Fiesta Time Orchestre d'harmonie [Conducteur et Parties séparées] Belwin
Composed by Victor Lopez. Concert Band; Performance Music Ensemble; Single Title...(+)
Composed by Victor Lopez.
Concert Band; Performance
Music Ensemble; Single
Titles. Belwin Beginning
Band. Latin;
Multicultural. Part(s);
Score. 132 pages.
Duration 1:30. Belwin
Music #00-42146.
Published by Belwin Music
(AP.42146).
Composed by Amy
Foster-Gillies, Andrea
Bocelli, and David
Babyface Foster. Arranged
by Wim Stalman. De Haske
Pop Collection. Pop &
Rock. Score Only.
Composed 2007. 20 pages.
Music Sales #1413-07-140
MS. Published by Music
Sales
(BT.1413-07-140-MS).
School's Cool Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 1.5 SKU: BT.DHP-1053829-015 (+)
Concert
Band/Harmonie/Fanfare
Band - Grade 1.5
SKU:
BT.DHP-1053829-015
Little Suite for
Flexible Band.
Composed by Jacob De
Haan. Flexible 4 Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
De Haske Publications
#DHP 1053829-015.
Published by De Haske
Publications
(BT.DHP-1053829-015).
9x12 inches.
English-German-French-Dut
ch.
This short,
“cool†suite
in three movements can be
performed with a variety
of instruments from a
handful of players to a
complete concert band.
The first movement
radiates joy with a
powerful 3/4 beat. The
second movement is in the
style of a pavane, which
gives a sense of
nostalgia and the final
movement forms a cheerful
and high-spirited closing
with a really funky beat.
This wonderful suite has
been composed especially
for youth musicians and
they will all gain great
pleasure from performing
it.Because of the
four-part
instrumentation, School's
Cool is suitable for
smaller strengths, taking
into account that it is
important to divide parts
evenly among the players.
Alsoincludes an ad-lib
keyboard/piano part to
support the ensemble.
Deze korte suite
is uitvoerbaar in elke
denkbare bezetting
(eventueel inclusief
piano).
School’s
Cool is gecomponeerd
in opdracht van de Yamaha
Bläserklasse van de
Frauenwaldschule in
Nieder-Mörlen
(Duitsland), ter
gelegenheidvan de
verhuizing naar een ander
gebouw. De leerlingen van
het orkest vonden de
voormalige school
‘cool’,
omdat ze er fijn konden
musiceren. Het eerste
deel straalt deze vreugde
uit met een krachtige
beat in driekwartsmaat.
Hettweede deel is een
soort pavane, waarin even
wat weemoed doorklinkt.
Het derde deel vormt een
levenslustig slot in een
lekkere funkbeat. Een
heerlijke suite voor
jeugdige
musici.
Diese
kurze, coole“ Suite
in drei Sätzen wurde
speziell für eine hoch
motivierte
Bläserklasse
komponiert und kann
deshalb in jeder
denkbaren Spielstärke
(optional mit Klavier)
gespielt werden. Der
erste Satz strahlt
Spielfreude in einem
kraftvollen Rhythmus im
1/2-Takt aus. Der zweite
Satz ist eine Art Pavane,
in welcher einen Moment
lang Nostalgie
widerklingt. Der dritte
Satz bildet ein
fröhliches, in
Hochstimmung endendes
Finale in einem
ansprechenden Funk-Beat.
Kurz gesagt, ist
School’s
Cool eine wunderbare
Suite, ganz besonders
für junge
Musiker.
Questa piccola
suite in tre movimenti,
fluida e rilassante, è
adatta ad ogni tipo di
organico a strumentazione
variabile (parte per il
piano opzionale).
School’s Cool è
un brano commissionato a
Jacob de Haan per la
classe di musica
Essential Elements della
Scuola Frauenwald di
Nieder-Mörlen in
Germania. Il primo
movimento evoca
musicalmente la gioia di
vivere. Il secondo
movimento è una specie
di pavane impregnata di
nostalgia. Vivace e
brillante, il terzo
movimento chiude il brano
su un trascinante ritmo
funk. Questa piccola
suite piena di charme
è perfetta per giovani
musicisti.
Fantasia Nova Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
Concert band - Grade 5 SKU: MH.1-59913-082-3 Composed by Bob Margolis. Su...(+)
Concert band - Grade 5
SKU:
MH.1-59913-082-3
Composed by Bob Margolis.
Suitable for community
bands, high school bands,
and college bands. 14
minutes duration if
played as a suite; or
movements 1 or 3 may be
performed separately.
Conductor score and set
of parts. Duration 14:00.
Published by Manhattan
Beach Music
(MH.1-59913-082-3).
ISBN
9781599130828.
Fant
asia Nova is a suite
comprising two concert
marches and a slow,
middle movement that
derives its themes from
both marches. Ragtime
(composed in early
September, 1978) is a new
from old sort of piece.
Although its tunefulness
and harmonies have an
old-fashioned character,
its structure,
development, and
orchestration are unusual
for a march. In the
chorale section (measures
111 - 148) the band
director must be very
careful in balancing, for
each of the elements must
come through. More
important is that the
audience be brought up by
this section -- filled
with a joyous exaltation;
great attention must be
paid to sonority and the
band must play earnestly.
Ragtime stands on its own
and may be performed
separately. Dreams
(composed in late
September, 1978) is the
traditional march of the
two. It is very closely
modeled (in structure
only) to Sousa's Stars
and Stripes Forever. It
even includes a tricky
piccolo solo, although
the accompaniment has a
chorale texture, almost
like a school alma mater.
This march has a
patriotic, inspirational
sound, because it was
composed for the town of
Irondequoit, New York --
for a Town March contest
held by the town's
community concert band.
It did not, so far as I
know, become the town's
march; one can hear the
name, Irondequoit,
throughout the Trio, for
every turn of the melody
(in fact, each group of
four notes) fits the
accent pattern
(Ih-RON-dih-kwoit) of the
town's name. Parade
stands on its own as a
complete work and may be
performed separately.
Ensemble instrumentation:
1 Piccolo, 6 Flutes, 2
1st & 2nd Oboes, 1
English Horn, 1 Eb
Clarinet, 3 1st Bb
Clarinet, 3 2nd Bb
Clarinet, 3 3rd Bb
Clarinet, 1 Eb Alto
Clarinet, 2 Bb Bass
Clarinet, 1 Eb Contrabass
Clarinet (optional), 2
1st & 2nd Bassoons, 1
Contrabassoon (optional),
1 1st Eb Alto Saxophone,
1 2nd Eb Alto Saxophone,
1 Bb Tenor Saxophone, 1
Eb Baritone Saxophone, 3
1st Bb Cornets, 3 2nd Bb
Cornets, 3 3rd Bb
Cornets, 1 1st Horn in F,
1 2nd Horn in F, 2 3rd
and 4th Horns in F, 2 1st
Trombones, 2 2nd
Trombones, 2 3rd
Trombones, 1 Euphonium
(Treble Clef), 2
Euphonium (Bass Clef), 4
Tuba, 1 String Bass, 1
Timpani (Triangle), 5
Percussion.
Naoya Wada : Pacifica Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
(Concert March). By Naoya Wada. Concert band. Young Concert Band. Command Series...(+)
(Concert March). By Naoya
Wada. Concert band. Young
Concert Band. Command
Series. Audio recording
available separately
(item CL.WFR342). Grade
2.5. Score and set of
parts. Composed 2006.
Duration 2 minutes, 46
seconds. Published by
C.L. Barnhouse
Cambrinus Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1165711-140 Based on the s...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1165711-140
Based on the song Lied
van Hertog Jan (Floris
van der Putt).
