Bandshop Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1145613-010 Composed by Pet...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1145613-010
Composed by Peter
Riedemann. On Parade! Set
(Score & Parts). Composed
2014. De Haske
Publications #DHP
1145613-010. Published by
De Haske Publications
(BT.DHP-1145613-010).
English-German-French-
Dutch.
The main
role in this attractive
march is played by the
harmonic elements of
minor and major. These
ingredients are supported
by a solid bass passage,
various dynamic contrasts
and a lovely
cantabile trio
theme. Bandshop is
a wonderfulmarch that
brings pleasure to
performer and listener
alike-and is ideal for
any concert
program.
In deze
attractieve mars spelen
de harmonische
componenten mineur en
majeur de hoofdrol. Deze
elementen worden
aangevuld door een
stevige baspassage,
verschillende dynamische
contrastwerkingen en een
fraai zangrijk triothema.
Bandshop is
eenprachtige mars die
veel luister- en
speelplezier biedt en die
geschikt is voor elk
concertprogramma!
In diesem attraktiven
Marsch spielen die
harmonischen Komponenten
Moll und Dur die
Hauptrolle. Diese
Elemente werden durch
eine solide Passage im
Bass, verschiedene
dynamische Kontraste und
ein liebliches
Cantabile-Triothema
ergänzt.
Bandshopist ein
wundervoller Marsch, der
viel Spiel- und
Hörspaß bietet und
sich für jedes
Konzertprogramm
eignet!
In
questa accattivante
marcia, gli elementi
armonici in tonalit
maggiore e minore
rivestono un ruolo
principale. Questi motivi
sono completati da una
solida linea del basso,
mentre i differenti
contrasti di dinamiche
sostengono un piacevole
triocantabile.
Bandshop è una
splendida marcia che
oltre ad essere
emozionante da eseguire,
offre momenti di puro
piacere musicale a chi
ascolta!
Concert Band/Harmonie - Grade 3 SKU: BT.1793-10-140-MS Composed by Desmon...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1793-10-140-MS
Composed by Desmond
Child, George Karakoglou,
Jon Bon Jovi, Max Martin,
and Richie Sambora.
Arranged by Wolfgang
Wössner. Ovation
Series. Pop & Rock. Score
Only. Composed 2010. 36
pages. Music Sales
#1793-10-140 MS.
Published by Music Sales
(BT.1793-10-140-MS).
9x12 inches.
English-German-French-Dut
ch.
Wolfgang
Wössner has created
yet another energetic and
exciting medley for
concert band, following
in the footsteps of his
previous successful
medley, Bryan Adams - The
Best of Me. This time
Wössner has moulded
four hits by the American
rock band Bon Jovi into
one sensational work.
Combining Runaway,
It’s My Life,
Livin’ On a Prayer
and You Give Love a Bad
Name, creates an
incredibly fun medley
that will rock your next
concert!
Na
Bryan Adams - The Best
of Me en
Grönemeyer!
doet Wolfgang Wössner
het weer: een geweldige
medley schrijven in het
pop- en rockgenre. Deze
keer nam hij vier hits
van de Amerikaanse
rockband Bon Jovi. De
medley begintmet
Runaway uit 1983.
Daarna volgen de hits
It’s My
Life en
Livin’ on a
Prayer uit het jaar
1999. You Give Love a
Bad Name uit 1986
rondt deze sterke medley
mooi af. Schud die haren
los en rocken
mar…!
Nach
Bryan Adams - The Best of
Me und Grönemeyer! hat
Wolfgang Wössner ein
neues Medley für
Blasorchester im
Pop-Rock-Genre geschaff
en. Diesmal nahm er sich
vier Hits der
amerikanischen Rockband
Bon Jovi vor. Das Medley
beginnt mit Runaway von
1983. Dem folgen die
Songs It’s My Life
aus dem Jahr 1999 sowie
Livin’ on a
Prayer. You Give Love a
Bad Name von 1986
vervollständigt dieses
starke Medley, mit dem
Sie die Bühne rocken
werden!
