Composed by Ed Kiefer.
Symphonic Band (SPS).
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #SPS82F.
Published by Carl Fischer
Music (CF.SPS82F).
ISBN 9781491153277.
UPC:
680160910779.
Resig
nation was
composed in memory of
one of Ed Kiefer's best
friends. Evoking the
struggle of coming to
grips with the loss of a
dear friend, the piece is
based on the hymn, My
Shepherd Will Supply My
Need. It is dramatic,
heartfelt, and
overwhelmingly beautiful.
As Hans Christian
Andersen once said, When
words fail, music
speaks.. Dr. David S.
Kirby Commission
Consortium Phillip Riggs,
Commission
CoordinatorNorthwest
District Bandmasters
AssociationRodney
Workman, Past-Chair
Andrew Jimeson,
ChairWestern North
Carolina Bandmasters
AssociationAllen Klaes,
ChairNorth Carolina
School of Science and
MathPhillip Riggs,
DirectorA.C. Reynolds
High School BandSean
Smith, DirectorSouth
Caldwell High School
BandJason Childers,
DirectorJay M. Robinson
Symphonic BandAndrew
Carter, DirectorApex High
School BandDaniel Jarvis,
DirectorPanther Creek
High School BandDavid
Robinson, DirectorEastern
Randolph High School
BandCarolina Perez,
DirectorStanley County
Concert Band/Pfeiffer
University Concert
BandCarmella Hedrick, Tim
Hedrick and Frank Poolos,
DirectorsLenoir Rhyne
University Wind
SymphonyDr. Daniel Kiser,
ConductorDr. Christopher
NegrelliNumerous
colleagues, fellow
teachers, and former
studentsProgram
NotesThere is no possible
way I could compose a
piece of music worthy of
the memory of my close
friend, Dr. David Kirby,
who died very suddenly at
an early age. Neither
could I write a piece
that could come close to
reflecting his kind
spirit, wit, personality
or talent. In fact, it
was almost impossible for
me to write anything at
all. My own grief and the
stages of my
grief kept getting in
the way. I ended up with
a setting of the
hymn-tune, Resignation.
Resigned. To the fact
that he is no longer
with us. I know he is
in a better place, but we
are not. We miss him very
much. And so, My Shepherd
Will Supply My Need seems
to speak to those of us
he left behind. I
apologize if this piece
does not reflect your
special feelings for him
or help you celebrate his
moving on. Unfortunately,
I could only put down
what I have come to
accept and hope in some
way it may speak to any
of you that knew him or
to others of you who have
also lost a close friend.
My Shepherd Will Supply
My Need. That is my
hope and my hope for
you.Although technically
very easy, this
composition requires a
maturity of musicianship
to be performed properly.
The Bb contrabass
clarinet part is integral
to the composition, but
there are cues in the
tuba part if you need
them. Â Make sure you
bring horns to the fore
at m. 53 and the low
brass at m. 59 so the
melody can be heard
without effort.
Exaggerate dynamics to
bring more emotion to the
piece. Be careful not to
diminuendo too soon near
the end or it will be
difficult to diminish
even further at the very
end, where the lone
clarinetist holds over a
couple of measures,
fading into nothing. I
hope your students will
enjoy this piece and take
from it a greater
appreciation for the way
making music can express
feelings.
Composed by Ed Kiefer.
Symphonic Band (SPS). Set
of Score and Parts. With
Standard notation.
4+4+2+4+8+8+2+1+2+2+2+2+2
+2+3+6+6+9+2+2+3+3+3+3+4+
1+1+1+1+1+16+2 pages.
Duration 2 minutes, 58
seconds. Carl Fischer
Music #SPS82. Published
by Carl Fischer Music
(CF.SPS82).
ISBN
9781491152591. UPC:
680160910090. Key: Bb
major.
Resignation
was composed in
memory of one of Ed
Kiefer's best friends.
Evoking the struggle of
coming to grips with the
loss of a dear friend,
the piece is based on the
hymn, My Shepherd Will
Supply My Need. It is
dramatic, heartfelt, and
overwhelmingly beautiful.
