Composed by Stacy Phillips. For various instruments. Squareback saddle stitch. B...(+)
Composed by Stacy
Phillips. For various
instruments. Squareback
saddle stitch.
Beginning-Intermediate.
Book and online audio.
Published by Mel Bay
Publications, Inc
Bass/Keyboard Orchestra SKU: HL.49006361 Music from the Last Movement ...(+)
Bass/Keyboard Orchestra
SKU: HL.49006361
Music from the Last
Movement of the Ninth
Symphony
Bass/Keyboard.
Composed by Ludwig van
Beethoven. Arranged by
Herbert von Karajan. This
edition: ED6488-15. Sheet
music. Edition Schott.
Classical. Individual
part. 1 pages. Duration
2' 15''. Schott Music #ED
6488-15. Published by
Schott Music
(HL.49006361).
ISBN
9790001068925. UPC:
073999351286.
8.25x11.75x0.004
inches.
The
European Hymn is the hymn
not only of the European
Union but of Europe in a
broader sense. The melody
has been taken from the
Ninth Symphony by Ludwig
van Beethoven from
1823.In the last movement
of this symphony
Beethoven set music to
the 'Ode to Joy' by
Friedrich von Schiller
from 1785. This poem
sprang from Schiller's
idealistic vision of men
who become brothers - a
vision Beethoven shared
with him.In 1972 the
Council of Europe adopted
Beethoven's 'Ode to Joy'
as its anthem. The
well-known conductor
Herbert von Karajan was
commissioned to arrange
three instrumental
versions - for solo
piano, wind orchestra and
symphony orchestra.
Without words, in the
universal language of
music, the anthem is an
expression of the
idealistic values of
freedom, peace and
solidarity which Europe
stands for.In 1985 the
heads of state and
government adopted the
hymn as the EU's official
anthem. It does not
replace the national
anthems of the member
states, but rather
celebrates common values
as well as unity in
diversity.The score of
this offical anthem is
exclusively available
from the Schott
publishing house.
Viola Orchestra SKU: HL.49006359 Music from the Last Movement of the N...(+)
Viola Orchestra
SKU:
HL.49006359
Music
from the Last Movement of
the Ninth Symphony
Viola. Composed by
Ludwig van Beethoven.
Arranged by Herbert von
Karajan. This edition:
ED6488-13. Sheet music.
Edition Schott.
Classical. Individual
part. 1 pages. Duration
2' 15''. Schott Music #ED
6488-13. Published by
Schott Music
(HL.49006359).
ISBN
9790001068901. UPC:
073999351279.
8.25x11.75x0.008
inches.
The
European Hymn is the hymn
not only of the European
Union but of Europe in a
broader sense. The melody
has been taken from the
Ninth Symphony by Ludwig
van Beethoven from
1823.In the last movement
of this symphony
Beethoven set music to
the 'Ode to Joy' by
Friedrich von Schiller
from 1785. This poem
sprang from Schiller's
idealistic vision of men
who become brothers - a
vision Beethoven shared
with him.In 1972 the
Council of Europe adopted
Beethoven's 'Ode to Joy'
as its anthem. The
well-known conductor
Herbert von Karajan was
commissioned to arrange
three instrumental
versions - for solo
piano, wind orchestra and
symphony orchestra.
Without words, in the
universal language of
music, the anthem is an
expression of the
idealistic values of
freedom, peace and
solidarity which Europe
stands for.In 1985 the
heads of state and
government adopted the
hymn as the EU's official
anthem. It does not
replace the national
anthems of the member
states, but rather
celebrates common values
as well as unity in
diversity.The score of
this offical anthem is
exclusively available
from the Schott
publishing house.
Orchestra SKU: HL.49006356 Set of Wind Parts. Composed by Ludwig v...(+)
Orchestra
SKU:
HL.49006356
Set of
Wind Parts. Composed
by Ludwig van Beethoven.
Arranged by Herbert von
Karajan. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Wind Band
Parts. 34 pages. Duration
2' 15''. Schott Music
#ED6488-10. Published by
Schott Music
(HL.49006356).
ISBN
9790001068871.
8.25x12.0x0.088
inches.