Composed by Matthias van
Nispen tot Pannerden.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2016. De Haske
Publications #DHP
1165711-140. Published by
De Haske Publications
(BT.DHP-1165711-140).
English-German-French-
Dutch.
The name
Cambrinus, a
corrupted variation on
‘Jan Primus’
(John the First), refers
to the flamboyant John I
of Brabant, who was the
Duke of the Dutch
provinces Brabant and
Limburg, in the second
half of the 13th century.
This piece of music tells
the story of this notable
man, starting with the
Battle of Worringen in
1288, where he scored a
glorious victory,
followed by an exuberant
celebration in which he
also contemplates about
the suffering he and his
men have caused. The
works offers exciting
energetic musical scenes
with lots of action, as
well as beautiful
romantic and heroic
themes offering plenty of
opportunities for your
band to unfold all its
qualities.
Met de
naam Cambrinus,
een verbastering van
‘Jan
Primus’, wordt de
flamboyante Jan I van
Brabant bedoeld, die in
de tweede helft van de
13e eeuw hertog van
Brabant en Limburg was.
Dit muziekstuk vertelt
het verhaal van deze
bijzondere man, te
beginnen met de Slag bij
Woeringen in het jaar
1288, waar hij een
glorieuze overwinning
behaalde, gevolgd door
een weelderig feest, maar
ook een moment van
contemplatie waarin hij
het leed overdenkt dat
hij en zijn mannen hebben
aangericht. Het werk
omvat energieke muzikale
taferelen met veel actie,
evenals prachtige
romantische en hero sche
thema’s die uw
orkest ruim de
mogelijkheid bieden om te
schitteren.
Der
Name Cambrinus,
eine Verballhornung von
Jan Primus“ (Johann
I.), bezieht sich auf den
extravaganten Johann I.
von Brabant, der in der
zweiten Hälfte des 13.
Jahrhunderts Herzog der
holländischen
Provinzen Brabant und
Limburg war. Das
Musikstück erzählt
die Geschichte dieses
bedeutenden Mannes und
beginnt mit der Schlacht
von Worringen im Jahr
1288, bei der er einen
glorreichen Sieg
davontrug. Bei dem
rauschenden Fest nach
diesem Triumph soll er
aber auch über das
Leid nachgedacht haben,
das seine Soldaten und er
verursacht haben. Dieses
Werk bietet spannende und
energiegeladene
musikalische Szenen mit
großer Wirkung, aber
auch wunderschöne
romantische und
heroischeThemen, bei
denen das Orchester all
seine Qualitäten
entfalten kann.
Cambrinus Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1165711-010 Based on the s...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1165711-010
Based on the song Lied
van Hertog Jan (Floris
van der Putt).
Composed by Matthias van
Nispen tot Pannerden.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2016. De
Haske Publications #DHP
1165711-010. Published by
De Haske Publications
(BT.DHP-1165711-010).
English-German-French-
Dutch.
The name
Cambrinus, a
corrupted variation on
‘Jan Primus’
(John the First), refers
to the flamboyant John I
of Brabant, who was the
Duke of the Dutch
provinces Brabant and
Limburg, in the second
half of the 13th century.
This piece of music tells
the story of this notable
man, starting with the
Battle of Worringen in
1288, where he scored a
glorious victory,
followed by an exuberant
celebration in which he
also contemplates about
the suffering he and his
men have caused. The
works offers exciting
energetic musical scenes
with lots of action, as
well as beautiful
romantic and heroic
themes offering plenty of
opportunities for your
band to unfold all its
qualities.
Met de
naam Cambrinus,
een verbastering van
‘Jan
Primus’, wordt de
flamboyante Jan I van
Brabant bedoeld, die in
de tweede helft van de
13e eeuw hertog van
Brabant en Limburg was.
Dit muziekstuk vertelt
het verhaal van deze
bijzondere man, te
beginnen met de Slag bij
Woeringen in het jaar
1288, waar hij een
glorieuze overwinning
behaalde, gevolgd door
een weelderig feest, maar
ook een moment van
contemplatie waarin hij
het leed overdenkt dat
hij en zijn mannen hebben
aangericht. Het werk
omvat energieke muzikale
taferelen met veel actie,
evenals prachtige
romantische en hero sche
thema’s die uw
orkest ruim de
mogelijkheid bieden om te
schitteren.
Der
Name Cambrinus,
eine Verballhornung von
Jan Primus“ (Johann
I.), bezieht sich auf den
extravaganten Johann I.
von Brabant, der in der
zweiten Hälfte des 13.
Jahrhunderts Herzog der
holländischen
Provinzen Brabant und
Limburg war. Das
Musikstück erzählt
die Geschichte dieses
bedeutenden Mannes und
beginnt mit der Schlacht
von Worringen im Jahr
1288, bei der er einen
glorreichen Sieg
davontrug. Bei dem
rauschenden Fest nach
diesem Triumph soll er
aber auch über das
Leid nachgedacht haben,
das seine Soldaten und er
verursacht haben. Dieses
Werk bietet spannende und
energiegeladene
musikalische Szenen mit
großer Wirkung, aber
auch wunderschöne
romantische und
heroischeThemen, bei
denen das Orchester all
seine Qualitäten
entfalten kann.
Achnaton Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000712-140
Composed by Jan Bosveld.
Score Only. 40 pages.
Gobelin Music
Publications #GOB
000712-140. Published by
Gobelin Music
Publications
(BT.GOB-000712-140).
The Egyptian
pharaoh Amenhotep IV,
better known as Achnaton,
was the second son and
successor of Amenhotep
III. He reigned the
New Kingdom from 1353
until 1336 BC.
Achnatons lack of
interest in the economic
well-being of Egypt
ushered ina revolutionary
period in Egyptian
history. His harsh
reign induced much
suffering under the
population. During
this period when it was
customary for a pharaoh
to have many wives, he
had taken his cousin
Nefertete to reign as
queen at hisside. An
elegant and very
beautiful woman, she used
her influence to ease the
turmoil caused by
Achnaton. Combined
with her grace, her
presence at public
functions led to a
greater popularity among
her subjects than the
pharaoh
enjoyedhimself. Being
mostly preoccupied with
religious questions, he
declared that all the
other gods did not exist.
There was only one god,
the Aten, and it was the
sun itself. It was
now necessary to change
his name: ‘Amenhotep’
meaning ‘the god Amun
is satisfied’, because
he didnt want to be
associated with Amun or
any of the other
deities. He renamed
himself ‘Achnaton’
which means ‘servant of
the Aten’ -- a much
more appropriate
title! In the sixth
year of his reignAchnaton
also moved the capital to
a brand new city called
Achet-Aton (‘the
Horizon of the Aten’)
which was where Tel
el-Amarna stands today.
He did this to further
isolate himself from the
‘old’ religion, since
the previous capital
Thebes was thecentre of
worship of Amun. This
new religion created an
up rise among the
population and high
priests. In spite of
Nefertetes influence, the
falling economy and
religious conflict
resulted in the decline
of the Egyptian
empire. Hoping
toforget it ever
happened, people later
tried to eradicate all
traces of Achnaton and
his successors rule by
smashing their statues,
mutilating their mummies,
and ruining their relief
carvings. From that
moment on he was
remembered as
the‘heretic
king’.
This
composition was partially
funded by the ‘Prins
Bernhard
Cultuurfonds’.
D
e Egyptische farao
Achnaton was de zoon en
opvolger van Amenhotep
III en besteeg de troon
als Amenhotep IV. Hij
regeerde van 1353 tot
1336 voor Christus.