Dopo il
grande successo ottenuto
con i precedenti medley -
Bryan Adams - The Best of
Me e Grönemeyer!,
Wolfgang Wössner
propone un nuovo medley
che riprende quattro
successi della band
americana Bon Jovi.
Questo gruppo
leggendario, fondato da
Jon Bon Jovi, ammalia il
pubblico sia con serene
ballate, sia con brani di
rock sfrenato. Questo
medley include: Runaway
(1983), It’s My
Life (1999),
Livin’ on a Prayer
e You Give Love a Bad
Name (1986).
Alpine Flowers' Party! Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1063946-140 Composed by Itaru...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1063946-140
Composed by Itaru Sakai.
Inspiration Series. Score
Only. Composed 2006. 60
pages. De Haske
Publications #DHP
1063946-140. Published by
De Haske Publications
(BT.DHP-1063946-140).
9x12 inches.
English-German-French-Dut
ch.
The Hida High
School is in a highland
city called Takayama in
Gifu Prefecture. Takayama
City has some of the
highest mountains in
Japan, atmospheric rows
of houses and streets,
and a beautiful
landscape. The
magnificent views from
these mountains can be
described as a paradise
above the clouds. When
the composer visited
there in the summer of
2001, the lovely flowers
spreading through the
valley and the refreshing
air welcomed him. The
flowers looked as if they
were fashionably dressed
and fully enjoying
conversation and a short
summer at a reunion
party. The composer was
inspired by this scenery
to compose this piece.
The musical party opens
with happy greetings of a
reunion andjoyful themes
follow one after another.
A light xylophone solo, a
waltz and an adagio
featuring alternate solos
by alto saxophone,
euphonium and trumpet
lead to a brilliant
finale featuring brass
and percussion played in
irregular time. A
beautiful musical picture
that your band will enjoy
performing for many
years.
Takayama
is een hooggelegen stad
in de Gifu-prefectuur
(Japan). Het oostelijke
stadsdeel Tatamidaira
ligt tussen schitterende
bergen die behoren tot de
noordelijke Japanse
Alpen. Toen de componist
in de zomer deze plaats
bezocht,werd hij ge
nspireerd tot het
schrijven van Alpine
Flowers’
Party! Het muzikale
festijn begint met
opgewekte klanken, waarna
meer vrolijke scènes
elkaar opvolgen. Een
xylofoonsolo, een wals en
een adagio met wisselende
solo’svoor
altsaxofoon, euphonium en
trompet leiden naar een
briljante finale met veel
maatwisselingen, waarin
het koper en het slagwerk
de leiding nemen op weg
naar een spetterend
slot.
Als Itaru
Sakai im Sommer 2001 die
reizvolle Region um den
Berg Tatamidaira in Japan
besuchte, wurde er von
einem Meer von Blumen
empfangen. Sie sahen aus,
als würden sie in
festlichem Aufzug eine
unterhaltsame Party
feiern und den kurzen
Sommer genießen. Diese
Szenerie inspirierte den
Komponisten zu Alpine
Flowers’
Party! Die
musikalische Party
beginnt mit einer
herzlichen
Begrüßung, dann
folgt ein fröhlicher
Programmpunkt dem
anderen. Ein spritziges
Xylophonsolo, ein Walzer
und ein Adagio mit
abwechselnden Soli für
Altsaxophon, Euphonium
und Trompete führen zu
einem brillanten Finale,
in dem Blechbläser und
Schlagzeug im Vordergrund
stehen. Feiern Sie
mit!