The
European Hymn is the hymn
not only of the European
Union but of Europe in a
broader sense. The melody
has been taken from the
Ninth Symphony by Ludwig
van Beethoven from
1823.In the last movement
of this symphony
Beethoven set music to
the 'Ode to Joy' by
Friedrich von Schiller
from 1785. This poem
sprang from Schiller's
idealistic vision of men
who become brothers - a
vision Beethoven shared
with him.In 1972 the
Council of Europe adopted
Beethoven's 'Ode to Joy'
as its anthem. The
well-known conductor
Herbert von Karajan was
commissioned to arrange
three instrumental
versions - for solo
piano, wind orchestra and
symphony orchestra.
Without words, in the
universal language of
music, the anthem is an
expression of the
idealistic values of
freedom, peace and
solidarity which Europe
stands for.In 1985 the
heads of state and
government adopted the
hymn as the EU's official
anthem. It does not
replace the national
anthems of the member
states, but rather
celebrates common values
as well as unity in
diversity.The score of
this offical anthem is
exclusively available
from the Schott
publishing house.
Concert Band Concert Band - Grade 3.5 SKU: FJ.B1770S Score Only. C...(+)
Concert Band Concert Band
- Grade 3.5
SKU:
FJ.B1770S
Score
Only. Composed by
Adrian S Sims. Concert
Band. FJH Concert Band.
Multicultural; Patriotic.
Score. Duration 4:15. The
FJH Music Company Inc
#98-B1770S. Published by
The FJH Music Company Inc
(FJ.B1770S).
English.
This
powerful work pays
tribute to the many
battles fought between
the Native Americans and
Europeans (often referred
to as The American Indian
Wars). The music moves
between Native
American-influenced
themes and western
harmonies before moving
into an amalgamation of
the two. Incredible
writing by a teenage
composer!
About FJH
Concert
Band
Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5
Composed by
Philip Sparke. Arranged
by Geoffrey Brand. Band
Music. Score only.
Duration 14:00. Published
by G & M Brand Music
Publishers (CN.S11175).
From majestic
to pastoral to
dance-like, Land of the
Long White Cloud is
Philip Sparke's
representation of New
Zealand. This piece is a
wonderful addition to the
concert band
repetoire.
Long
before Europeans ventured
out of sight of land, the
bold and restless
ancestors of the Maori
people were making
voyages of thousands of
miles across the world's
greatest oceans. It was
around 1000 AD that they
landed in New Zealand.
The discovery of New
Zealand is attributed in
Maori tradition to Kupe
and the circumstances of
the landfall gave the
country its Maori name.
As land was approached, a
long, flat volcanic cloud
could be seen. Kupe's
wife Hine-te-aparangi,
looked to the horizon and
cried out, He ao! He ao!
A cloud! A cloud! The
name of Aotearoa was
given to the islands -
The Land of the Long
White Cloud. Land of the
Long White Cloud was
originally conceived as a
brass band work as a
result of a commission by
the New Zealand Brass
Band Association for
their National
Championships held in
1980 in Christchurch.
This transcription by the
composer was commissioned
by Keith Allen and
Birmingham Schools' Wind
Orchestra who gave the
first performance in the
Adrian Boult Hall,
Birmingham, England on
Sunday 15 May 1988.
Concert Band Concert Band - Grade 3.5 SKU: FJ.B1770 Composed by Adrian S ...(+)
Concert Band Concert Band
- Grade 3.5
SKU:
FJ.B1770
Composed by
Adrian S Sims. Concert
Band. FJH Concert Band.
Multicultural; Patriotic.
Score and Part(s).
Duration 4:15. The FJH
Music Company Inc
#98-B1770. Published by
The FJH Music Company Inc
(FJ.B1770).
UPC:
241444399460.
English.
This
powerful work pays
tribute to the many
battles fought between
the Native Americans and
Europeans (often referred
to as The American Indian
Wars). The music moves
between Native
American-influenced
themes and western
harmonies before moving
into an amalgamation of
the two. Incredible
writing by a teenage
composer!