Achnaton was nauwelijks
ge?nteresseerd in
politiek en handel
waardoorhet Egyptische
rijk onder zijn bewind in
economisch verval raakte.
Hij regeerde per decreet
waaronder de bevolking
zwaar te leiden had.
In die tijd was het
gebruikelijk dat de
farao’s meerdere
vrouwen hadden waarvan
hij eréén tot zijn
hoofdvrouw koos waarmee
hij zijn rijk regeerde.
Nefertete was de
uitverkorene. Een zeer
mooie, elegante vrouw,
die met haar invloed op
het harde beleid van
Achnaton nog voor enige
verlichting zorgde. Dit
en haar aanwezigheidbij
openbare presentaties
leidde ertoe dat zij bij
de bevolking een veel
grotere populariteit
genoot dan de farao zelf.
Achnaton hield zich
vooral bezig met
religieuze vraagstukken.
Hij brak met het idee dat
er meergoden zouden
bestaan. Volgens hem was
er slechts één god,
namelijk de zon. Deze
zonnegod noemde hij
Aton. Nadat deze
gedachte zich bij hem had
geopenbaard veranderde
hij zijn naam van
Amenhotep in Achnaton,
hetgeen in het
Egyptisch“Aton
welgevallig”
betekent. In zijn
zesde regeringsjaar
stichtte Achnaton de
nieuwe regeringszetel
“Achet-Aton”, ver van
de bewoonde wereld in de
woestijn. Deze stad,
het huidige Tell
el-Amarna in
Midden-Egypte,stond
geheel in het teken van
de zonnegod. Deze nieuwe
godsdienst stuitte op
veel weerstand bij de
bevolking en de
priesters. De
godsdienststrijd die
hierdoor ontstond
gekoppeld aan het
economische verval
zorgde, ondanks de
invloedvan Nefertete,
voor de ineenstorting van
het Egyptische rijk als
grote mogendheid. Na
de dood van Achnaton werd
de regeringszetel
“Achet-Aton” gebruikt
als steengroeve. Zijn
naam werd verwijderd van
de alle bouwwerken en
herinneringszuilen.
Achnaton Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 4 SKU: BT.GOB-000712-010 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.GOB-000712-010
Composed by Jan Bosveld.
Set (Score & Parts). 38
pages. Gobelin Music
Publications #GOB
000712-010. Published by
Gobelin Music
Publications
(BT.GOB-000712-010).
The Egyptian
pharaoh Amenhotep IV,
better known as Achnaton,
was the second son and
successor of Amenhotep
III. He reigned the
New Kingdom from 1353
until 1336 BC.
Achnatons lack of
interest in the economic
well-being of Egypt
ushered ina revolutionary
period in Egyptian
history. His harsh
reign induced much
suffering under the
population. During
this period when it was
customary for a pharaoh
to have many wives, he
had taken his cousin
Nefertete to reign as
queen at hisside. An
elegant and very
beautiful woman, she used
her influence to ease the
turmoil caused by
Achnaton. Combined
with her grace, her
presence at public
functions led to a
greater popularity among
her subjects than the
pharaoh
enjoyedhimself. Being
mostly preoccupied with
religious questions, he
declared that all the
other gods did not exist.
There was only one god,
the Aten, and it was the
sun itself. It was
now necessary to change
his name: ‘Amenhotep’
meaning ‘the god Amun
is satisfied’, because
he didnt want to be
associated with Amun or
any of the other
deities. He renamed
himself ‘Achnaton’
which means ‘servant of
the Aten’ -- a much
more appropriate
title! In the sixth
year of his reignAchnaton
also moved the capital to
a brand new city called
Achet-Aton (‘the
Horizon of the Aten’)
which was where Tel
el-Amarna stands today.
He did this to further
isolate himself from the
‘old’ religion, since
the previous capital
Thebes was thecentre of
worship of Amun. This
new religion created an
up rise among the
population and high
priests. In spite of
Nefertetes influence, the
falling economy and
religious conflict
resulted in the decline
of the Egyptian
empire. Hoping
toforget it ever
happened, people later
tried to eradicate all
traces of Achnaton and
his successors rule by
smashing their statues,
mutilating their mummies,
and ruining their relief
carvings. From that
moment on he was
remembered as
the‘heretic
king’.
This
composition was partially
funded by the ‘Prins
Bernhard
Cultuurfonds’.
D
e Egyptische farao
Achnaton was de zoon en
opvolger van Amenhotep
III en besteeg de troon
als Amenhotep IV. Hij
regeerde van 1353 tot
1336 voor Christus.
Achnaton was nauwelijks
ge?nteresseerd in
politiek en handel
waardoorhet Egyptische
rijk onder zijn bewind in
economisch verval raakte.
Hij regeerde per decreet
waaronder de bevolking
zwaar te leiden had.
In die tijd was het
gebruikelijk dat de
farao’s meerdere
vrouwen hadden waarvan
hij eréén tot zijn
hoofdvrouw koos waarmee
hij zijn rijk regeerde.
Nefertete was de
uitverkorene. Een zeer
mooie, elegante vrouw,
die met haar invloed op
het harde beleid van
Achnaton nog voor enige
verlichting zorgde. Dit
en haar aanwezigheidbij
openbare presentaties
leidde ertoe dat zij bij
de bevolking een veel
grotere populariteit
genoot dan de farao zelf.
Achnaton hield zich
vooral bezig met
religieuze vraagstukken.
Hij brak met het idee dat
er meergoden zouden
bestaan. Volgens hem was
er slechts één god,
namelijk de zon. Deze
zonnegod noemde hij
Aton. Nadat deze
gedachte zich bij hem had
geopenbaard veranderde
hij zijn naam van
Amenhotep in Achnaton,
hetgeen in het
Egyptisch“Aton
welgevallig”
betekent. In zijn
zesde regeringsjaar
stichtte Achnaton de
nieuwe regeringszetel
“Achet-Aton”, ver van
de bewoonde wereld in de
woestijn. Deze stad,
het huidige Tell
el-Amarna in
Midden-Egypte,stond
geheel in het teken van
de zonnegod. Deze nieuwe
godsdienst stuitte op
veel weerstand bij de
bevolking en de
priesters. De
godsdienststrijd die
hierdoor ontstond
gekoppeld aan het
economische verval
zorgde, ondanks de
invloedvan Nefertete,
voor de ineenstorting van
het Egyptische rijk als
grote mogendheid. Na
de dood van Achnaton werd
de regeringszetel
“Achet-Aton” gebruikt
als steengroeve. Zijn
naam werd verwijderd van
de alle bouwwerken en
herinneringszuilen.
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-0960683-010 Composed by Serge...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-0960683-010
Composed by Sergei
Prokofiev. The Great
Classics. Concert Piece.
Set (Score & Parts).
Composed 1996. De Haske
Publications #DHP
0960683-010. Published by
De Haske Publications
(BT.DHP-0960683-010).
The Russian
ballet director Sergei
Diaghilev commissioned
many composers to write
music for the theatre.
This was what caused
Serge Prokofiev to
compose the four part
Scytische Suite (also
known as Ala and Lolli)
in 1916, from which The
Enemy God and the Dance
of the Spirits can be
heard on this CD. This
suite is one of
Prokofiev's first works,
and received negative
criticism following its
first performance on
account of its being
uncivilised. Prokofiev
himself wrote after this
first performance . . .
The timpani player beat
the skin of the timpani
to tatters, and the whole
orchestra voiced a
protest. A cellist
complained that he only
put up with the violence,
createdby the blaring
brass, on account of his
sick wife and three
children . . ..