As Hans Christian
Andersen once said, When
words fail, music
speaks.. Dr. David S.
Kirby Commission
Consortium Phillip Riggs,
Commission
CoordinatorNorthwest
District Bandmasters
AssociationRodney
Workman, Past-Chair
Andrew Jimeson,
ChairWestern North
Carolina Bandmasters
AssociationAllen Klaes,
ChairNorth Carolina
School of Science and
MathPhillip Riggs,
DirectorA.C. Reynolds
High School BandSean
Smith, DirectorSouth
Caldwell High School
BandJason Childers,
DirectorJay M. Robinson
Symphonic BandAndrew
Carter, DirectorApex High
School BandDaniel Jarvis,
DirectorPanther Creek
High School BandDavid
Robinson, DirectorEastern
Randolph High School
BandCarolina Perez,
DirectorStanley County
Concert Band/Pfeiffer
University Concert
BandCarmella Hedrick, Tim
Hedrick and Frank Poolos,
DirectorsLenoir Rhyne
University Wind
SymphonyDr. Daniel Kiser,
ConductorDr. Christopher
NegrelliNumerous
colleagues, fellow
teachers, and former
studentsProgram
NotesThere is no possible
way I could compose a
piece of music worthy of
the memory of my close
friend, Dr. David Kirby,
who died very suddenly at
an early age. Neither
could I write a piece
that could come close to
reflecting his kind
spirit, wit, personality
or talent. In fact, it
was almost impossible for
me to write anything at
all. My own grief and the
stages of my
grief kept getting in
the way. I ended up with
a setting of the
hymn-tune, Resignation.
Resigned. To the fact
that he is no longer
with us. I know he is
in a better place, but we
are not. We miss him very
much. And so, My Shepherd
Will Supply My Need seems
to speak to those of us
he left behind. I
apologize if this piece
does not reflect your
special feelings for him
or help you celebrate his
moving on. Unfortunately,
I could only put down
what I have come to
accept and hope in some
way it may speak to any
of you that knew him or
to others of you who have
also lost a close friend.
My Shepherd Will Supply
My Need. That is my
hope and my hope for
you.Although technically
very easy, this
composition requires a
maturity of musicianship
to be performed properly.
The Bb contrabass
clarinet part is integral
to the composition, but
there are cues in the
tuba part if you need
them. Â Make sure you
bring horns to the fore
at m. 53 and the low
brass at m. 59 so the
melody can be heard
without effort.
Exaggerate dynamics to
bring more emotion to the
piece. Be careful not to
diminuendo too soon near
the end or it will be
difficult to diminish
even further at the very
end, where the lone
clarinetist holds over a
couple of measures,
fading into nothing. I
hope your students will
enjoy this piece and take
from it a greater
appreciation for the way
making music can express
feelings.
I Need To Be In Love Orchestre d'harmonie [Conducteur] - Intermédiaire Music Sales
Concert Band/Harmonie - Grade 4 SKU: BT.1405-07-140-MS Composed by A. Ham...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1405-07-140-MS
Composed by A. Hammond,
John Bettis, and Richard
Carpenter. Arranged by
Kazuhiro Morita. New
Sounds for Concert Band.
Solo & Concerto. Score
Only. Composed 2007. 20
pages. Music Sales
#1405-07-140 MS.
Published by Music Sales
(BT.1405-07-140-MS).
9x12 inches.
English-German-French-Dut
ch.
The Carpenters
have become icons of
American pop culture and
have experienced a global
popularity since they
first appeared on the
music scene in the
1970's. This partnership
of Richard Carpenter and
his sister Karen had an
impressive number of huge
hits of which I Need to
be In Love is one of the
most popular. This new
arrangement by Kazuhiro
Morita is sure to be a
highly popular with your
audiences utilising the
delicious vocal harmonies
for which the Carpenters
were famed.