About FJH
Concert
Band
Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5
Mars Der Medici Orchestre d'harmonie - Intermédiaire Molenaar Edition
Composed by Johan Wichers. For concert band. Catalogue Marches Vol. 1. Molenaar ...(+)
Composed by Johan
Wichers. For concert
band. Catalogue Marches
Vol. 1. Molenaar Marching
Series. Recorded on
Marching Europeans
(ML.311002720). Grade 3.
Full set. Duration 4
minutes, 18 seconds.
Published by Molenaar
Edition
Captain Marco Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1114967-140 Composed by Hayat...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1114967-140
Composed by Hayato
Hirose. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2011. 60
pages. De Haske
Publications #DHP
1114967-140. Published by
De Haske Publications
(BT.DHP-1114967-140).
9x12 inches.
English-German-French-Dut
ch.
Hayato Hirose
composed this dramatic
piece based on the great
journey of Marco Polo,
Italian traveller and one
of the first Europeans
ever to visit Asia. In
the 13th century, he made
a long journey from
Venice to Mongolia with
his father. After his
arrival, he was sent to
the various regions in
Asia by the Mongolian
government to take notes
about the culture, the
people, and the way of
life in those areas.
Celebrate the life of
this great explorer with
this dynamic new concert
work.
Captain
Marco is het eerste werk
van Hayato Hirose voor
blaasorkest. Hij
componeerde het in 1998.
Met dit dramatische werk
smeedt de Japanse Hirose
een muzikale band tussen
Europa en Azië,
waarbij de grote
zeevaarder Marco Polo
deverbindende factor is.
Marco Polo was niet
alleen een van de eerste
grote
ontdekkingsreizigers
ooit, hij hield ook een
logboek bij van zijn
avonturen. In zijn tijd
deed het letterlijk een
boekje open over het
verre Oosten. Nog
steedsspreekt deze
roemruchte kapitein tot
de verbeelding. In ieder
geval tot die van de
componist, die er een
mooie compositie aan
wijddeâ?¦
Cap
tain Marco ist Hayato
Hiroses erstes Werk fu?r
Blasorchester und wurde
im Jahr 1998 komponiert.
In diesem dramatischen
Werk knu?pft der Japaner
Hirose ein musikalisches
Band zwischen Europa und
Asien, indem er das Leben
des beru?hmten
Handelsreisenden Marco
Polo vertont. Kapitän
Marcoâ?? war nicht nur
einer der ersten groÃ?en
Seefahrer und Entdecker
u?berhaupt, sondern er
hinterlieÃ? auch seine
Erfahrungen in einem
Buch, das den
Europäern damals das
ferne Asien erklärte
und offensichtlich auch
heute noch sehr
inspirierend
ist.
Captain
Marco, composta nel
1998, è la prima opera
per banda di Hayato
Hirose. Un brano
espressivo ed intenso,
omaggio a colui che
ancora oggi è
considerato uno dei
più grandi esploratori
di tutti i tempi: Marco
Polo.
Composed by Ernst Uebel. Arranged by Piet J. Molenaar. Catalogus Marches Vol. 1/...(+)
Composed by Ernst Uebel.
Arranged by Piet J.
Molenaar. Catalogus
Marches Vol. 1/Marches.
Molenaar Marching Series.
Recorded on Marching
Europeans (ML.311002720).
Full set. Duration 3
minutes, 58 seconds.
Published by Molenaar
Edition (ML.015006020).
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
(Mbd-8). Composed by Oscar Tschuor. For concert band. Catalogue Marches Vol. 1. ...(+)
(Mbd-8). Composed by
Oscar Tschuor. For
concert band. Catalogue
Marches Vol. 1. Molenaar
Marching Series. Recorded
on Marching Europeans
(ML.311002720). Grade 2.
Full set. Duration 2
minutes, 28 seconds.
Published by Molenaar
Edition
Captain Marco Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1114967-010 Composed by Hayat...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1114967-010
Composed by Hayato
Hirose. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
and Parts). Composed
2011. De Haske
Publications #DHP
1114967-010. Published by
De Haske Publications
(BT.DHP-1114967-010).
9x12 inches.
English-German-French-Dut
ch.