Soggiornando nel
cuore della splendida
catena montuosa delle
Alpi giapponesi, Itaru
Sakai è sorpreso del
dolce profumo e dai
colori dei fiori. Si
lascia ispirare dalla
bellezza armoniosa che si
rivela ai suoi occhi. Ha
inizio il delizioso
festival dei fiori
alpini. La conversazione
è animata. Un assolo
di xilofono apporta un
tocco di leggerezza, un
valzer fa piroettare lo
sviluppo del tema, ed in
seguito un adagio snoda i
soli e accompagna il
brano verso un finale
brillante.
Alpine Flowers' Party! Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1063946-010 Composed by Itaru...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1063946-010
Composed by Itaru Sakai.
Inspiration Series. Set
(Score & Parts). Composed
2006. De Haske
Publications #DHP
1063946-010. Published by
De Haske Publications
(BT.DHP-1063946-010).
9x12 inches.
English-German-French-Dut
ch.
The Hida High
School is in a highland
city called Takayama in
Gifu Prefecture. Takayama
City has some of the
highest mountains in
Japan, atmospheric rows
of houses and streets,
and a beautiful
landscape. The
magnificent views from
these mountains can be
described as a paradise
above the clouds. When
the composer visited
there in the summer of
2001, the lovely flowers
spreading through the
valley and the refreshing
air welcomed him. The
flowers looked as if they
were fashionably dressed
and fully enjoying
conversation and a short
summer at a reunion
party. The composer was
inspired by this scenery
to compose this piece.
The musical party opens
with happy greetings of a
reunion andjoyful themes
follow one after another.
A light xylophone solo, a
waltz and an adagio
featuring alternate solos
by alto saxophone,
euphonium and trumpet
lead to a brilliant
finale featuring brass
and percussion played in
irregular time. A
beautiful musical picture
that your band will enjoy
performing for many
years.
Takayama
is een hooggelegen stad
in de Gifu-prefectuur
(Japan). Het oostelijke
stadsdeel Tatamidaira
ligt tussen schitterende
bergen die behoren tot de
noordelijke Japanse
Alpen. Toen de componist
in de zomer deze plaats
bezocht,werd hij ge
nspireerd tot het
schrijven van Alpine
Flowers’
Party! Het muzikale
festijn begint met
opgewekte klanken, waarna
meer vrolijke scènes
elkaar opvolgen. Een
xylofoonsolo, een wals en
een adagio met wisselende
solo’svoor
altsaxofoon, euphonium en
trompet leiden naar een
briljante finale met veel
maatwisselingen, waarin
het koper en het slagwerk
de leiding nemen op weg
naar een spetterend
slot.
Als Itaru
Sakai im Sommer 2001 die
reizvolle Region um den
Berg Tatamidaira in Japan
besuchte, wurde er von
einem Meer von Blumen
empfangen. Sie sahen aus,
als würden sie in
festlichem Aufzug eine
unterhaltsame Party
feiern und den kurzen
Sommer genießen. Diese
Szenerie inspirierte den
Komponisten zu Alpine
Flowers’
Party! Die
musikalische Party
beginnt mit einer
herzlichen
Begrüßung, dann
folgt ein fröhlicher
Programmpunkt dem
anderen. Ein spritziges
Xylophonsolo, ein Walzer
und ein Adagio mit
abwechselnden Soli für
Altsaxophon, Euphonium
und Trompete führen zu
einem brillanten Finale,
in dem Blechbläser und
Schlagzeug im Vordergrund
stehen. Feiern Sie
mit!
Soggiornando nel
cuore della splendida
catena montuosa delle
Alpi giapponesi, Itaru
Sakai è sorpreso del
dolce profumo e dai
colori dei fiori. Si
lascia ispirare dalla
bellezza armoniosa che si
rivela ai suoi occhi. Ha
inizio il delizioso
festival dei fiori
alpini. La conversazione
è animata. Un assolo
di xilofono apporta un
tocco di leggerezza, un
valzer fa piroettare lo
sviluppo del tema, ed in
seguito un adagio snoda i
soli e accompagna il
brano verso un finale
brillante.
Ross Roy Fanfare - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0971085-120
Composed by Jacob De
Haan. Inspiration Series.