I
Need to Be in Love
ist eine Ballade der
amerikanischen Gruppe The
Carpenters aus dem Jahr
1976. Der sehnsuchtsvolle
Titel war tatsächlich
sogar das Lieblingslied
der Sängerin Karen
Carpenter. Dass der Titel
im Jahr 1995 erneut
erfolgreich
veröffentlicht wurde,
beweist die Beliebtheit
und Zeitlosigkeit dieses
wunderschönen Liedes,
das Kazuhiro Morita nun
in einer
Blasorchesterbearbeitung
vorlegt.
Red Thunder Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Carl Fischer
By Larry Clark. Concert Band. For Flute, Oboe, Flute II, Clarinet I, Clarinet II...(+)
By Larry Clark. Concert
Band. For Flute, Oboe,
Flute II, Clarinet I,
Clarinet II, Bass
Clarinet, Alto Saxophone,
Tenor Saxophone, Baritone
Saxophone, Trumpet I,
Trumpet II, Horn, Tenor,
Baritone (Bass Clef),
Bassoon, Baritone (Treble
Clef in Bb), Tuba, Bells,
Xylophone, Timpani, Snare
Dru. Carl Fischer First
Plus Performance Series.
Grade 1.5. Score and Set
of Parts. Standard
notation. 16 pages.
Published by Carl Fischer
Score Only Concert Band (Score) - Grade 3 SKU: HL.4006391 By Elton John. ...(+)
Score Only Concert Band
(Score) - Grade 3
SKU:
HL.4006391
By Elton
John. By Bernie Taupin.
Arranged by Johnnie
Vinson. Flex-Band Grade
3. Pop, Rock. Softcover.
36 pages. Duration 513
seconds. Published by Hal
Leonard (HL.4006391).
UPC: 888680988005.
9.0x12.0x0.072
inches.
Hit songs
by Elton John have become
an enduring part of our
pop culture. Featured in
the bio pic Rocketman,
these familiar classics
feature catchy melodies
and timeless lyrics.
Here's a medley for
flexible instrumentation
that includes Rocket Man,
Crocodile Rock, Your
Song, and I'm Still
Standing.
Composed by
Carol Brittin Chambers.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
16+4+8+16+16+4+4+4+4+4+4+
8+8+8+4+4+6+6+6+8+2+2+2+6
+12+24+4 pages. Duration
3 minutes, 55 seconds.
Carl Fischer Music
#CPS226. Published by
Carl Fischer Music
(CF.CPS226).
ISBN
9781491152522. UPC:
680160910021.
Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it!
Composed
by Carol Brittin
Chambers. Concert Band
(CPS). Full score. With
Standard notation. 24
pages. Carl Fischer Music
#CPS226F. Published by
Carl Fischer Music
(CF.CPS226F).
ISBN
9781491153208. UPC:
680160910700.
Inspi
red by the memory of an
influential music
educator, Carol Brittin
Chambers has woven a
multitude of grooves,
colors, and uplifting
themes into To Create a
Voice. Chambers has
attempted to convey
distinct moods and
emotions that this
educator tried to instill
in his students. In honor
of this dynamic teacher,
you will hear Hot
Cross Buns cleverly
placed throughout the
composition. To Create
a Voice was commissioned
by the Valley Concert
Band in Stockton,
California. The piece
premiered in October
2017, in memory and
celebration of Chris
Anderson, a local
musician and
educator.When writing
this piece, I tried to
convey certain moods and
emotions throughout:
soulful at the beginning
with calm woodwind chords
and solo trombone;
increased energy
throughout the various
sections of the piece;
exploration of different
grooves and colors; an
uplifting, emotional
ending that leaves the
listener with a sense of
how positive and loving
Chris was.This piece is
largely inspired by a
specific quote from
Chris:Most people would
consider the sounds
students first make on
their instruments to be
cringe-worthy, but to me
that’s music to my
ears, because
that’s the first
time students put a voice
to their instrument. Over
time those voices become
stronger; they become
clear, more confident,
and get to a point where
they use those voices to
communicate with each
other, and to their
audiences.To relate to
the first notes on the
instrument idea, I used
motifs based on the first
notes most beginners ever
play, do-re-mi, which are
introduced at the
beginning of the piece
with the trombone solo,
Chris’ instrument.
During the section at m.
