Carl
Fischer catalog. He
brings a wealth of
experience working with
beginners that has
translated into this
wonderful new march for
young
students. Reveille
March is inspired by the
bugle calls found
throughout military
history.The “Rev
eille†call is the
signal used to awaken the
troops for morning roll
call and accompanies the
raising of the
flag. At the
conductor’s
discretion, the soli
sections (measures 29 and
37) may also be performed
as solos in reference to
the traditional solo
bugle call.“To the
Color†(measure 49)
is used to signal the end
of a soldier’s
day. It is also used when
a full band is not
available to render
honors and commands all
the same courtesies as
our National Anthem.
Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8095417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski.
Score Only. Composed
2008. Beriato Music
#BMP8095417. Published by
Beriato Music
(BT.BMP8095417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8091417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski. Set
(Score & Parts). Composed
2008. Beriato Music
#BMP8091417. Published by
Beriato Music
(BT.BMP8091417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
America Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS252 Composed by Michael J. Miller....(+)
Band Concert Band - Grade
3
SKU: CF.CPS252
Composed by Michael J.
Miller. Set of Score and
Parts.
12+4+4+2+4+4+4+2+2+2+2+2+
2+4+4+4+2+2+3+3+3+2+4+3+1
+2+3 pages. Duration
1:45. Carl Fischer Music
#CPS252. Published by
Carl Fischer Music
(CF.CPS252).
ISBN
9781491159699. UPC:
680160918287.
Ameri
ca is intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible. The
introduction, mm. 1-12,
should be approached in
the style of a fanfare,
with an emphasis on
syncopation and
exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm. 15-22 the
melody is carefully
hidden among counter
lines. This should be
carefully balanced to
highlight the melody,
while still shaping the
counter melodies
appropriately. A brief
return to the fanfare
style occurs in mm. 33-35
before melding back into
the chorale style. In
regards to dynamics,
performers should be
reminded that within any
single dynamic exists a
range of expressive
shades. No two notes
should be played at the
same volume, ensuring
direction in even the
simplest of phrases.
Generally speaking, the
fortissimo dynamic should
be approached
thoughtfully, with the
bulk of the sound coming
from the lowest voices,
and the least from the
highest
voices. America is
intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible.The
introduction, mm.
1–12, should be
approached in the style
of a fanfare, with an
emphasis on syncopation
and exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm.
15–22 the melody
is carefully hidden among
counter lines. This
should be carefully
balanced to highlight the
melody, while still
shaping the counter
melodies appropriately.A
brief return to the
fanfare style occurs in
mm. 33–35 before
melding back into the
chorale style.In regards
to dynamics, performers
should be reminded that
within any single dynamic
exists a range of
expressive shades. No two
notes should be played at
the same volume, ensuring
direction in even the
simplest of
phrases.Generally
speaking, the fortissimo
dynamic should be
approached thoughtfully,
with the bulk of the
sound coming from the
lowest voices, and the
least from the highest
voices.
America Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS252F Composed by Michael J. Miller...(+)
Band Concert Band - Grade
3
SKU: CF.CPS252F
Composed by Michael J.
Miller. Full score. 9
pages. Carl Fischer Music
#CPS252F. Published by
Carl Fischer Music
(CF.CPS252F).
ISBN
9781491159705. UPC:
680160918294.
Ameri
ca is intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible. The
introduction, mm. 1-12,
should be approached in
the style of a fanfare,
with an emphasis on
syncopation and
exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm. 15-22 the
melody is carefully
hidden among counter
lines. This should be
carefully balanced to
highlight the melody,
while still shaping the
counter melodies
appropriately. A brief
return to the fanfare
style occurs in mm. 33-35
before melding back into
the chorale style. In
regards to dynamics,
performers should be
reminded that within any
single dynamic exists a
range of expressive
shades. No two notes
should be played at the
same volume, ensuring
direction in even the
simplest of phrases.
Generally speaking, the
fortissimo dynamic should
be approached
thoughtfully, with the
bulk of the sound coming
from the lowest voices,
and the least from the
highest
voices. America is
intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible.The
introduction, mm.
1–12, should be
approached in the style
of a fanfare, with an
emphasis on syncopation
and exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm.
15–22 the melody
is carefully hidden among
counter lines. This
should be carefully
balanced to highlight the
melody, while still
shaping the counter
melodies appropriately.A
brief return to the
fanfare style occurs in
mm. 33–35 before
melding back into the
chorale style.In regards
to dynamics, performers
should be reminded that
within any single dynamic
exists a range of
expressive shades. No two
notes should be played at
the same volume, ensuring
direction in even the
simplest of
phrases.Generally
speaking, the fortissimo
dynamic should be
approached thoughtfully,
with the bulk of the
sound coming from the
lowest voices, and the
least from the highest
voices.