Concert Piece. Score
Only. Composed 1997. De
Haske Publications #DHP
0971085-120. Published by
De Haske Publications
(BT.DHP-0971085-120).
Jacob de Haan
was commissioned to
compose this concert
piece by the St. Peters
Wind Symphony from
Brisbane, Australia. Ross
Roy is the monumental
late 19th century villa
where St. Peters Lutheran
College was founded in
1945. The villa has
always remained the
school symbol. In this
composition, Jacob de
Haan sees the Ross Roy as
a metaphor for the years
spent at school (a
monument in time), where
one's personality is
formed. So, the opening
theme the artist calls
the Ross Roy theme
initially has monumental
characteristics.The
rhythmic motion, which
strides along in the
lower register and
percussion at the
beginning of the next
section is typical of
Tempo di Marcia.
Thismovement, accompanied
by repetitions of sound,
is a metaphor for the
structure and discipline
in school. This is the
introduction to a march
theme, symbolic of
passing through the
classes up to the final
examinations.Then, the
Ross Roy theme is dealt
with again, now in a
playful, humorous
variation. As if the
composer is saying there
should also be time for a
smile in school. The same
theme can be heard in
major key and a slower
tempo in the following
section, expressing pride
and self-confidence. This
is also the introduction
to the expressive middle
section that represents
love, friendship and
understanding.We then
return to the march theme
in a slightly altered
construction. The
oriental sounds,
constituting the
modulation to the final
theme, are symbols of the
diversity of cultures in
the school. The
characteristic final
theme first sounds
solemn, but turns into a
festive apotheosis. It is
no coincidence that the
final cadence is
reminiscent of the close
to a traditional
overture, for the school
years can be considered
the overture to the rest
of one's life. The
premiere of Ross Roy was
conducted by Jacob de
Haan in Brisbane, on
August 22, 1997.
Ross Roy
is de naam van de
monumentale villa in
Brisbane (Australië)
waar in 1945 het St.
Peters Lutheran College
is gesticht. In opdracht
van het collegeorkest
componeerde Jacob de Haan
dit gevarieerde
concertwerk vol
metaforen. De structuur
en discipline van de
school horen we in de met
toonherhaling gepaard
gaande ritmische beweging
in basregister en
slagwerk. Het volgende,
martiale thema staat
symbool voor het
doorlopen van de klassen.
Een schertsende,
humoristische versie van
het hoofdthema ontbreekt
niet: op school moet
immers ook tijd zijn voor
vrolijkheid. Het
karakteristieke slotthema
mondt uit in een
feestelijke apotheose.
Ross Roy
ist der Name einer
monumentalen Villa in
Brisbane, Australien, in
der 1945 das St. Peter
Lutheran College
gegründet wurde. Im
Auftrag dieses
Schulorchesters
komponierte Jacob de Haan
dieses Konzertwerk, das
voll von Metaphern ist.
Die Struktur und
Disziplin dieser Schule
hören wir in der mit
Tonwiederholungen
gepaarten rhythmischen
Bewegung des
Bassregisters und des
Schlagwerks. Das folgende
martialische Thema steht
als Symbol für das
Durchlaufen der Klassen
bis zum Ende der
Schulzeit. Eine
scherzhafte,
humoristische Version des
Hauptthemas darf nicht
fehlen, denn in der
Schule muss auch Zeit
für kleine Späße
und Lachen sein! Das
charakteristische
Schlussthemamündet in
einem festlichen
Höhepunkt.
(Featuring: Gimme Some Lovin / It Don't Mean a Thing (If It Ain't Got That Swing...(+)
(Featuring: Gimme Some
Lovin / It Don't Mean a
Thing (If It Ain't Got
That Swing) / Theme from
Ice Castles
(Through the Eyes of
Love) / Any Way You Want
It). Arranged by Michael
Story. Concert Band.