15, the brass introduce a
chorale that I named
Chris’ Theme while
the woodwinds keep
reminding us of do-re-mi.
Later in the piece (mm.
71 and 79), I use these
notes again, but in
reverse, which becomes a
reference to the first
song most beginners
learn, Hot Cross Buns.
This section is also
meant to portray
Chris’ quirky and
joking side. In mm. 75
and 83, Chris’
Theme presents itself
again a couple of times
in response to Hot Cross
Buns.Toward the end, at
the uplifting moment (m.
97), do-re-mi is heard
again, but this time in
harmony with mi-fa-sol.
This represents the
ultimate satisfaction we
all feel as musicians
when we have finally
progressed enough to play
in harmony with others.
The half-time feeling in
3 at that moment also has
significance, relating
(rhythmically) to those
important three notes
again.I really hope you
enjoy performing and
listening to this piece
as much as I have enjoyed
creating it!
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Swaying in the West Wind Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band (Score & Parts) - Grade 5 SKU: HL.44011067 The Resounding...(+)
Concert Band (Score &
Parts) - Grade 5
SKU:
HL.44011067
The
Resounding Passionate
Heartbeat. Composed
by Satoshi Yagisawa. De
Haske Concert Band. Set
(Score & Parts). Composed
2010. De Haske
Publications #1115007010.
Published by De Haske
Publications
(HL.44011067).
This
piece was commissioned by
Japan Ground Self Defense
Force Western Army Band.
In the programme note for
the premiere the composer
wrote: I am always
impressed by the
expansive earth and
sparkling ocean scenery
when I come to Kyushu. I
have met many local
people here and they are
all expressive and
energetic. I wrote this
dramatic piece to convey
to the whole of Japan the
memory of my experience
here, swaying in the west
wind. I wrote this,
hoping that the Self
Defense Force will forge
closer ties with the
community through this
piece. Eastern drama felt
in the west
wind!
This piece
was commissioned by Japan
Ground Self Defense Force
Western Army Band. In the
programme note for the
premiere the composer
wrote: I am always
impressed by the
expansive earth and
sparkling ocean scenery
when I come toKyushu. I
have met many local
people here and they are
all expressive and
energetic. I wrote this
dramatic piece to convey
to the whole of Japan the
memory of my experience
here, swaying in the west
wind. I wrote this,
hoping thatthe Self
Defense Force will forge
closer ties with the
community through this
piece. Eastern drama felt
in the west
wind!
Dieses
Stück basiert auf
dem Motto eines
japanischen
Musikfestivals der
japanischen Streitkrafte:
Unsere Leidenschaft soll
in unserem Herzen
widerhallen. Der
Komponist liess sich
ausserdem von der
eindrucksvollen
Küstenlandschaft in
Kyushu, wo das Festival
stattfand, inspirieren
und vom Wunsch, dass die
verschiedenen
Militarblasorchester der
Region engere Bande
knüpfen mogen,
leiten. Aus diesen Themen
entstand dieses
ausdruckvolle,
dramatische
Werk.
L'oeuvre fut
donnee en creation dans
le cadre du Festival des
Musiques Militaires des
Forces armees japonaises
2010, qui s'est tenu sur
l'ile de Kyushu. Le theme
fut << La passion est en
nous >>. Swaying in the
West Wind revele une
profondeur d'expression
poignante. Depuis des
siecles, Kyushu s'est
ouverte aux cultures
occidentales. Et c'est la
force de ce souffle
occidental, de l'energie
des habitants de l'ile
que Satoshi Yagisawa
depeint dans son oeuvre.
Questo brano e
stato commissionato dal
Japan Ground Self Defense
Force Western Army Band
di stanza a Kyushu. Il
compositore si e ispirato
alla questa regione
giapponese dichiarando la
bellezza della natura, le
grandi distese e il
colore dell'Oceano mi
hanno profondamente. E
questa natura, sono
sicuro trasmette le
proprie energie agli
abitanti di Kyushu, gente
molto espressiva ed
energia, in perfetta
sintonia con la terra in
cui vivono.
Five States of Change Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-342-010 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-342-010
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2012.