Belvedere Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie and Trumpet Solo - Grade 2 SKU: BT.DHP-1165682-010 ...(+)
Concert Band/Harmonie and
Trumpet Solo - Grade 2
SKU:
BT.DHP-1165682-010
For Bb Trumpet (or Bb
Flugel Horn) and Concert
Band. Composed by Jan
de Haan. Solo Spectrum.
Solo & Concerto. Set
(Score & Parts). Composed
2016. 11 pages. De Haske
Publications #DHP
1165682-010. Published by
De Haske Publications
(BT.DHP-1165682-010).
English-German-French-
Dutch.
Belvedere
is a beautiful solo
for trumpet or flugel
horn and is partly taken
from City Scapes,
a concert work that was
inspired by Central Park
in New York City. The
title Belvedere
refers to
‘Belvedere
Castle’, erected
in 1869, and radiates the
peaceful atmosphere of
this place.
Belvedere
is een prachtig solostuk
voor trompet of bugel dat
afkomstig is uit City
Scapes, een
concertwerk dat is ge
nspireerd op Central Park
in New York City. De
titel Belvedere
verwijst naar het
Belvedere Castle, een
kasteel dat er in 1869
werd gebouwd de muziek
verklankt de rust die
deze plek uitstraalt.
Belvedere
ist ein wunderschönes
Solostück für
Trompete oder
Flügelhorn. Es handelt
sich um einen Teil aus
dem Konzertstück
City Scapes, das
vom Central Park in New
York City inspiriert
wurde. Der Titel
Belvedere verweist
auf das 1869 errichtete
Schloss Belvedere
Castle“ und
spiegelt die friedliche
Atmosphäre dieses
Ortes wider.
Belvedere
è una bella
composizione per tromba
sola o flicorno soprano
mutuata da City
Scapes, brano
ispirato a Central Park,
New York. In questo caso
il compositore si è
ispirato al Castello di
Belvedere, situato a sud
del centro storico di
Vienna.
Belvedere Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie and Trumpet Solo - Grade 2 SKU: BT.DHP-1165682-140 ...(+)
Concert Band/Harmonie and
Trumpet Solo - Grade 2
SKU:
BT.DHP-1165682-140
For Bb Trumpet (or Bb
Flugel Horn) and Concert
Band. Composed by Jan
de Haan. Solo Spectrum.
Solo & Concerto. Score
Only. Composed 2016. De
Haske Publications #DHP
1165682-140. Published by
De Haske Publications
(BT.DHP-1165682-140).
English-German-French-
Dutch.
Belvedere
is a beautiful solo
for trumpet or flugel
horn and is partly taken
from City Scapes,
a concert work that was
inspired by Central Park
in New York City. The
title Belvedere
refers to
‘Belvedere
Castle’, erected
in 1869, and radiates the
peaceful atmosphere of
this place.
Belvedere
is een prachtig solostuk
voor trompet of bugel dat
afkomstig is uit City
Scapes, een
concertwerk dat is ge
nspireerd op Central Park
in New York City. De
titel Belvedere
verwijst naar het
Belvedere Castle, een
kasteel dat er in 1869
werd gebouwd de muziek
verklankt de rust die
deze plek uitstraalt.
Belvedere
ist ein wunderschönes
Solostück für
Trompete oder
Flügelhorn. Es handelt
sich um einen Teil aus
dem Konzertstück
City Scapes, das
vom Central Park in New
York City inspiriert
wurde. Der Titel
Belvedere verweist
auf das 1869 errichtete
Schloss Belvedere
Castle“ und
spiegelt die friedliche
Atmosphäre dieses
Ortes wider.
Belvedere
è una bella
composizione per tromba
sola o flicorno soprano
mutuata da City
Scapes, brano
ispirato a Central Park,
New York. In questo caso
il compositore si è
ispirato al Castello di
Belvedere, situato a sud
del centro storico di
Vienna.
Les Marteaux de la Marine Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000258-010 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000258-010
Composed by Rob Goorhuis.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000258-010. Published by
Gobelin Music
Publications
(BT.GOB-000258-010).
Les Marteaux de
La Marine was composed in
1999 as a commission by
the Marine Band of the
Royal Netherlands
Navy.
The
composition contains
three static elements
which interchange. Static
in this case means that
development of the
material isnot pursued
(by the composer).