Uluru - Kata
Tjuta. Composed by
Satoshi Yagisawa. Concert
and Contest Collection
CBHA. Concert Piece. Set
(Score & Parts). Composed
2017. De Haske
Publications #DHP
1175815-010. Published by
De Haske Publications
(BT.DHP-1175815-010).
English-German-French-
Dutch.
Call of
the Aboriginals Uluru -
Kata Tjuta was
commissioned by Nara
Municipal Ichijo Senior
High School Symphonic
Band, Nara City, Nara
Prefecture, Japan, to
commemorate their 60th
anniversary. Uluru, also
known as Ayers Rock, is
an immense monolith
rising in the vastness of
the Australian outback.
Famously also known as
Ayers Rock, it is listed
by UNESCO as a World
Heritage Site. It is a
sacred site for the
Aboriginal people of the
area, the Pitjantjatjara
Anangu, but has also
become a popular tourist
destination, creating
cultural and
environmental conflicts.
This work, which is
written in a style
typical of the composer,
tells a dramatic tale
adventure inspired bythe
life of the indigenous
people and the
magnificent scenery of
Uluru. This work is
suited for contests as
well as thematic
concerts.
Call
of the Aboriginals
Uluru-Kata-Tjuta werd
geschreven in opdracht
van de Nara Municipal
Ichijo Senior High School
Symphonic Band uit Nara,
de hoofdstad van de
Japanse prefectuur Nara,
ter gelegenheid van het
zestigjarig bestaan van
het orkest. Uluru is een
immense monoliet die
oprijst in de
uitgestrektheid van de
Australische outback.
Deze enorme rots, die ook
bekendstaat als Ayers
Rock, staat op de
Werelderfgoedlijst van de
UNESCO. Het is een
heilige plek voor de
Aboriginals uit het
gebied, de Pitjantjatjara
Anangu, en tevens een
populaire toeristische
bestemming, wat heeft
geresulteerd in
conflicten op het gebied
van cultuur en milieu.
Dit werk is geschiktvoor
wedstrijden, maar ook
voor een thematisch
concert.
Uluru - Kata
Tjuta. Composed by
Satoshi Yagisawa. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2017. 35 pages. De Haske
Publications #DHP
1175815-140. Published by
De Haske Publications
(BT.DHP-1175815-140).
English-German-French-
Dutch.
Call of
the Aboriginals Uluru -
Kata Tjuta was
commissioned by Nara
Municipal Ichijo Senior
High School Symphonic
Band, Nara City, Nara
Prefecture, Japan, to
commemorate their 60th
anniversary. Uluru, also
known as Ayers Rock, is
an immense monolith
rising in the vastness of
the Australian outback.
Famously also known as
Ayers Rock, it is listed
by UNESCO as a World
Heritage Site. It is a
sacred site for the
Aboriginal people of the
area, the Pitjantjatjara
Anangu, but has also
become a popular tourist
destination, creating
cultural and
environmental conflicts.
This work, which is
written in a style
typical of the composer,
tells a dramatic tale
adventure inspired bythe
life of the indigenous
people and the
magnificent scenery of
Uluru. This work is
suited for contests as
well as thematic
concerts.
Call
of the Aboriginals
Uluru-Kata-Tjuta werd
geschreven in opdracht
van de Nara Municipal
Ichijo Senior High School
Symphonic Band uit Nara,
de hoofdstad van de
Japanse prefectuur Nara,
ter gelegenheid van het
zestigjarig bestaan van
het orkest. Uluru is een
immense monoliet die
oprijst in de
uitgestrektheid van de
Australische outback.
Deze enorme rots, die ook
bekendstaat als Ayers
Rock, staat op de
Werelderfgoedlijst van de
UNESCO. Het is een
heilige plek voor de
Aboriginals uit het
gebied, de Pitjantjatjara
Anangu, en tevens een
populaire toeristische
bestemming, wat heeft
geresulteerd in
conflicten op het gebied
van cultuur en milieu.
Dit werk is geschiktvoor
wedstrijden, maar ook
voor een thematisch
concert.
Canterbury Chorale Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0910329-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-0910329-010
Composed by Jan Van der
Roost. Inspiration
Series. Set (Score &
Parts). Composed 1991. De
Haske Publications #DHP
0910329-010. Published by
De Haske Publications
(BT.DHP-0910329-010).
This quiet
piece with its broad
tones was originally
written for brass band on
request of Robert
Leveugle, chairman of the
composers own band: Brass
Band Midden Brabant
(Belgium). The direct
cause was a visit to the
beautiful cathedral of
theEnglish city
Canterbury, in which so
many fine compositions
sounded throughout the
centuries. Later on, Jan
Van der Roost rescored
this piece for symphonic
wind band, exploring the
full richness of colours
of this formation.
Besides solo phrases
forseveral instruments,
there are some massive
tutti passages making the
wind orchestra sound like
a majestic organ. By the
way: an ad libitum organ
part adds an extra
richness, colour and
power to this piece,
making it sound even more
broad
andgrand.
Dieses
ruhige Stück mit
seinen breiten Tönen
wurde ursprünglich
für Brass Band
geschrieben, im Auftrag
von Robert Leveugle, dem
Vorsitzenden der Brass
Band, dem der Komponist
angehört: die Brass
Band Midden Brabant
(Belgien). Später
orchestrierte JanVan der
Roost das Stück neu
für Symphonisches
Blasorchester, wobei er
die reichhaltige
Klangfarbenpalette dieser
Formation voll ausnutzte.
Neben Solo-Abschnitten
für verschiedene
Instrumente gibt es
einige massive
Tutti-Passagen, die
dasBlasorchester wie ein
riesiges Organ klingen
lassen. Ãœbrigens: Eine
optionale Orgelstimme
verleiht diesem Stück
noch mehr Klangfülle,
-farbe und Kraft, sodass
es noch breiter und
großartiger
klingt.
Concert Band - Grade 5 SKU: BT.DHP-0960683-040 Composed by Sergei Prokofi...(+)
Concert Band - Grade 5
SKU:
BT.DHP-0960683-040
Composed by Sergei
Prokofiev. The Great
Classics. Concert Piece.
Set (Score & Parts).
Composed 1996. De Haske
Publications #DHP
0960683-040. Published by
De Haske Publications
(BT.DHP-0960683-040).
The Russian
ballet director Sergei
Diaghilev commissioned
many composers to write
music for the theatre.
This was what caused
Serge Prokofiev to
compose the four part
Scytische Suite (also
known as Ala and Lolli)
in 1916, from which The
Enemy God and the Dance
of the Spirits can be
heard on this CD. This
suite is one of
Prokofiev's first works,
and received negative
criticism following its
first performance on
account of its being
uncivilised. Prokofiev
himself wrote after this
first performance . . .
The timpani player beat
the skin of the timpani
to tatters, and the whole
orchestra voiced a
protest. A cellist
complained that he only
put up with the violence,
createdby the blaring
brass, on account of his
sick wife and three
children . . ..
Brabantia Aeterna Orchestre d'harmonie [Conducteur] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000901-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000901-140
Composed by Jan Bosveld.
Score Only. Gobelin Music
Publications #GOB
000901-140. Published by
Gobelin Music
Publications
(BT.GOB-000901-140).
In 2006 Brabant
will be celebrating
it’s 900th anniversary.
On May 13th 1106 the
count Van Leuven was
appointed duke of
Brabant. This was the
birth of the duchy of
Brabant. For centuries
this duchy, situated in
the heart of the
Netherlands, was the
primary of the seventeen
provinces in the
Lowlands. Brabant formed
with it’s capital
cities Brussels, Leuven,
Antwerp and
‘s-Hertogenbosch the
focal point for politics,
culture and economy. The
revolution against Spain
(1566-1648) caused a
fracture between the
North and South. The old
duchy was divided into a
Dutch and Belgian part.