Concert Band; Score. Pop
Beginning Band. Pop.
Grade 1. 32 pages.
Published by Alfred Music
(Featuring: Gimme Some Lovin / It Don't Mean a Thing (If It Ain't ...(+)
(Featuring: Gimme Some
Lovin
/ It Don't Mean a
Thing (If
It Ain't Got That
Swing) /
Theme from Ice Castles
(Through the Eyes of
Love) /
Any Way You Want It).
Arranged by Michael
Story.
Concert Band. Concert
Band;
Part(s); Score. Pop
Beginning Band. Pop.
Grade
1. 284 pages. Published
by
Alfred Music
La Forza Del Destino Orchestre d'harmonie [Conducteur et Parties séparées] Molenaar Edition
(Ouverture/Overture). By Giuseppe Verdi (1813-1901). Arranged by P Stalmeier. Fo...(+)
(Ouverture/Overture). By
Giuseppe Verdi
(1813-1901). Arranged by
P Stalmeier. For Concert
Band. Arrangements of
Classical Opera and
Operetta Overtures /
Arrangements of Classical
Pieces. Classic
Arrangement. Grade 6.
Score and Parts.
Published by Molenaar
Edition
Ross Roy Fanfare - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-0971085-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-0971085-020
Composed by Jacob De
Haan. Inspiration Series.
Festive and Solemn Music.
Set (Score & Parts).
Composed 1997. De Haske
Publications #DHP
0971085-020. Published by
De Haske Publications
(BT.DHP-0971085-020).
Jacob de Haan
was commissioned to
compose this concert
piece by the St. Peters
Wind Symphony from
Brisbane, Australia. Ross
Roy is the monumental
late 19th century villa
where St. Peters Lutheran
College was founded in
1945. The villa has
always remained the
school symbol. In this
composition, Jacob de
Haan sees the Ross Roy as
a metaphor for the years
spent at school (a
monument in time), where
one's personality is
formed. So, the opening
theme the artist calls
the Ross Roy theme
initially has monumental
characteristics.The
rhythmic motion, which
strides along in the
lower register and
percussion at the
beginning of the next
section is typical of
Tempo di Marcia.
Thismovement, accompanied
by repetitions of sound,
is a metaphor for the
structure and discipline
in school. This is the
introduction to a march
theme, symbolic of
passing through the
classes up to the final
examinations.Then, the
Ross Roy theme is dealt
with again, now in a
playful, humorous
variation. As if the
composer is saying there
should also be time for a
smile in school. The same
theme can be heard in
major key and a slower
tempo in the following
section, expressing pride
and self-confidence. This
is also the introduction
to the expressive middle
section that represents
love, friendship and
understanding.We then
return to the march theme
in a slightly altered
construction. The
oriental sounds,
constituting the
modulation to the final
theme, are symbols of the
diversity of cultures in
the school. The
characteristic final
theme first sounds
solemn, but turns into a
festive apotheosis. It is
no coincidence that the
final cadence is
reminiscent of the close
to a traditional
overture, for the school
years can be considered
the overture to the rest
of one's life. The
premiere of Ross Roy was
conducted by Jacob de
Haan in Brisbane, on
August 22, 1997.
Ross Roy
is de naam van de
monumentale villa in
Brisbane (Australië)
waar in 1945 het St.
Peters Lutheran College
is gesticht. In opdracht
van het collegeorkest
componeerde Jacob de Haan
dit gevarieerde
concertwerk vol
metaforen. De structuur
en discipline van de
school horen we in de met
toonherhaling gepaard
gaande ritmische beweging
in basregister en
slagwerk. Het volgende,
martiale thema staat
symbool voor het
doorlopen van de klassen.
Een schertsende,
humoristische versie van
het hoofdthema ontbreekt
niet: op school moet
immers ook tijd zijn voor
vrolijkheid. Het
karakteristieke slotthema
mondt uit in een
feestelijke apotheose.