The first element
with which the piece
begins is tranquil and
colourful. The second
element is sharp and
incisive, while the third
expresses energy. In all
elements a repeated tone
is the starting point
whichexplains the hammers
in the works title.The
instrumentation is richly
variegated with a harp
also determining the
palette of colours in the
slower movements.
The composition
opens with an atmospheric
Larghetto containing fine
harmonies in thesoft and
subtly moving wood-winds.
The introduction breathes
an impressionistic
atmosphere in which
expressive cantilenas and
soloistic agile motifs
stand out. A strong
setting is followed by an
Allegro virtuoso
containing fast motifs
contrasted withshort and
rhythmic stars of the
various instrumental
sections. Trumpets and
horns add a virtuoso
bugle-call motif.
After a short
stringendosection, the
transparent Larghetto
returns with a varied
setting of the opening
elements. The
beautifulleading roles in
this section are reserved
for cornet (trumpet) and
horn. Subsequently, the
flashing Vivo starts with
continuous movements in
triplets from both
wood-winds and brass.
Next, the opening Allegro
re-appears once again and
thus LesMarteaux de la
Marine ends with a fast
and virtuoso
climax.
Les
Marteaux de La Marine was
selected as a compulsory
grade 6 contest piece for
symphonic bands in the
Netherlands.
Les
marteaux de la marine
werd in 1999 gecomponeerd
in opdracht van de
Marinierskapel van de
Koninklijke
Marine.
De
compositie kent drie
statische elementen,
elkaar afwisselend.
Statisch wil in dit geval
zeggen dat er geen
ontwikkeling vanhet
materiaal wordt
nagestreefd. Het
eerste element waarmee
het stuk begint is rustig
en kleurrijk. Het tweede
element is vinnig en
scherp terwijl het derde
energie verbeeldt. In
alle elementen is de
herhaalde toon het
uigangspunt waarmee
dehamers (martaux)
verklaard kunnen worden.
De instrumentatie is rijk
geschakeerd waarbij in de
langzame gedeelten een
harp medebepalend is voor
het kleurenpalet.
De compositie vangt aan
met een sfeervol
Larghetto met fraaie
harmonieën in hetzachte,
subtiel bewegende,
houtregister. De
inleiding ademt een
impressionistische sfeer
uit, waarbij expressieve
cantilenes en solistische
beweeglijke motieven naar
voren komen. Dan
volgt een virtuoos
Allegro met snelle
motieven afgezet
doorkorte, ritmische
inzetten van de diverse
instrumentengroepen. De
trompetten en hoorns
voegen een virtuoos
signaalmotief toe. Na en
kort stringendo-gedeelte
keert het transparante
Larghetto terug met een
gevarieerde zetting van
de beginelementen.
Decornet (trompet) en
hoorn vervullen in dit
gedeelte een fraaie
hoofdrol. Vervolgens zet
het flitsende Vivo in met
voortdurende
trioolbewegingen in zowel
hout als koper.
Vervolgens duikt het
Allegro van het begin nog
op en Les marteaux de la
marinebesluit met een
snelle en virtuoze
climax.
Les Marteaux de la Marine Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000258-140 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000258-140
Composed by Rob Goorhuis.
Score Only. 34 pages.
Gobelin Music
Publications #GOB
000258-140. Published by
Gobelin Music
Publications
(BT.GOB-000258-140).
Les Marteaux de
La Marine was composed in
1999 as a commission by
the Marine Band of the
Royal Netherlands
Navy.
The
composition contains
three static elements
which interchange. Static
in this case means that
development of the
material isnot pursued
(by the composer).
The first element
with which the piece
begins is tranquil and
colourful. The second
element is sharp and
incisive, while the third
expresses energy. In all
elements a repeated tone
is the starting point
whichexplains the hammers
in the works title.The
instrumentation is richly
variegated with a harp
also determining the
palette of colours in the
slower movements.
The composition
opens with an atmospheric
Larghetto containing fine
harmonies in thesoft and
subtly moving wood-winds.
The introduction breathes
an impressionistic
atmosphere in which
expressive cantilenas and
soloistic agile motifs
stand out. A strong
setting is followed by an
Allegro virtuoso
containing fast motifs
contrasted withshort and
rhythmic stars of the
various instrumental
sections. Trumpets and
horns add a virtuoso
bugle-call motif.
After a short
stringendosection, the
transparent Larghetto
returns with a varied
setting of the opening
elements. The
beautifulleading roles in
this section are reserved
for cornet (trumpet) and
horn. Subsequently, the
flashing Vivo starts with
continuous movements in
triplets from both
wood-winds and brass.