Even though each had
their own historical
background, the bond
forged in the past was
partially keptalive. To
this day we still have a
duke of Brabant.
Brabantia Aeterna takes
you on a musical journey
through 900 years of
Brabant history. A
fascinating journey
portraying war and peace,
love and grief,
prosperity and adversity,
development and
deterioration. Listen to
how monks chanted, bells
tolled and churches were
built. Or take the
thirteenth and fourteenth
centuries with their
bustling markets,
builders of cities or the
bleating of countless
sheep across the heather.
The plague, tribulations,
soldiers and political
bickering in the
following centuries. Hear
how the industrialisation
of the nineteenth and
twentieth centuries
provided prosperity for
the region and how to
this day the following
saying still applies:
‘the road to Brabant
leads to a warmer
world’ Brabantia
Aeterna was commissioned
by the Brabantse Bond van
Muziekverenigingen
(Brabant Music Society)
in honour of its fifth
anniversary.
In
2006 bestaat Brabant 900
jaar. Op 13 mei 1106
kreeg de graaf van Leuven
de titel van hertog van
Brabant. Hiermee was het
hertogdom Brabant
geboren. Eeuwenlang was
dit hertogdom, gelegen in
het hart van de
Nederlanden, het eerstein
rang van de zeventien
gewesten van de Lage
Landen. Brabant vormde
met zijn hoofdsteden
Brussel, Leuven,
Antwerpen en
's-Hertogenbosch het
brandpunt van bestuur,
cultuur en economie. De
Opstand tegen Spanje
(1566-1648) brachtechter
een scheuring tussen
Noord en Zuid teweeg. Het
oude hertogdom viel
uiteen in een Nederlands
en een Belgisch deel.
Hoewel ieder zijn eigen
weg in de geschiedenis
ging, zou de band die in
het verleden was gesmeed
gedeeltelijkblijven
bestaan. Vandaag de dag
hebben we nog steeds een
hertog van Brabant.
Brabantia Aeterna neemt u
mee op een muzikale reis
door 900 jaar Brabant.
Het is een boeiende tocht
langs oorlog en vrede,
lief en leed, voorspoed
entegenslag, bloei en
verval. Luister hoe
vroeger de monikken
zongen, de klokken
luidden en kerken werden
gebouwd. Of neem de
dertiende en veertiende
eeuw met zijn drukke
marktgeluiden, de bouwers
van steden of het geblaat
van tallozeschapen op de
heide. De pest, rampen,
soldaten en politiek
gekrakeel in de daarop
volgende eeuwen. Hoor hoe
de industrialisatie in de
negentiende en twintigste
eeuw zorgde voor nieuwe
welvaart in de regio en
hoe vandaag de dagnog
steeds geldt: 'Op weg
naar Brabant wordt de
wereld warmer.' Brabantia
Aeterna is geschreven in
opdracht van de Brabantse
Bond van
Muziekverenigingen ter
gelegenheid van haar
vijfjarig bestaan.
Brabantia Aeterna Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000901-010 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.GOB-000901-010
Composed by Jan Bosveld.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000901-010. Published by
Gobelin Music
Publications
(BT.GOB-000901-010).
In 2006 Brabant
will be celebrating
it’s 900th anniversary.
On May 13th 1106 the
count Van Leuven was
appointed duke of
Brabant. This was the
birth of the duchy of
Brabant. For centuries
this duchy, situated in
the heart of the
Netherlands, was the
primary of the seventeen
provinces in the
Lowlands. Brabant formed
with it’s capital
cities Brussels, Leuven,
Antwerp and
‘s-Hertogenbosch the
focal point for politics,
culture and economy. The
revolution against Spain
(1566-1648) caused a
fracture between the
North and South. The old
duchy was divided into a
Dutch and Belgian part.
Even though each had
their own historical
background, the bond
forged in the past was
partially keptalive. To
this day we still have a
duke of Brabant.
Brabantia Aeterna takes
you on a musical journey
through 900 years of
Brabant history. A
fascinating journey
portraying war and peace,
love and grief,
prosperity and adversity,
development and
deterioration. Listen to
how monks chanted, bells
tolled and churches were
built. Or take the
thirteenth and fourteenth
centuries with their
bustling markets,
builders of cities or the
bleating of countless
sheep across the heather.
The plague, tribulations,
soldiers and political
bickering in the
following centuries. Hear
how the industrialisation
of the nineteenth and
twentieth centuries
provided prosperity for
the region and how to
this day the following
saying still applies:
‘the road to Brabant
leads to a warmer
world’ Brabantia
Aeterna was commissioned
by the Brabantse Bond van
Muziekverenigingen
(Brabant Music Society)
in honour of its fifth
anniversary.
In
2006 bestaat Brabant 900
jaar. Op 13 mei 1106
kreeg de graaf van Leuven
de titel van hertog van
Brabant. Hiermee was het
hertogdom Brabant
geboren. Eeuwenlang was
dit hertogdom, gelegen in
het hart van de
Nederlanden, het eerstein
rang van de zeventien
gewesten van de Lage
Landen. Brabant vormde
met zijn hoofdsteden
Brussel, Leuven,
Antwerpen en
's-Hertogenbosch het
brandpunt van bestuur,
cultuur en economie. De
Opstand tegen Spanje
(1566-1648) brachtechter
een scheuring tussen
Noord en Zuid teweeg. Het
oude hertogdom viel
uiteen in een Nederlands
en een Belgisch deel.
Hoewel ieder zijn eigen
weg in de geschiedenis
ging, zou de band die in
het verleden was gesmeed
gedeeltelijkblijven
bestaan. Vandaag de dag
hebben we nog steeds een
hertog van Brabant.
Brabantia Aeterna neemt u
mee op een muzikale reis
door 900 jaar Brabant.
Het is een boeiende tocht
langs oorlog en vrede,
lief en leed, voorspoed
entegenslag, bloei en
verval. Luister hoe
vroeger de monikken
zongen, de klokken
luidden en kerken werden
gebouwd. Of neem de
dertiende en veertiende
eeuw met zijn drukke
marktgeluiden, de bouwers
van steden of het geblaat
van tallozeschapen op de
heide. De pest, rampen,
soldaten en politiek
gekrakeel in de daarop
volgende eeuwen. Hoor hoe
de industrialisatie in de
negentiende en twintigste
eeuw zorgde voor nieuwe
welvaart in de regio en
hoe vandaag de dagnog
steeds geldt: 'Op weg
naar Brabant wordt de
wereld warmer.' Brabantia
Aeterna is geschreven in
opdracht van de Brabantse
Bond van
Muziekverenigingen ter
gelegenheid van haar
vijfjarig bestaan.
Composed by
Tyler Arcari. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
16+4+8+16+4+4+8+4+4+8+8+8
+4+4+4+4+6+6+2+6+8+2+3+2+
4+10+28+4 pages. Duration
4 minutes, 6 seconds.
Carl Fischer Music
#CPS219. Published by
Carl Fischer Music
(CF.CPS219).
ISBN
9781491152454. UPC:
680160909957.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
Composed
by Tyler Arcari. Concert
Band (CPS). Full score.
With Standard notation.
28 pages. Carl Fischer
Music #CPS219F. Published
by Carl Fischer Music
(CF.CPS219F).