Hayato Hirose
composed this dramatic
piece based on the great
journey of Marco Polo,
Italian traveller and one
of the first Europeans
ever to visit Asia. In
the 13th century, he made
a long journey from
Venice to Mongolia with
his father. After his
arrival, he was sent to
the various regions in
Asia by the Mongolian
government to take notes
about the culture, the
people, and the way of
life in those areas.
Celebrate the life of
this great explorer with
this dynamic new concert
work.
Captain
Marco is het eerste werk
van Hayato Hirose voor
blaasorkest. Hij
componeerde het in 1998.
Met dit dramatische werk
smeedt de Japanse Hirose
een muzikale band tussen
Europa en Azië,
waarbij de grote
zeevaarder Marco Polo
deverbindende factor is.
Marco Polo was niet
alleen een van de eerste
grote
ontdekkingsreizigers
ooit, hij hield ook een
logboek bij van zijn
avonturen. In zijn tijd
deed het letterlijk een
boekje open over het
verre Oosten. Nog
steedsspreekt deze
roemruchte kapitein tot
de verbeelding. In ieder
geval tot die van de
componist, die er een
mooie compositie aan
wijddeâ?¦
Cap
tain Marco ist Hayato
Hiroses erstes Werk fu?r
Blasorchester und wurde
im Jahr 1998 komponiert.
In diesem dramatischen
Werk knu?pft der Japaner
Hirose ein musikalisches
Band zwischen Europa und
Asien, indem er das Leben
des beru?hmten
Handelsreisenden Marco
Polo vertont. Kapitän
Marcoâ?? war nicht nur
einer der ersten groÃ?en
Seefahrer und Entdecker
u?berhaupt, sondern er
hinterlieÃ? auch seine
Erfahrungen in einem
Buch, das den
Europäern damals das
ferne Asien erklärte
und offensichtlich auch
heute noch sehr
inspirierend
ist.
Captain
Marco, composta nel
1998, è la prima opera
per banda di Hayato
Hirose. Un brano
espressivo ed intenso,
omaggio a colui che
ancora oggi è
considerato uno dei
più grandi esploratori
di tutti i tempi: Marco
Polo.
Bass Guitar SKU: BT.MUSMG0293 Composed by Matthias Junger. Pop and Rock. ...(+)
Bass Guitar
SKU:
BT.MUSMG0293
Composed
by Matthias Junger. Pop
and Rock. Book, CD and
DVD. Composed 2018. Hal
Leonard Europe
#MUSMG0293. Published by
Hal Leonard Europe
(BT.MUSMG0293).
Piano - very easy SKU: BT.18-029-3D-DHE Hal Leonard Klavierschule. Method...(+)
Piano - very easy
SKU:
BT.18-029-3D-DHE
Hal
Leonard Klavierschule.
Method. CD Only. 4 pages.
De Haske Europe Records
#18-029-3D DHE. Published
by De Haske Europe
Records
(BT.18-029-3D-DHE).
ISBN 9789043106924.
German.
Die Hal
Leonard Klavierschule
ist eine reich
illustrierte
Instrumentalschule in
fünf verschiedenen
Schwierigkeitsgraden: von
Band 1 für noch junge
Schüler bis zu Band 5
für fortgeschrittene
Pianisten. Zu jedem
Schwierigkeitsgrad gibt
es ein Ãœbungsbuch, ein
Spielbuch und jeweils
eine Mitspiel-CD. Die
Ãœbungs- und
Spielbücher sind
aufeinander abgestimmt,
so dass sie parallel
verwendet werden
können. Die
Mitspiel-CDs machen die
Schule nicht nur
komplett, sondern sorgen
dafür, dass das
Ãœben effektiver wird
und noch mehr Spaß
macht! Buch und CD
können jeweils separat
oder, mit Preisvorteil,
im Paket Buch + CD
bestellt werden.
Klezmer Discovery Ensemble de cuivres [Conducteur] - Intermédiaire Gobelin Music Publications
Brass Band - Grade 4 SKU: BT.GOB-000932-130 Composed by Sjaak van der Rei...(+)
Brass Band - Grade 4
SKU:
BT.GOB-000932-130
Composed by Sjaak van der
Reijden. Folk Klezmer.
Score Only. Gobelin Music
Publications #GOB
000932-130. Published by
Gobelin Music
Publications
(BT.GOB-000932-130).