Next, the opening Allegro
re-appears once again and
thus LesMarteaux de la
Marine ends with a fast
and virtuoso
climax.
Les
Marteaux de La Marine was
selected as a compulsory
grade 6 contest piece for
symphonic bands in the
Netherlands.
Les
marteaux de la marine
werd in 1999 gecomponeerd
in opdracht van de
Marinierskapel van de
Koninklijke
Marine.
De
compositie kent drie
statische elementen,
elkaar afwisselend.
Statisch wil in dit geval
zeggen dat er geen
ontwikkeling vanhet
materiaal wordt
nagestreefd. Het
eerste element waarmee
het stuk begint is rustig
en kleurrijk. Het tweede
element is vinnig en
scherp terwijl het derde
energie verbeeldt. In
alle elementen is de
herhaalde toon het
uigangspunt waarmee
dehamers (martaux)
verklaard kunnen worden.
De instrumentatie is rijk
geschakeerd waarbij in de
langzame gedeelten een
harp medebepalend is voor
het kleurenpalet.
De compositie vangt aan
met een sfeervol
Larghetto met fraaie
harmonieën in hetzachte,
subtiel bewegende,
houtregister. De
inleiding ademt een
impressionistische sfeer
uit, waarbij expressieve
cantilenes en solistische
beweeglijke motieven naar
voren komen. Dan
volgt een virtuoos
Allegro met snelle
motieven afgezet
doorkorte, ritmische
inzetten van de diverse
instrumentengroepen. De
trompetten en hoorns
voegen een virtuoos
signaalmotief toe. Na en
kort stringendo-gedeelte
keert het transparante
Larghetto terug met een
gevarieerde zetting van
de beginelementen.
Decornet (trompet) en
hoorn vervullen in dit
gedeelte een fraaie
hoofdrol. Vervolgens zet
het flitsende Vivo in met
voortdurende
trioolbewegingen in zowel
hout als koper.
Vervolgens duikt het
Allegro van het begin nog
op en Les marteaux de la
marinebesluit met een
snelle en virtuoze
climax.
Bread and Games Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000756-010 Composed by Willia...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000756-010
Composed by William Vean.
Set (Score & Parts). 116
pages. Gobelin Music
Publications #GOB
000756-010. Published by
Gobelin Music
Publications
(BT.GOB-000756-010).
‘Panem et
Circenses’, Bread and
Games were essential for
keeping the citizens of
ancient Rome in check.
While the bread was
meant for the poorest
among the Romans, the
Games were Popular
Pastime Number One for
everybody. There were
different kinds of games,
such as chariot races
(especially popular with
female spectators), or
wild-beast fights, where
lions, tigers, bulls or
bears were set on one
another or even on human
beings. Most popular,
however, were the
Gladiator fights.
In ‘Bread and Games’
William Vean depicts one
of the many fights in the
antique Colosseum. 1.
Entrance of the
Gladiators: By powerful
bugle-calls the attention
of the peoplewas asked
for, after which the
Gladiators entered the
Arena at the sound of
heroic
marching-music. 2.Swor
dfight: We can hear that
the fights were not mere
child’s play in this
part.On the contrary,
they were a matter of
life and death and were
fought
accordingly. 3.Mercy
of the Emperor: Sometimes
a wounded gladiator could
be fortunate, depending
on the mercy of the
audience. Waving one’s
handkerchief meant mercy,
a turned-down thumb meant
no pardon. The Emperor
had the right to take the
final decision, but he
usually complied with the
wish of the majority of
the public. 4.Lap of
Honour: Gladiators were
mainly selected among
slaves, convicted
criminals, or prisoners
of war. Consequently,
winning was very
important, as it would
mean fame, honour and
sometimes even wealth. A
lap of honour, therefore,
was the winner’s due
reward.
‘Panem
et Circenses’, brood en
(circus)spelen,
essentieel in het
Romeinse leven om de
burgers in het gareel te
houden. Het brood was
vooral voor de
allerarmsten bedoeld,
maar de spelen, dat was
volksvermaak nummer
één. Erwaren
verschillende soorten
spelen, de Strijdwagen
racen, vooral in trek bij
de vrouwen, de
dierengevechten of
jachtpartijen, waar
leeuwen, tijgers, buffels
of beren tegen elkaar of
tegen mensen opgehitst
werden. Maar favoriet
warentoch wel de
gevechten der
Gladiatoren.
William Vean
beschrijft in ‘Bread
and Games’ één van de
vele gevechten in het
aloude Colosseum. 1.