Ross Roy
ist der Name einer
monumentalen Villa in
Brisbane, Australien, in
der 1945 das St. Peter
Lutheran College
gegründet wurde. Im
Auftrag dieses
Schulorchesters
komponierte Jacob de Haan
dieses Konzertwerk, das
voll von Metaphern ist.
Die Struktur und
Disziplin dieser Schule
hören wir in der mit
Tonwiederholungen
gepaarten rhythmischen
Bewegung des
Bassregisters und des
Schlagwerks. Das folgende
martialische Thema steht
als Symbol für das
Durchlaufen der Klassen
bis zum Ende der
Schulzeit. Eine
scherzhafte,
humoristische Version des
Hauptthemas darf nicht
fehlen, denn in der
Schule muss auch Zeit
für kleine Späße
und Lachen sein! Das
charakteristische
Schlussthemamündet in
einem festlichen
Höhepunkt.
Shlof, Mayn Kind.
Composed by Larry Clark.
Young String Orchestra
(YAS). Set of Score and
Parts. With Standard
notation.
8+5+2+8+5+5+3+12 pages.
Duration 2018. Carl
Fischer Music #YAS186.
Published by Carl Fischer
Music (CF.YAS186).
ISBN 9781491151518.
UPC: 680160909018. 9 x 12
inches. Key: D
minor.
A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by a
violin solo on the song.
It them develops through
a variety of different
harmonic presentation
before building to a nice
key change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also
guest-conducted his
Madison Middle School
Orchestra several times
over the past four years.
His musicianship,
teaching skills and love
for his students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song and I felt
the title reflected the
sentiment I was looking
to express, which is of
someone taking rest after
a long battle with
illness, so a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions.Â
Not in a far out way, but
in a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57 as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say, Everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-020
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Set (Score & Parts). De
Haske Publications #DHP
1115084-020. Published by
De Haske Publications
(BT.DHP-1115084-020).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-120
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Score Only. Composed
2012. 99 pages. De Haske
Publications #DHP
1115084-120. Published by
De Haske Publications
(BT.DHP-1115084-120).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
By Freddie Mercury. Arranged by Andrea Ravizza. Concert band. As performed by th...(+)
By Freddie Mercury.
Arranged by Andrea
Ravizza. Concert band. As
performed by the Queen.
Pop Music. Level: Grade
3. Score and set of
parts. Duration 2:40.
Published by Scomegna
Edizioni Musicali
(Italian import).
Composed
by Hirotaka Izumi.
Arranged by Toshio
Mashima. De Haske Concert
Band.
TV-Film-Musical-Show.
Score Only. Composed
1993. De Haske
Publications #930476.
Published by De Haske
Publications
(HL.44002014).
UPC:
073999109627. 6.75x10.5
inches.
T-Square is
a Japanese jazz fusion
band that was formed in
1978. They became famous
in the late 70s and early
80s, amongst other
Japanese fusion bands.
One of their most popular
songs is Omens of
Love. This beautiful
Concert Band arrangement
from Toshio Mashima is
played all over the
world.
T-Square
is een Japanse
jazzfusionband die in
1978 werd opgericht. De
groep werd eind jaren
zeventig en begin jaren
tachtig beroemd, evenals
andere Japanse
fusionbands. Een van de
populairste songs van de
band is Omens of
Love. Dit geweldige
arrangement van Toshio
Mashima voor
harmonieorkest wordt
overal ter wereld
gespeeld.
T-Square ist eine
japanische Fusion-Band,
die 1978 gegrundet wurde.
Sie wurde zusammen mit
anderen japanischen
Fusion-Bands in den
spaten 1970er-Jahren und
den fruhen 1980er-Jahren
beruhmt. Omens of
Love ist einer ihrer
bekanntesten Songs.
Dieses wunderbare
Arrangement fur
Blasorchester von Toshio
Mashima wird auf der
ganzen Welt gespielt.