The Yiddish
word ‘Klezmer’ has
been derived from the Old
Hebrew words ‘Kley’
(tool, instrument) and
‘Zemer’ (song,
singing, making
music).Klezmer is the
traditional music of Jews
from Eastern
Europe.Yiddish musicians
(Klezmorim) were
regularly invited to come
and play at Yiddish
weddings as well as
several other Jewish
celebrations and festive
occasions. Despite its
close connection with
traditional Eastern
European folk music,
Klezmer music has
succeeded in preserving
its distinctive Jewish
character. ‘Klezmer
Discovery’ is a voyage
of discovery through the
richly varied music of
the Jewish people from
Eastern Europe.The
introduction consists of
a number of motives from
differenttraditional
melodies (a Mitzve Tenzel
and L’cha Dodi),
followed by a melody in
3/8th time (Kandel’s
Hora). This dance melody
originally came from
Bessarabia (present-day
Moldavia) and was taken
along to America by
Jewish musicians round
1900. Subsequently,
‘Der Terk in
Amerika’, a composition
by famous clarinet player
Naftule Brandwein can be
heard. A number of fast,
cheerful dance melodies
(bulgars) form the finale
of ‘Klezmer
Discovery’ (Lebedyk un
Freylekh, Lomir sich
iberbetn and Sherele).
Het Jiddische
woord ‘Klezmer’ stamt
af van de oud-Hebreeuwse
woorden ‘Kley’
(werktuig, instrument) en
‘Zemer’ (lied,
gezang,
musiceren). Klezmer is
de traditionele muziek
van de Joden in
Oost-Europa. Jiddische
muzikanten
(Klezmorim)werden
geregeld uitgenodigd om
te komen spelen op
traditionele Jiddische
bruiloften en diverse
andere Joodse feesten en
gelegenheden. Ondanks
de sterke verwantschap
met de traditionele
volksmuziek uit
Oost-Europa, heeftde
klezmermuziek een
duidelijk Joods karakter
weten te
behouden.
‘Klezm
er Discovery’ is een
ontdekkingstocht door de
rijk gevarieerde muziek
van de Joden in
Oost-Europa. De
inleiding bestaat uit een
aantal motieven
vanverschillende
traditionele melodieën
(a Mitzve Tenzel en
L’cha Dodi). Daarna
volgt een melodie in 3/8e
maat (Kandel’s Hora).
Deze dansmelodie komt
oorspronkelijk uit
Bessarabië (het
tegenwoordige Moldavië)
en is door
Joodsemuzikanten zo rond
1900 meegenomen naar
Amerika. Vervolgens
klinkt ‘Der Terk in
Amerika’, een
compositie van de
befaamde klarinetist
Naftule Brandwein. Een
aantal snelle, vrolijke
dansmelodieën (bulgars)
vormen het slot
van‘Klezmer
Discovery’ (Lebedyk un
Freylekh, Lomir sich
iberbetn en Sherele).
Euphonium SKU: BT.BSV117-032 Euphonium. Gemeinsam Lernen und Spiel...(+)
Euphonium
SKU:
BT.BSV117-032
Euphonium.
Gemeinsam Lernen und
Spielen 2. Method. Book
with Online Audio.
Composed 2017. 72 pages.
Hal Leonard Europe
#BSV117-032. Published by
Hal Leonard Europe
(BT.BSV117-032).
German.
Nach dem
Riesenerfolg der
Instrumentalschule
Hören, lesen and
spielen widmeten sich
Michiel Oldenkamp und
Jaap Kastelein einem
Unterrichtswerk, welches
sowohl im
Euphoniumunterricht als
auch in einer
Bläserklasse
eingesetzt werden kann:
Gemeinsam lernen
and spielen -
eine komplett neue Schule
für junge Bläser
und Schlagzeuger ab der
dritten Klasse. Die
Schule wurde in enger
Zusammenarbeit mit
hochqualifizierten
Musikern und Lehrern aus
der Bläserklassenwelt,
von Musikschulen und
Musikhochschulen in den
Niederlanden und in
Deutschland
entwickelt.