Entrance of the
Gladiators: Met krachtige
(hoorn)signalen wordt de
aandachtvan het volk
gevraagd waarna de
Gladiatoren op
heldhaftige marsmuziek de
Arena binnentreden.
2. Swordfight: Dat de
gevechten geen kinderspel
waren horen we in dit
deel. Het gaat er hard
aan toe, en de gevechten
waren vaak op levenen
dood. 3. Mercy of the
Emperor: In enkele
gevallen had een gewonde
Gladiator geluk. Dit hing
af van de stemming van
het publiek. Wapperende
zakdoeken betekende
geluk, met de duim naar
beneden wijzen betekende
geen pardon.De Keizer had
het laatste woord maar
volgde meestal de
stemming van het publiek.
4. Lap of Honour:
Gladiatoren werden
meestal uit slaven,
veroordeelde misdadigers
of krijgsgevangen
geselecteerd. Winnen was
daarom erg belangrijk.Dit
betekende roem, eer en
soms zelfs rijkdom.
(vergelijkbaar met onze
sporthelden) Een ereronde
was dus wel op zijn
plaats.
Bread and Games Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000756-140 Composed by Willia...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000756-140
Composed by William Vean.
Score Only. 36 pages.
Gobelin Music
Publications #GOB
000756-140. Published by
Gobelin Music
Publications
(BT.GOB-000756-140).
‘Panem et
Circenses’, Bread and
Games were essential for
keeping the citizens of
ancient Rome in check.
While the bread was
meant for the poorest
among the Romans, the
Games were Popular
Pastime Number One for
everybody. There were
different kinds of games,
such as chariot races
(especially popular with
female spectators), or
wild-beast fights, where
lions, tigers, bulls or
bears were set on one
another or even on human
beings. Most popular,
however, were the
Gladiator fights.
In ‘Bread and Games’
William Vean depicts one
of the many fights in the
antique Colosseum. 1.
Entrance of the
Gladiators: By powerful
bugle-calls the attention
of the peoplewas asked
for, after which the
Gladiators entered the
Arena at the sound of
heroic
marching-music. 2.Swor
dfight: We can hear that
the fights were not mere
child’s play in this
part.On the contrary,
they were a matter of
life and death and were
fought
accordingly. 3.Mercy
of the Emperor: Sometimes
a wounded gladiator could
be fortunate, depending
on the mercy of the
audience. Waving one’s
handkerchief meant mercy,
a turned-down thumb meant
no pardon. The Emperor
had the right to take the
final decision, but he
usually complied with the
wish of the majority of
the public. 4.Lap of
Honour: Gladiators were
mainly selected among
slaves, convicted
criminals, or prisoners
of war. Consequently,
winning was very
important, as it would
mean fame, honour and
sometimes even wealth. A
lap of honour, therefore,
was the winner’s due
reward.
‘Panem
et Circenses’, brood en
(circus)spelen,
essentieel in het
Romeinse leven om de
burgers in het gareel te
houden. Het brood was
vooral voor de
allerarmsten bedoeld,
maar de spelen, dat was
volksvermaak nummer
één. Erwaren
verschillende soorten
spelen, de Strijdwagen
racen, vooral in trek bij
de vrouwen, de
dierengevechten of
jachtpartijen, waar
leeuwen, tijgers, buffels
of beren tegen elkaar of
tegen mensen opgehitst
werden. Maar favoriet
warentoch wel de
gevechten der
Gladiatoren.
William Vean
beschrijft in ‘Bread
and Games’ één van de
vele gevechten in het
aloude Colosseum. 1.
Entrance of the
Gladiators: Met krachtige
(hoorn)signalen wordt de
aandachtvan het volk
gevraagd waarna de
Gladiatoren op
heldhaftige marsmuziek de
Arena binnentreden.
2. Swordfight: Dat de
gevechten geen kinderspel
waren horen we in dit
deel. Het gaat er hard
aan toe, en de gevechten
waren vaak op levenen
dood. 3. Mercy of the
Emperor: In enkele
gevallen had een gewonde
Gladiator geluk. Dit hing
af van de stemming van
het publiek. Wapperende
zakdoeken betekende
geluk, met de duim naar
beneden wijzen betekende
geen pardon.De Keizer had
het laatste woord maar
volgde meestal de
stemming van het publiek.
4. Lap of Honour:
Gladiatoren werden
meestal uit slaven,
veroordeelde misdadigers
of krijgsgevangen
geselecteerd. Winnen was
daarom erg belangrijk.Dit
betekende roem, eer en
soms zelfs rijkdom.
(vergelijkbaar met onze
sporthelden) Een ereronde
was dus wel op zijn
plaats.