Anglo Music Press #AMP
342-010. Published by
Anglo Music Press
(BT.AMP-342-010).
9x12
inches.
English-German-French-Dut
ch.
Five States
of Change was
commissioned by
Kunstfactor for the 4th
section of the Dutch
National Brass Band
Championships (NBK) 2011.
It is dedicated to Jappie
Dijkstra and the Music
Information Centre (MUI),
Arnhem, Holland, in
acknowledgement of their
outstanding work in
developing band
repertoire.The composer
writes: The idea for the
piece came when I was
reading an article about
a branch of Chinese
philosophy which is
abbreviated as Wu
Xing*, which has no
exact translation but can
mean, for example,
five elements, five
phases or five
states of change. It
is central to all
elements of Chinese
thought, including
science, philosophy,
medicine andastrology,
and in simple terms tries
to create various cyclic
relationships between
five elements in all
walks of life.An example
is: Earth - Metal - Water
- Wood - Fire - (Earth)
etc. where (in one cycle)
earth bears metal, metal
changes to liquid (water)
when heated, water helps
trees grow, wood burns to
create fire, fire
produces ash (earth) and
the cycle continues.I was
particularly interested
in the cycle of
emotions:- Meditation -
Sorrow - Fear - Anger -
Joy - (Meditation) etc.
and thought this cyclic
principle would provide
an effective emotional
journey for a piece of
music. So Five States
of Change has five
equal sections which
loosely characterise this
emotional cycle. I have
tried to make the music
grow organically, with
minimal repetition, and
each movement evolves
from the musical elements
at the end of the
previous one, with the
opening material
appearing, transformed,
at the end of the piece
to complete the cycle.
*in full Wu zhong liu
xing zhi chi or
the five types of chi
dominating at different
times
Five
States of Change is
geschreven in opdracht
van Kunstfactor voor de
4e divisie van de NBK
(Nederlandse Brassband
Kampioenschappen) 2011.
Het werk is opgedragen
aan Jappie Dijkstra en
het MUI (Muziekuitleen-
en Informatiecentrum)te
Arnhem,als waardering
voor hun inspanningen met
betrekking tot de
ontwikkeling van het
repertoire voor
blaasorkesten.De
componist schrijft: Het
idee voor het werk kwam
in mij op toen ik een
artikel las over een
takbinnen de Chinese
filosofie waarvan denaam
wordt afgekort tot Wu
Xing* - waar geen
exacte vertaling voor is,
maar wat zoveel betekent
als vijf elementen,
vijf fasen of vijf
stadia van verandering.
Het gaat om eenwezenlijk
onderdeel van alle
componenten binnen
hetChinese gedachtegoed,
inclusief de wetenschap,
filosofie, geneeskunst en
astrologie. Simpel gezegd
draait het om het
creëren van diverse
cyclische verbanden
tussen vijf elementendie
in ieders leven een rol
spelen.Een voorbeeld:
Aarde - Metaal - Water-
Hout - Vuur - (Aarde)
enz. In deze cyclus bevat
aarde metaal, metaal
verandert in vloeistof
(water) door verhitting,
water helpt bomen te
groeien, houtdat brandt
creëert vuur, en vuur
produceert as (aarde). Zo
blijft de cyclus
voortgaan. Zelf wasik
vooral ge nteresseerd in
de cyclus van emoties:
Meditatie - Verdriet -
Angst - Boosheid -
Vreugde - (Meditatie)
enz. De gedachte aandit
cyclische principe
leverde een reis door een
muzikale wereld van
emoties op. Five
States of
Changebestaat uit
vijf delen die betrekking
hebben op de emotionele
cyclus. Ik heb geprobeerd
de muziek op natuurlijke
wijzete laten ontstaan,
met zo weinig mogelijk
herhalingen. Elk deel
vloeit voort uit de
muzikale elementen uit
het slot van
hetvoorgaande deel. Het
openingsmateriaal komt,
in getransformeerde
gedaante, terug aan het
einde van het
werk.