Gemeinsam lernen
and spielen
enthält Lehrgänge
für
denInstrumentalunterricht
und die Bläserklasse
in einem Band. Der
Lehrgang für Euphonium
bietet hauptsächlich
Euphoniumspezifische
Themen wie neue Töne
und technische Ã?bungen
an. Dieser Lehrgang
unterstützt die
Lernlinie der
Bläserklasse, bei
welcher der Schwerpunkt
auf musikalischen
Lernzielen wie Rhythmus,
Melodie, Form und auf dem
gemeinsamen Musizieren
liegt. Gemeinsam lernen
and spielen
umfasst zwei Bände.
Band 1 beginnt mit den
ersten Tönen und
arbeitet auf das Spielen
von Duetten hin. Im
zweiten Band werden
hauptsächlich
dreistimmige Stücke
gespielt. Auf der
ausführlichen Website
wird
Ergänzungsmaterial
angeboten, beispielsweise
Demo- und Begleittracks
zu allen Stücken,
zusätzliche
Spielstücke (bekannte
Lieder) und Lernvideos.
Gemeinsam lernen
and spielen
ist logisch aufgebaut und
kindgerecht illustriert
eine optimale Motivation
für alle jungen
Musiker!
Violin SKU: BT.CAPAPUB-36828 Per a violà amb acords de guitarra...(+)
Violin
SKU:
BT.CAPAPUB-36828
Per a violà amb
acords de guitarra.
Composed by Joan
Capafons. Book Only.
Composed 2019. 171 pages.
Hal Leonard Europe
#CAPAPUB-36828. Published
by Hal Leonard Europe
(BT.CAPAPUB-36828).
Guitar SKU: BT.MUSMG0085 Composed by Michael Siefert. Guitar Training Ses...(+)
Guitar
SKU:
BT.MUSMG0085
Composed
by Michael Siefert.
Guitar Training Session.
Jazz. Book with CD.
Composed 2015. 40 pages.
Hal Leonard Europe
#MUSMG0085. Published by
Hal Leonard Europe
(BT.MUSMG0085).
German.
Guitar
Training Session ist eine
Sammlung kurzer
Musikstücke,
zusammengestellt um den
anstrebenden Gitarristen
an das wahrhaftige
Spielen mit einer Band zu
gewöhnen.
Piano SKU: FG.55011-532-3 Around the world in 30 pit-stops. Compos...(+)
Piano
SKU:
FG.55011-532-3
Around the world in 30
pit-stops. Composed
by Sami Juntunen. Book.
Fennica Gehrman
#55011-532-3. Published
by Fennica Gehrman
(FG.55011-532-3).
ISBN
9790550115323.
Arou
nd the World in 30 Pit
Stops is a collection of
practice pieces designed
to cast you into a
whirlpool of world music.
The rhythms, harmonies
and melodies of different
cultural and geographical
regions pose multiple
challenges. The pieces
are fresh, fun and
suitable for both
elementary and more
advanced pupils. They
range from easy to
difficult, and therefore
also serve professionals
wanting to improve their
handling of rhythm and
comping style. The book
supplements those in use
at music schools,
providing new material
for use in piano
teaching.
The
pieces are grouped
according to geographical
region - Asia, Africa,
South and Central
America, the Nordic
Countries, other parts of
Europe, and North America
- from four to six in
each. Among the themes
are On The Great Wall of
China (Asia), Savannah
(Africa), The Road to
Havana (South and Central
America), Pasta Bolognese
(Europe), A View of Swing
(North America) and Shoes
Made of Birchbark (Nordic
Countries). Some are in
the older, traditional
styles, while others
represent trends emerging
over the past few
decades.
Jump on
board for a journey round
the world and expand your
repertoire with these
ethno etudes!
Horn SKU: BT.BSV115-009 Komplette Schule für Einzel- und Gruppenunt...(+)
Horn
SKU:
BT.BSV115-009
Komplette Schule
für Einzel- und
Gruppenunterricht.
Gemeinsam Lernen und
Spielen 1. Method. Book
with Online Audio.
Composed 2016. 72 pages.
Hal Leonard Europe
#BSV115-009. Published by
Hal Leonard Europe
(BT.BSV115-009).
German.