T-Square est un
groupe japonais de jazz
fusion forme en 1978. Ils
devinrent celebres vers
la fin des annees 1970 et
debut 1980 avec d'autres
groupes japonais de
fusion. L'une de leurs
chansons les plus
populaires est Omens
of Love.
L'arrangement magnifique
de Toshio Mashima pour
orchestre d'harmonie est
interprete dans le monde
entier.
I
T-Square sono una band
fusion giapponese
formatasi nel 1978 e
divenuta famosa in tutto
il mondo nel giro di
pochi anni. Omens of
Love e uno dei loro
brani piu amati e
l'arrangiamento di Toshio
Mashima per concert band
e ormai da considerarsi
un best seller.
Work from Home Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
As recorded by Fifth Harmony. Composed by Brian Lee, Josh Coleman, Jude D...(+)
As recorded by Fifth
Harmony. Composed by
Brian Lee, Josh Coleman,
Jude Demorest, Tyrone
Griffin, Alexander
Izquierdo, and Dallas
Koehlke [Fifth Harmony].
Arranged by Michael
Story. Concert Band;
Score. Pop Beginning
Band. Pop. 12 pages.
Published by Alfred Music
(AP.45777S).
Work from Home Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Alfred Publishing
As Recorded by Fifth Harmony. Composed by Brian Lee, Josh Coleman, Jude Demor...(+)
As Recorded by Fifth
Harmony. Composed by
Brian
Lee, Josh Coleman, Jude
Demorest, Tyrone Griffin,
Alexander Izquierdo, and
Dallas Koehlke [Fifth
Harmony]. Arranged by
Michael Story. Concert
Band;
Part(s); Score. Pop
Beginning Band. Pop. 136
pages. Published by
Alfred
Music
By Stephen Foster. Arranged by Donald Hunsberger. By Stephen Foster / arr. Donal...(+)
By Stephen Foster.
Arranged by Donald
Hunsberger. By Stephen
Foster / arr. Donald
Hunsberger. For Concert
Band. Concert Band.
Donald Hunsberger Wind
Library. Level: Medium
Advanced (grade VI).
Conductor Score and
Parts. 168 pages.
Published by Alfred
Publishing.
Cathedral Music Orchestre d'harmonie [Conducteur] - Intermédiaire Grand Mesa Music
By Jacob Handl and Tallis/Handle. Arranged by Singleton. For Concert Band. Appro...(+)
By Jacob Handl and
Tallis/Handle. Arranged
by Singleton. For Concert
Band. Approved
contest/festival piece
for the University
Interscholastic League
(UIL). Grade 3. Score
Cathedral Music Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Grand Mesa Music
By Thomas Tallis (1505-1585) and Jacob Handl. Arranged by Singleton. For Concert...(+)
By Thomas Tallis
(1505-1585) and Jacob
Handl. Arranged by
Singleton. For Concert
Band. Approved
contest/festival piece
for the University
Interscholastic League
(UIL). Grade 3. Score and
set of parts
Somebody To Love Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1125261-010 As Performed...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1125261-010
As Performed by
Queen. Composed by
Freddie Mercury. Arranged
by Peter Kleine Schaars.
Peter's Popular
Collection. Set (Score
and Parts). Composed
2011. De Haske
Publications #DHP
1125261-010. Published by
De Haske Publications
(BT.DHP-1125261-010).
9x12 inches.
English-German-French-Dut
ch.
Somebody to
Love, from rock
legends Queen, is one of
the most popular rock
ballads of all time.
Taking its inspiration
from gospel choirs, the
bandâ??s vocal lines
were multiplied many
times over to create a
full choral sound. This
layered effect has been
carefully preserved in
Peter Kleine Schaarsâ??
powerful arrangement for
concert band.