Five
States of Change
wurde von Kunstfactor
für die vierte
Abteilung der
Holländischen
Nationalen
Brass-Band-Meisterschaft
(NBK) 2011 in Auftrag
gegeben. Die Widmung gilt
Jappie Dijkstra und dem
Musik-Informationszentrum
(MUI) in Arnhem(Holland),
in Anerkennung derer
außerordentlichen
Bemühungen um die
Entwicklung des
Blasorchester-Repertoires
. Der Komponist
über sein Werk: Die
Idee zu diesem
Stück kam mir beim
Lesen eines Artikels
über eine Richtung
derchinesischen
Philosophie, die
abgekürzt Wu
Xing* heißt, was
nicht wörtlich
übersetzt werden
kann, aber so viel wie
fünf Elemente,
fünf Phasen
oder fünf
Stadien der
Verwandlung bedeutet.
DiesesPrinzip nimmt eine
zentrale Position im
gesamten chinesischen
Gedankengut ein, sei es
in der Wissenschaft,
Medizin oder Astrologie.
Einfach
ausgedrückt, werden
damit in allen
Lebensbereichen
verschiedene zyklische
Beziehungen
zwischenfünf
Elementen hergestellt.Zum
Beispiel: Erde - Metall -
Wasser - Holz - Feuer -
(Erde) - usw. In diesem
Zyklus enthält die
Erde Metall, das sich bei
Erhitzung
verflüssigt
(Wasser); Wasser lässt
Bäume wachsen, deren
Holz verbrennt (Feuer)und
zu Asche wird (Erde),
womit der Kreislauf von
neuem beginnt.Mich
interessierte besonders
der Kreislauf von
Gefühlen:Meditation
- Trauer - Angst -
Ärger - Freude -
(Meditation) usw.Ich
dachte mir, dass dieser
Kreislauf eine
wirkungsvolleemotionale
Reise“ durch ein
Musikstück
darstellen könnte.
Folglich besteht Five
States of Change aus
fünf gleichen
Abschnitten, die diesen
Kreislauf der
Gefühle grob
nachzeichnen. Ich habe
versucht, die Musik
organischwachsen zu
lassen mit möglichst
wenig Wiederholungen.
Jeder Satz entwickelt
sich aus den Elementen
vom Ende des
vorhergehenden Satzes und
das Material der
Eröffnung vollendet am
Schluss des Werkes den
Kreis. *Abkürzung
für Wu zhongliu
xing zhi chi oder
Die fünf Arten
von Chi, die zu
unterschiedlichen Zeiten
dominieren
L’idea
di comporre questo brano
è venuta a Philip
Sparke leggendo un
articolo sulla filosofi a
cinese che si basa su
cicli di cinque elementi,
fasi e stadi di
cambiamento. A Sparke
interessavano in
particolare il flusso dei
sentimenti come la
meditazione, il lutto, la
paura, la rabbia e la
gioia. A partire da
questi elementi ha
composto un
impressionante
“viaggioâ€
musicale suddiviso in
cinque sezioni,
tematicamente intrecciate
tra loro, quasi a voler
formare un cerchio.
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-342-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-342-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2012. 61 pages.
Anglo Music Press #AMP
342-140. Published by
Anglo Music Press
(BT.AMP-342-140).
9x12
inches.
English-German-French-Dut
ch.
Five States
of Change was
commissioned by
Kunstfactor for the 4th
section of the Dutch
National Brass Band
Championships (NBK) 2011.
It is dedicated to Jappie
Dijkstra and the Music
Information Centre (MUI),
Arnhem, Holland, in
acknowledgement of their
outstanding work in
developing band
repertoire.The composer
writes: The idea for the
piece came when I was
reading an article about
a branch of Chinese
philosophy which is
abbreviated as Wu
Xing*, which has no
exact translation but can
mean, for example,
five elements, five
phases or five
states of change. It
is central to all
elements of Chinese
thought, including
science, philosophy,
medicine andastrology,
and in simple terms tries
to create various cyclic
relationships between
five elements in all
walks of life.An example
is: Earth - Metal - Water
- Wood - Fire - (Earth)
etc. where (in one cycle)
earth bears metal, metal
changes to liquid (water)
when heated, water helps
trees grow, wood burns to
create fire, fire
produces ash (earth) and
the cycle continues.I was
particularly interested
in the cycle of
emotions:- Meditation -
Sorrow - Fear - Anger -
Joy - (Meditation) etc.