Nach dem
Riesenerfolg der
Instrumentalschule
Hören, lesen and
spielen widmeten sich
Michiel Oldenkamp und
Jaap Kastelein einem
Unterrichtswerk, welches
sowohl im Hornunterricht
als auch in einer
Bläserklasse
eingesetzt werden kann:
Gemeinsam lernen
and spielen -
eine komplett neue Schule
für junge Bläser
und Schlagzeuger ab der
dritten Klasse. Die
Schule wurde in enger
Zusammenarbeit mit
hochqualifizierten
Musikern und Lehrern aus
der Bläserklassenwelt,
von Musikschulen und
Musikhochschulen in den
Niederlanden und in
Deutschland
entwickelt.
Gemeinsam lernen
and spielen
enthält Lehrgänge
für
denInstrumentalunterricht
und die Bläserklasse
in einem Band. Der
Lehrgang für Horn
bietet hauptsächlich
hornspezifische Themen
wie neue Töne und
technische Ã?bungen an.
Dieser Lehrgang
unterstützt die
Lernlinie der
Bläserklasse, bei
welcher der Schwerpunkt
auf musikalischen
Lernzielen wie Rhythmus,
Melodie, Form und auf dem
gemeinsamen Musizieren
liegt. Gemeinsam lernen
and spielen
umfasst zwei Bände.
Band 1 beginnt mit den
ersten Tönen und
arbeitet auf das Spielen
von Duetten hin. Im
zweiten Band werden
hauptsächlich
dreistimmige Stücke
gespielt. Auf der
ausführlichen Website
wird
Ergänzungsmaterial
angeboten, beispielsweise
Demo- und Begleittracks
zu allen Stücken,
zusätzliche
Spielstücke (bekannte
Lieder) und Lernvideos.
Gemeinsam lernen
and spielen
ist logisch aufgebaut und
kindgerecht illustriert
eine optimale Motivation
für alle jungen
Musiker!
Piano SKU: BT.SUBJECT1898771049 Level 1. Composed by Alison Bowdit...(+)
Piano
SKU:
BT.SUBJECT1898771049
Level 1. Composed
by Alison Bowditch. Book
Only. 16 pages. Hal
Leonard Europe
#SUBJECT1898771049.
Published by Hal Leonard
Europe
(BT.SUBJECT1898771049).
ISBN
9781898771043.
<
em>Upbeat! for Piano
by Alison Bowditch is a
set of twelve original
compositions that you
will find exciting,
inspiring and
entertaining whatever
your age. This is the
first in a series of five
levels designed to
captureyour imagination
and increase your
enjoyment. Though the
levels become
increasingly harder, this
is a progressive
challenge as each piece
is an adventure with its
own mood and rhythms. As
you progress you will
meet a wideningrange of
key signatures and rhythm
patterns including Jazz,
Swing, Rock, Boogie and
Blues making this
delightful collection
great fun to hear and
play.
Euphonium SKU: BT.BSV115-012 Komplette Schule für Einzel- und Grupp...(+)
Euphonium
SKU:
BT.BSV115-012
Komplette Schule
für Einzel- und
Gruppenunterricht.
Gemeinsam Lernen und
Spielen 1. Method. Book
with Online Audio.
Composed 2016. 72 pages.
Hal Leonard Europe
#BSV115-012. Published by
Hal Leonard Europe
(BT.BSV115-012).
German.
Nach dem
Riesenerfolg der
Instrumentalschule
Hören, lesen and
spielen widmeten sich
Michiel Oldenkamp und
Jaap Kastelein einem
Unterrichtswerk, welches
sowohl im
Euphoniumunterricht als
auch in einer
Bläserklasse
eingesetzt werden kann:
Gemeinsam lernen
and spielen -
eine komplett neue Schule
für junge Bläser
und Schlagzeuger ab der
dritten Klasse. Die
Schule wurde in enger
Zusammenarbeit mit
hochqualifizierten
Musikern und Lehrern aus
der Bläserklassenwelt,
von Musikschulen und
Musikhochschulen in den
Niederlanden und in
Deutschland
entwickelt.