ISBN
9781491153130. UPC:
680160910632.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
School's Cool Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant De Haske Publications
Concert Band - Grade 1.5 SKU: BT.DHP-1053829-040 Little Suite for Flex...(+)
Concert Band - Grade 1.5
SKU:
BT.DHP-1053829-040
Little Suite for
Flexible Band.
Composed by Jacob De
Haan. Flexible 4 Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
De Haske Publications
#DHP 1053829-040.
Published by De Haske
Publications
(BT.DHP-1053829-040).
9x12 inches.
English-German-French-Dut
ch.
This short,
“cool†suite
in three movements can be
performed with a variety
of instruments from a
handful of players to a
complete concert band.
The first movement
radiates joy with a
powerful 3/4 beat. The
second movement is in the
style of a pavane, which
gives a sense of
nostalgia and the final
movement forms a cheerful
and high-spirited closing
with a really funky beat.
This wonderful suite has
been composed especially
for youth musicians and
they will all gain great
pleasure from performing
it.Because of the
four-part
instrumentation, School's
Cool is suitable for
smaller strengths, taking
into account that it is
important to divide parts
evenly among the players.
Alsoincludes an ad-lib
keyboard/piano part to
support the ensemble.
Deze korte suite
is uitvoerbaar in elke
denkbare bezetting
(eventueel inclusief
piano).
School’s
Cool is gecomponeerd
in opdracht van de Yamaha
Bläserklasse van de
Frauenwaldschule in
Nieder-Mörlen
(Duitsland), ter
gelegenheidvan de
verhuizing naar een ander
gebouw. De leerlingen van
het orkest vonden de
voormalige school
‘cool’,
omdat ze er fijn konden
musiceren. Het eerste
deel straalt deze vreugde
uit met een krachtige
beat in driekwartsmaat.
Hettweede deel is een
soort pavane, waarin even
wat weemoed doorklinkt.
Het derde deel vormt een
levenslustig slot in een
lekkere funkbeat. Een
heerlijke suite voor
jeugdige
musici.
Diese
kurze, coole“ Suite
in drei Sätzen wurde
speziell für eine hoch
motivierte
Bläserklasse
komponiert und kann
deshalb in jeder
denkbaren Spielstärke
(optional mit Klavier)
gespielt werden. Der
erste Satz strahlt
Spielfreude in einem
kraftvollen Rhythmus im
1/2-Takt aus. Der zweite
Satz ist eine Art Pavane,
in welcher einen Moment
lang Nostalgie
widerklingt. Der dritte
Satz bildet ein
fröhliches, in
Hochstimmung endendes
Finale in einem
ansprechenden Funk-Beat.
Kurz gesagt, ist
School’s
Cool eine wunderbare
Suite, ganz besonders
für junge
Musiker.
Protostar Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 2 SKU: AP.48136S Composed by Jorge L. Vargas. Concer...(+)
Concert Band - Grade 2
SKU: AP.48136S
Composed by Jorge L.
Vargas. Concert Band;
Performance Music
Ensemble; Single Titles.
Young Symphonic. Score.
16 pages. Duration 2:25.
Alfred Music #00-48136S.
Published by Alfred Music
(AP.48136S).
UPC:
038081554501.
English.
This
composition depicts the
formation of a protostar,
when gas clouds and
extremely cold
temperatures cause
gravity to collapse,
allowing it to spin and
emit light. Protostar
gives young bands the
opportunity to explore
unique harmonies, chord
structures, and
dissonances that they
would normally not
encounter. (2:25).
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 9:00. Published
by Manhattan Beach Music.
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Grade
3. Conductor Full Score.
Duration 9:00
Castle Creek Orchestre d'harmonie Theodore Presser Co.
Band Concert Band SKU: PR.465000110 Composed by Dan Welcher. Arranged by ...(+)
Band Concert Band
SKU:
PR.465000110
Composed
by Dan Welcher. Arranged
by Paul Bissell. Large
Score. With Standard
notation. Composed 1989.
Duration 5 minutes.
Theodore Presser Company
#465-00011. Published by
Theodore Presser Company
(PR.465000110).
ISBN
9781598062090. UPC:
680160575442.
Castl
e Creek was written by
Dan Welcher in
celebration of the Aspen
Music Festival's 40th
anniversary, and served
as a special tribute to
the Festival's longtime
President, Gordon Hardy.
Castle Creek itself is a
tributary of the Roaring
Fork River on which the
Aspen Music Festival
campus (as well as
Hardy's home) is built.
Gordon's initials
(G.A.H.) are used as the
musical basis for the
fanfare, which is
centered on the ascending
pitches G, A and B, and
reflects the upward
motion and positivity of
the Aspen Music Festival
itself. For advanced
players. Duration:
5'. Program Note by
the ComposerThere is no
“secret
program†or hidden
meaning in this lively,
five-minute work: it was
intended as a celebration
of the 40th anniversary
of the Aspen Music
Festival, and as a
special tribute to the
Festival’s
longtime President,
Gordon Hardy. The title
CASTLE CREEK refers to a
tributary of the Roaring
Fork River on which the
Aspen Music Festival
campus (as well as Mr.
Hardy’s home) is
built.The work pays
homage to Gordon Hardy by
utilizing his initials
(“G.A.H.â€) as
a musical motive: the
three letters correspond
to the pitches G, A, and
B). This three-note group
forms the basis of the
fanfare that opens the
work, and it also serves
as an ostinato, a bass
line, and a general means
of organizing the
work’s tonal
centers. Because the
three notes are in
ascending order, the
ever-upward direction of
the Aspen Music Festival
and the positive energy
of Gordon Hardy are
readily evident.The
athletic fanfare that
begins the work (marked
“noble, but
energeticâ€) is
scored for brass and
percussion alone, and may
be played as a separate
piece. The rest of the
ensemble joins at the
conclusion of the
fanfare, and a spirited
tune in 9/8 issues from
the woodwinds. After this
is given a thorough
workout, a middle section
in faster 3/4 time
provides machine-like
energy. Perhaps it is the
energy of the Festival,
in high gear. At the
height of this, the music
of the fanfare returns in
broad open notes in the
brass, with the machine
still pulsing in support.
The overture ends in a
burst of motion, with the
three-note motive in its
highest transposition.My
colleague and former
student Paul Bissell made
this excellent
transcription from the
orchestral original.
Takayama-No
In-Sho. Composed by
Jan Van der Roost.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score and
Parts). Composed 2019. De
Haske Publications #DHP
1196070-010. Published by
De Haske Publications
(BT.DHP-1196070-010).
English-German-French-
Dutch.
This piece
was written to celebrate
the fiftieth anniversary
of the Takayama Wind
Orchestra, who also
commissioned it. The
historic city of Takayama
draws numerous visitors
from home and abroad, not
just to see its
well-preserved old houses
and buildings but also
because every year
several historic
processions take place,
with beautiful floats.
When these ride through
the city, age-old
melodies are heard played
on wooden flutes,
accompanied by muted
drums. This image is
evoked at the beginning
of the work, followed by
an archaic sounding
melody in a typically
Japanese pentatonic
sequence, that develops
throughout. In this
challenging piece Eastern
and Western influences
alternate,creating a
sensational and
overwhelming musical
effect!
Dit werk
is geschreven ter
gelegenheid van het
vijftigjarig bestaan van
het Takayama Wind
Orchestra, dat tevens de
opdrachtgever was. De
historische stad Takayama
trekt jaarlijks talloze
bezoekers uit binnen- en
buitenland, niet alleen
vanwege de goed bewaarde
oude huizen en gebouwen
die de stad rijk is, maar
ook omdat er elk jaar een
aantal historische
optochten plaatsvinden.