Somebody to
Love komt van het
album A Day at the
Races van Queen uit
1976. Het is een
rockballad. Ge nspireerd
door het gezang van
gospelkoren,
vermenigvuldigden ze hier
de stemmen van Freddie
Mercury, Brian May en
RogerTaylor tot een
gigantisch koor. Dit
zorgde voor een heel
speciale sound. En juist
dit bijzondere geluid
weet Peter Kleine Schaars
heel goed te behouden in
zijn bewerking voor
orkest.
Somebod
y to Love ist eine
Rockballade aus dem Album
A Day at the Races
von 1976. Inspiriert vom
Gesang von
Gospelchören, wurden
fu?r die Aufnahme die
Stimmen von Freddie
Mercury, Brian May und
Roger Taylor zu einem
riesigen Chor
vervielfacht, was fu?r
den speziellen Sound des
Titels sorgte. Dieses
besondere Feeling ist
auch in der
Blasorchesterbearbeitung
von Peter Kleine Schaars
sehr schön erhalten.
Somebody to
Love è una ballata
rock dallâ??album A
Day at the Races del
1976. Ispirato dalla
musica gospel, le voci di
Freddie Mercury, Brian
May e Roger Taylor sono
state amplificate per
divenire un enorme coro
gospel. Un arrangiamento
molto particolare e di
sicuro effetto.
Somebody To Love Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1125261-140 As Performed...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1125261-140
As Performed by
Queen. Composed by
Freddie Mercury. Arranged
by Peter Kleine Schaars.
Peter's Popular
Collection. Score Only.
Composed 2011. 20 pages.
De Haske Publications
#DHP 1125261-140.
Published by De Haske
Publications
(BT.DHP-1125261-140).
9x12 inches.
English-German-French-Dut
ch.
Somebody to
Love, from rock
legends Queen, is one of
the most popular rock
ballads of all time.
Taking its inspiration
from gospel choirs, the
band’s vocal lines
were multiplied many
times over to create a
full choral sound. This
layered effect has been
carefully preserved in
Peter Kleine
Schaars’ powerful
arrangement for concert
band.
Somebody
to Love komt van het
album A Day at the
Races van Queen uit
1976. Het is een
rockballad. Ge nspireerd
door het gezang van
gospelkoren,
vermenigvuldigden ze hier
de stemmen van Freddie
Mercury, Brian May en
RogerTaylor tot een
gigantisch koor. Dit
zorgde voor een heel
speciale sound. En juist
dit bijzondere geluid
weet Peter Kleine Schaars
heel goed te behouden in
zijn bewerking voor
orkest.
Somebod
y to Love ist eine
Rockballade aus dem Album
A Day at the Races
von 1976. Inspiriert vom
Gesang von
Gospelchören, wurden
für die Aufnahme
die Stimmen von Freddie
Mercury, Brian May und
Roger Taylor zu einem
riesigen Chor
vervielfacht, was
für den speziellen
Sound des Titels sorgte.
Dieses besondere Feeling
ist auch in der
Blasorchesterbearbeitung
von Peter Kleine Schaars
sehr schön erhalten.
Somebody to
Love è una ballata
rock dall’album
A Day at the Races
del 1976. Ispirato dalla
musica gospel, le voci di
Freddie Mercury, Brian
May e Roger Taylor sono
state amplificate per
divenire un enorme coro
gospel. Un arrangiamento
molto particolare e di
sicuro effetto.
Man of Steel, Suite from Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
(Featuring: Look to the Stars / DNA / Goodbye My Son / Launch / Krypton's Last...(+)
(Featuring: Look to the
Stars / DNA / Goodbye My
Son
/ Launch / Krypton's Last
/
If You Love These People
/
Flight / What Are You
Going
to Do When You Are Not
Saving the World?).
Composed
by Hans Zimmer (1957-).
Arranged by Ralph Ford.
Concert Band. Concert
Band;
Part(s); Score;
SmartMusic.
Pop Concert Band. Form:
Medley; Suite. Movie.
Grade
3.5. 344 pages. Published
by
Alfred Music