Gemeinsam lernen
and spielen
enthält Lehrgänge
für
denInstrumentalunterricht
und die Bläserklasse
in einem Band. Der
Lehrgang für Euphonium
bietet hauptsächlich
Euphoniumspezifische
Themen wie neue Töne
und technische Ã?bungen
an. Dieser Lehrgang
unterstützt die
Lernlinie der
Bläserklasse, bei
welcher der Schwerpunkt
auf musikalischen
Lernzielen wie Rhythmus,
Melodie, Form und auf dem
gemeinsamen Musizieren
liegt. Gemeinsam lernen
and spielen
umfasst zwei Bände.
Band 1 beginnt mit den
ersten Tönen und
arbeitet auf das Spielen
von Duetten hin. Im
zweiten Band werden
hauptsächlich
dreistimmige Stücke
gespielt. Auf der
ausführlichen Website
wird
Ergänzungsmaterial
angeboten, beispielsweise
Demo- und Begleittracks
zu allen Stücken,
zusätzliche
Spielstücke (bekannte
Lieder) und Lernvideos.
Gemeinsam lernen
and spielen
ist logisch aufgebaut und
kindgerecht illustriert
eine optimale Motivation
für alle jungen
Musiker!
Tenor Horn SKU: BT.BSV117-031 Tenorhorn. Gemeinsam Lernen und Spie...(+)
Tenor Horn
SKU:
BT.BSV117-031
Tenorhorn.
Gemeinsam Lernen und
Spielen 2. Method. Book
with Online Audio.
Composed 2017. 72 pages.
Hal Leonard Europe
#BSV117-031. Published by
Hal Leonard Europe
(BT.BSV117-031).
Nach dem
Riesenerfolg der
Instrumentalschule
Hören, lesen and
spielen widmeten sich
Michiel Oldenkamp und
Jaap Kastelein einem
Unterrichtswerk, welches
sowohl im
Tenorhornunterricht als
auch in einer
Bläserklasse
eingesetzt werden kann:
Gemeinsam lernen
and spielen -
eine komplett neue Schule
für junge Bläser
und Schlagzeuger ab der
dritten Klasse. Die
Schule wurde in enger
Zusammenarbeit mit
hochqualifizierten
Musikern und Lehrern aus
der Bläserklassenwelt,
von Musikschulen und
Musikhochschulen in den
Niederlanden und in
Deutschland
entwickelt.
Gemeinsam lernen
and spielen
enthält Lehrgänge
für
denInstrumentalunterricht
und die Bläserklasse
in einem Band. Der
Lehrgang für Tenorhorn
bietet hauptsächlich
Tenorhornspezifische
Themen wie neue Töne
und technische Ã?bungen
an. Dieser Lehrgang
unterstützt die
Lernlinie der
Bläserklasse, bei
welcher der Schwerpunkt
auf musikalischen
Lernzielen wie Rhythmus,
Melodie, Form und auf dem
gemeinsamen Musizieren
liegt. Gemeinsam lernen
and spielen
umfasst zwei Bände.
Band 1 beginnt mit den
ersten Tönen und
arbeitet auf das Spielen
von Duetten hin. Im
zweiten Band werden
hauptsächlich
dreistimmige Stücke
gespielt. Auf der
ausführlichen Website
wird
Ergänzungsmaterial
angeboten, beispielsweise
Demo- und Begleittracks
zu allen Stücken,
zusätzliche
Spielstücke (bekannte
Lieder) und Lernvideos.
Gemeinsam lernen
and spielen
ist logisch aufgebaut und
kindgerecht illustriert
eine optimale Motivation
für alle jungen
Musiker!
Guitar - Grade 2 SKU: BT.MUSMFK100265 Starting To Play. Method. Book with...(+)
Guitar - Grade 2
SKU:
BT.MUSMFK100265
Starting To Play. Method.
Book with CD. Composed
2017. Hal Leonard Europe
#MUSMFK100265. Published
by Hal Leonard Europe
(BT.MUSMFK100265).
ISBN 9781783052141.
English.
Starting
to Play is a new Music
For Kids series, which
teaches the absolute
basics of playing an
instrument to pre-school
children. Colourfully
illustrated and very
accessible, Starting To
Play is the perfect
introduction to music for
pre-schoolers.