Wanneer die door de stad
trekken, weerklinken
eeuwenoude melodieën,
gespeeld op houten
fluiten en begeleid door
doffe trommen. Dit beeld
wordt opgeroepen aan het
begin van het werk,
gevolgd door een archa
sch klinkende melodie in
een typisch Japanse
pentatonische tonenreeks,
die zich in de loop van
het werkverder zal
ontwikkelen. In dit
pittige werk wisselen
oosterse en westerse
invloeden elkaar af, met
als resultaat een
meeslepend en
overweldigend muzikaal
effect!
Dieses
Stück wurde aus Anlass
des 50-jährigen
Jubiläums des Takayama
Wind Orchestra
geschrieben, das dieses
Werk auch in Auftrag
gegeben hat. Die Altstadt
von Takayama zieht jedes
Jahr zahlreiche Besucher
aus dem In- und Ausland
an, nicht nur wegen der
gut erhaltenen alten
Häuser und Gebäude,
sondern auch wegen der
historischen
Festumzüge, die dort
stattfinden. Wenn diese
durch die Stadt ziehen,
erklingen uralte
Melodien, die auf
Holzflöten gespielt
und von gedämpften
Trommeln begleitet
werden. Dieses Bild wird
zu Beginn des Werks
hervorgerufen, darauf
folgt eine archaisch
klingende Melodie mit
einer typisch japanischen
pentatonischen Sequenz,
die sich im Laufe des
Werkesweiterentwickelt.
In diesem anspruchsvollen
Werk wechseln sich
östliche und westliche
Einflüsse ab und
erzeugen einen
sensationellen und
überwältigenden
musikalischen Effekt!
The Soldier's Wife Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1115250-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1115250-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2012. 28
pages. De Haske
Publications #DHP
1115250-140. Published by
De Haske Publications
(BT.DHP-1115250-140).
9x12 inches.
English-German-French-Dut
ch.
The
Soldier’s Wife
is a short and simple
piece commissioned by the
Singapore Ministry of
Education. It was
originally intended as a
compulsory piece for the
2012 Singapore Youth
Festival. Because many
school bands in Singapore
are incomplete, the
composer was specifically
asked to create a work
that could equally be
played by a limited
ensemble—which
explains various doubled
and optional parts. The
warm tones of a melodic
passage open this short
work: the wife of the
wooden soldier sings a
kind of lullaby. This
lyrical section is
followed by a more
powerful part which is,
however, based on the
same melodic material.
The rhythm, syncopated at
times, infuses
thissection with a
particular energy. The
harmony, too, has some
surprising
turns—and we must
never lose sight of the
restrictions imposed by
the limited level of
difficulty of the piece.
Although the work begins
softly and sweetly, much
more ‘feminine
energy’ is
projected by the close.
The
Soldier’s Wife
is een kort en eenvoudig
werkje dat is geschreven
in opdracht van het
Singaporese ministerie
van Onderwijs. Het was
aanvankelijk bedoeld als
verplicht werk voor het
Singapore Youth Festival
2012. Omdat
veelschoolorkesten in
Singapore een onvolledige
bezetting hebben, kreeg
de componist het
nadrukkelijke verzoek om
het werk zo vorm te geven
dat het ook met een
beperkt ensemble
uitgevoerd kan worden:
dat verklaart een aantal
verdubbelingenen
instrumenten ad
libitum.Een warme,
melodische passage opent
dit korte werkje: de
vrouw van het - houten -
soldaatje zingt als het
ware een wiegeliedje.
Nadat dit lyrische deel
is afgerond, volgt een
energieker gedeeltedat
qua melodisch materiaal
op dezelfde bouwstenen is
gebaseerd. De hier en
daar gesyncopeerde
ritmiek verleent dit deel
een bijzondere energie,
en ook harmonisch zijn er
een paar verrassende
wendingen - waarbij
rekening is gehoudenmet
de beperkingen die
verbonden zijn aan werken
voor dit muzikale niveau.
Begon het werkje zacht en
liefelijk, aan het slot
is er heel wat meer
‘girl power’
voelbaar!
The
Soldier’s Wife
ist ein kurzes, einfaches
Werk, das im Auftrag des
Bildungsministeriums von
Singapur geschrieben
wurde. Es war zunächst
als Pflichtstück
für das Singapurer
Jugendfestival 2012
gedacht. Da viele
Schulblasorchester in
Singapur unvollständig
besetzt sind, bat man den
Komponisten
ausdrücklich, das Werk
so zu gestalten, dass es
auch mit einem begrenzten
Ensemble gespielt werden
könne: Dies erklärt
einige Verdopplungen und
optionale Instrumente.
Eine warm klingende,
melodische Passage
eröffnet dieses kurze
Werk: Die Frau des -
hölzernen- Soldaten
singt eine Art
Wiegenlied. Nach diesem
lyrischen Abschnitt folgt
ein kraftvollerer Teil,
der aber aufdemselben
melodischen Material
aufbaut. Der hier und da
synkopierte Rhythmus
verleiht diesem Teil eine
besondere Energie und
auch harmonisch gibt es
einige überraschende
Wendungen - wobei immer
an die auferlegten
Beschränkungen durch
den Schwierigkeitsgrad
gedacht werden muss. Ist
das Werk zu Beginn noch
leise und lieblich, ist
zum Schluss doch schon
wesentlich mehr weibliche
Energie“
spürbar...!
“Guarda,
è la moglie del
soldato di legnoâ€!
All’inizio, canta
una dolce ninnananna, che
precede una sezione
più potente dai ritmi
sincopati e con
sorprendenti cambiamenti
di armonie. The
Soldier’s Wife
inizia in modo calmo e
dolce per poi trovare
un’energia
tipicamente femminile
verso il finale. The
Soldier’s Wife
è un brano breve e
semplice, perfetto anche
per formazioni a organico
ridotto grazie alle parti
raddoppiate e
opzionali.
Takayama-No
In-Sho. Composed by
Jan Van der Roost.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2019. 33 pages.
De Haske Publications
#DHP 1196070-140.
Published by De Haske
Publications
(BT.DHP-1196070-140).
English-German-French-
Dutch.
This piece
was written to celebrate
the fiftieth anniversary
of the Takayama Wind
Orchestra, who also
commissioned it. The
historic city of Takayama
draws numerous visitors
from home and abroad, not
just to see its
well-preserved old houses
and buildings but also
because every year
several historic
processions take place,
with beautiful floats.
When these ride through
the city, age-old
melodies are heard played
on wooden flutes,
accompanied by muted
drums. This image is
evoked at the beginning
of the work, followed by
an archaic sounding
melody in a typically
Japanese pentatonic
sequence, that develops
throughout. In this
challenging piece Eastern
and Western influences
alternate,creating a
sensational and
overwhelming musical
effect!
Dit werk
is geschreven ter
gelegenheid van het
vijftigjarig bestaan van
het Takayama Wind
Orchestra, dat tevens de
opdrachtgever was. De
historische stad Takayama
trekt jaarlijks talloze
bezoekers uit binnen- en
buitenland, niet alleen
vanwege de goed bewaarde
oude huizen en gebouwen
die de stad rijk is, maar
ook omdat er elk jaar een
aantal historische
optochten plaatsvinden.
Wanneer die door de stad
trekken, weerklinken
eeuwenoude melodieën,
gespeeld op houten
fluiten en begeleid door
doffe trommen. Dit beeld
wordt opgeroepen aan het
begin van het werk,
gevolgd door een archa
sch klinkende melodie in
een typisch Japanse
pentatonische tonenreeks,
die zich in de loop van
het werkverder zal
ontwikkelen. In dit
pittige werk wisselen
oosterse en westerse
invloeden elkaar af, met
als resultaat een
meeslepend en
overweldigend muzikaal
effect!