and thought this cyclic
principle would provide
an effective emotional
journey for a piece of
music. So Five States
of Change has five
equal sections which
loosely characterise this
emotional cycle. I have
tried to make the music
grow organically, with
minimal repetition, and
each movement evolves
from the musical elements
at the end of the
previous one, with the
opening material
appearing, transformed,
at the end of the piece
to complete the cycle.
*in full Wu zhong liu
xing zhi chi or
the five types of chi
dominating at different
times
Five
States of Change is
geschreven in opdracht
van Kunstfactor voor de
4e divisie van de NBK
(Nederlandse Brassband
Kampioenschappen) 2011.
Het werk is opgedragen
aan Jappie Dijkstra en
het MUI (Muziekuitleen-
en Informatiecentrum)te
Arnhem,als waardering
voor hun inspanningen met
betrekking tot de
ontwikkeling van het
repertoire voor
blaasorkesten.De
componist schrijft: Het
idee voor het werk kwam
in mij op toen ik een
artikel las over een
takbinnen de Chinese
filosofie waarvan denaam
wordt afgekort tot Wu
Xing* - waar geen
exacte vertaling voor is,
maar wat zoveel betekent
als vijf elementen,
vijf fasen of vijf
stadia van verandering.
Het gaat om eenwezenlijk
onderdeel van alle
componenten binnen
hetChinese gedachtegoed,
inclusief de wetenschap,
filosofie, geneeskunst en
astrologie. Simpel gezegd
draait het om het
creëren van diverse
cyclische verbanden
tussen vijf elementendie
in ieders leven een rol
spelen.Een voorbeeld:
Aarde - Metaal - Water-
Hout - Vuur - (Aarde)
enz. In deze cyclus bevat
aarde metaal, metaal
verandert in vloeistof
(water) door verhitting,
water helpt bomen te
groeien, houtdat brandt
creëert vuur, en vuur
produceert as (aarde). Zo
blijft de cyclus
voortgaan. Zelf wasik
vooral ge nteresseerd in
de cyclus van emoties:
Meditatie - Verdriet -
Angst - Boosheid -
Vreugde - (Meditatie)
enz. De gedachte aandit
cyclische principe
leverde een reis door een
muzikale wereld van
emoties op. Five
States of
Changebestaat uit
vijf delen die betrekking
hebben op de emotionele
cyclus. Ik heb geprobeerd
de muziek op natuurlijke
wijzete laten ontstaan,
met zo weinig mogelijk
herhalingen. Elk deel
vloeit voort uit de
muzikale elementen uit
het slot van
hetvoorgaande deel. Het
openingsmateriaal komt,
in getransformeerde
gedaante, terug aan het
einde van het
werk.
Five
States of Change
wurde von Kunstfactor
für die vierte
Abteilung der
Holländischen
Nationalen
Brass-Band-Meisterschaft
(NBK) 2011 in Auftrag
gegeben. Die Widmung gilt
Jappie Dijkstra und dem
Musik-Informationszentrum
(MUI) in Arnhem(Holland),
in Anerkennung derer
außerordentlichen
Bemühungen um die
Entwicklung des
Blasorchester-Repertoires
. Der Komponist
über sein Werk: Die
Idee zu diesem
Stück kam mir beim
Lesen eines Artikels
über eine Richtung
derchinesischen
Philosophie, die
abgekürzt Wu
Xing* heißt, was
nicht wörtlich
übersetzt werden
kann, aber so viel wie
fünf Elemente,
fünf Phasen
oder fünf
Stadien der
Verwandlung bedeutet.
DiesesPrinzip nimmt eine
zentrale Position im
gesamten chinesischen
Gedankengut ein, sei es
in der Wissenschaft,
Medizin oder Astrologie.