Dieses
Stück wurde aus Anlass
des 50-jährigen
Jubiläums des Takayama
Wind Orchestra
geschrieben, das dieses
Werk auch in Auftrag
gegeben hat. Die Altstadt
von Takayama zieht jedes
Jahr zahlreiche Besucher
aus dem In- und Ausland
an, nicht nur wegen der
gut erhaltenen alten
Häuser und Gebäude,
sondern auch wegen der
historischen
Festumzüge, die dort
stattfinden. Wenn diese
durch die Stadt ziehen,
erklingen uralte
Melodien, die auf
Holzflöten gespielt
und von gedämpften
Trommeln begleitet
werden. Dieses Bild wird
zu Beginn des Werks
hervorgerufen, darauf
folgt eine archaisch
klingende Melodie mit
einer typisch japanischen
pentatonischen Sequenz,
die sich im Laufe des
Werkesweiterentwickelt.
In diesem anspruchsvollen
Werk wechseln sich
östliche und westliche
Einflüsse ab und
erzeugen einen
sensationellen und
überwältigenden
musikalischen Effekt!
In Nomine Orchestre d'harmonie - Intermédiaire Hal Leonard
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.4008005 (+)
Score and Parts Concert
Band (Score & Parts) -
Grade 4
SKU:
HL.4008005
For
Concert Band, Grade 4
11:20 Score and
Parts. Composed by
Otto M. Schwarz. Concert.
Softcover. Duration 680
seconds. Hal Leonard
#SDP1022202. Published by
Hal Leonard (HL.4008005).
How often has
something been justified
by, declared to be, or
blessed as “in the
name of†some cause
or other? How can it be
that opposing armies and
the use of weapons are
ever “in the name
ofâ€...? This is a
common thread in the
history of different
faiths. Good was created
but evil was committed
and all “in the
name of...†This
thread is also found in
the history of the
Premonstratensian Abbey
at Wadgassen. The abbey
was built in the 12th
century on unfertile,
desolate moorland, which
later evolved into the
most powerful religious
community in the
Saarland. The history of
the abbey records quite
astounding achievements
under the motto desertum
florebit quasi lilium
(“the desert will
bloom like a
lilyâ€); but also
the harsh treatment of
delinquents. The order
had its own school, in
which children were
taught the seven liberal
arts (which included
music as well as
geography and astronomy),
but the poor were left to
starve outside the abbey
walls and were only
allowed to eat from the
members' on feast days.
The medieval witch trials
demanded their pound of
flesh, and one group that
fell victim were ecstatic
dancers who moved wildly
to music--which was
interpreted as the
devil's work. The result:
a show trial that
sentenced the dancers to
death by fire. All in the
name of... The year is
1789: Abbot Bordier is in
the tenth year of his
command. He does not yet
know that he is to be the
last abbot of an almost
700-year-tradition. Not
far from the abbey is the
French border, which has
long been making itself
felt with the sound of
gunfire, and the brothers
continue to keep a
nervous eye on it. The
first portents of the
French Revolution loom,
but no one wants to
believe it--that is,
until the French pound
the door down, storm the
abbey and come right into
the brothers' chambers.
In a blind fury, all the
pipes of the abbey organ
are torn out, icons
beheaded with swords and
brothers beaten death
while numerous buildings
are set on fire. The
abbey church is in
flames. A frantic and
desperate escape begins.
Abbot Bordier and a
handful of brothers make
their getaway via the
River Saar, adjacent to
the abbey, to the
neighbouring village of
Bous. They survive, but
their life--the
Premonstratensian
abbey--is destroyed.
While they flee towards
Prague and the sanctuary
of the Strahov Monastery,
the abbey at Wadgassen is
razed to the ground and
becomes a stone quarry.
The desert blooms once
more, however. A few
short decades later, a
glasswork arises from the
foundations of the abbey.
As peace returns to the
region, it brings jobs
and a new vision for its
people.
In Nomine Orchestre d'harmonie - Intermédiaire Hal Leonard
Concert Band (Score) - Grade 4 SKU: HL.4008004 For Concert Band, Grade...(+)
Concert Band (Score) -
Grade 4
SKU:
HL.4008004
For
Concert Band, Grade 4
11:20 Score. Composed
by Otto M. Schwarz.
Concert. Softcover. 60
pages. Duration 680
seconds. Hal Leonard
#SDP1022201. Published by
Hal Leonard (HL.4008004).
How often has
something been justified
by, declared to be, or
blessed as “in the
name of†some cause
or other? How can it be
that opposing armies and
the use of weapons are
ever “in the name
ofâ€...? This is a
common thread in the
history of different
faiths. Good was created
but evil was committed
and all “in the
name of...†This
thread is also found in
the history of the
Premonstratensian Abbey
at Wadgassen. The abbey
was built in the 12th
century on unfertile,
desolate moorland, which
later evolved into the
most powerful religious
community in the
Saarland. The history of
the abbey records quite
astounding achievements
under the motto desertum
florebit quasi lilium
(“the desert will
bloom like a
lilyâ€); but also
the harsh treatment of
delinquents. The order
had its own school, in
which children were
taught the seven liberal
arts (which included
music as well as
geography and astronomy),
but the poor were left to
starve outside the abbey
walls and were only
allowed to eat from the
members' on feast days.
The medieval witch trials
demanded their pound of
flesh, and one group that
fell victim were ecstatic
dancers who moved wildly
to music--which was
interpreted as the
devil's work. The result:
a show trial that
sentenced the dancers to
death by fire. All in the
name of... The year is
1789: Abbot Bordier is in
the tenth year of his
command. He does not yet
know that he is to be the
last abbot of an almost
700-year-tradition. Not
far from the abbey is the
French border, which has
long been making itself
felt with the sound of
gunfire, and the brothers
continue to keep a
nervous eye on it. The
first portents of the
French Revolution loom,
but no one wants to
believe it--that is,
until the French pound
the door down, storm the
abbey and come right into
the brothers' chambers.
In a blind fury, all the
pipes of the abbey organ
are torn out, icons
beheaded with swords and
brothers beaten death
while numerous buildings
are set on fire. The
abbey church is in
flames. A frantic and
desperate escape begins.
Abbot Bordier and a
handful of brothers make
their getaway via the
River Saar, adjacent to
the abbey, to the
neighbouring village of
Bous. They survive, but
their life--the
Premonstratensian
abbey--is destroyed.
While they flee towards
Prague and the sanctuary
of the Strahov Monastery,
the abbey at Wadgassen is
razed to the ground and
becomes a stone quarry.
The desert blooms once
more, however. A few
short decades later, a
glasswork arises from the
foundations of the abbey.
As peace returns to the
region, it brings jobs
and a new vision for its
people.
Protostar Orchestre d'harmonie - Facile Alfred Publishing
Concert Band - Grade 2 SKU: AP.48136 Composed by Jorge L. Vargas. Concert...(+)
Concert Band - Grade 2
SKU: AP.48136
Composed by Jorge L.
Vargas. Concert Band;
MakeMusic Cloud. Young
Symphonic. Score and
Part(s). 132 pages.
Duration 2:25. Alfred
Music #00-48136.
Published by Alfred Music
(AP.48136).
UPC:
038081554495.
English.
This
composition depicts the
formation of a protostar,
when gas clouds and
extremely cold
temperatures cause
gravity to collapse,
allowing it to spin and
emit light. Protostar
gives young bands the
opportunity to explore
unique harmonies, chord
structures, and
dissonances that they
would normally not
encounter. (2:25).