Einfach
ausgedrückt, werden
damit in allen
Lebensbereichen
verschiedene zyklische
Beziehungen
zwischenfünf
Elementen hergestellt.Zum
Beispiel: Erde - Metall -
Wasser - Holz - Feuer -
(Erde) - usw. In diesem
Zyklus enthält die
Erde Metall, das sich bei
Erhitzung
verflüssigt
(Wasser); Wasser lässt
Bäume wachsen, deren
Holz verbrennt (Feuer)und
zu Asche wird (Erde),
womit der Kreislauf von
neuem beginnt.Mich
interessierte besonders
der Kreislauf von
Gefühlen:Meditation
- Trauer - Angst -
Ärger - Freude -
(Meditation) usw.Ich
dachte mir, dass dieser
Kreislauf eine
wirkungsvolleemotionale
Reise“ durch ein
Musikstück
darstellen könnte.
Folglich besteht Five
States of Change aus
fünf gleichen
Abschnitten, die diesen
Kreislauf der
Gefühle grob
nachzeichnen. Ich habe
versucht, die Musik
organischwachsen zu
lassen mit möglichst
wenig Wiederholungen.
Jeder Satz entwickelt
sich aus den Elementen
vom Ende des
vorhergehenden Satzes und
das Material der
Eröffnung vollendet am
Schluss des Werkes den
Kreis. *Abkürzung
für Wu zhongliu
xing zhi chi oder
Die fünf Arten
von Chi, die zu
unterschiedlichen Zeiten
dominieren
L’idea
di comporre questo brano
è venuta a Philip
Sparke leggendo un
articolo sulla filosofi a
cinese che si basa su
cicli di cinque elementi,
fasi e stadi di
cambiamento. A Sparke
interessavano in
particolare il flusso dei
sentimenti come la
meditazione, il lutto, la
paura, la rabbia e la
gioia. A partire da
questi elementi ha
composto un
impressionante
“viaggioâ€
musicale suddiviso in
cinque sezioni,
tematicamente intrecciate
tra loro, quasi a voler
formare un cerchio.
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44011068 The Resoundin...(+)
Concert Band/Harmonie
(Score) - Grade 5
SKU:
HL.44011068
The
Resounding Passionate
Heartbeat. Composed
by Satoshi Yagisawa. De
Haske Concert Band. Score
Only. Composed 2010. De
Haske Publications
#1115007140. Published by
De Haske Publications
(HL.44011068).
This
piece was commissioned by
Japan Ground Self Defense
Force Western Army Band.
In the programme note for
the premiere the composer
wrote: I am always
impressed by the
expansive earth and
sparkling ocean scenery
when I come to Kyushu. I
have met many local
people here and they are
all expressive and
energetic. I wrote this
dramatic piece to convey
to the whole of Japan the
memory of my experience
here, swaying in the west
wind. I wrote this,
hoping that the Self
Defense Force will forge
closer ties with the
community through this
piece. Eastern drama felt
in the west
wind!
Dieses
Stück basiert auf
dem Motto eines
japanischen
Musikfestivals der
japanischen Streitkrafte:
Unsere Leidenschaft soll
in unserem Herzen
widerhallen. Der
Komponist liess sich
ausserdem von der
eindrucksvollen
Küstenlandschaft in
Kyushu, wo das Festival
stattfand, inspirieren
und vom Wunsch, dass die
verschiedenen
Militarblasorchester der
Region engere Bande
knüpfen mogen,
leiten. Aus diesen Themen
entstand dieses
ausdruckvolle,
dramatische
Werk.
L'oeuvre fut
donnee en creation dans
le cadre du Festival des
Musiques Militaires des
Forces armees japonaises
2010, qui s'est tenu sur
l'ile de Kyushu. Le theme
fut << La passion est en
nous >>. Swaying in the
West Wind revele une
profondeur d'expression
poignante. Depuis des
siecles, Kyushu s'est
ouverte aux cultures
occidentales. Et c'est la
force de ce souffle
occidental, de l'energie
des habitants de l'ile
que Satoshi Yagisawa
depeint dans son oeuvre.
Questo brano e
stato commissionato dal
Japan Ground Self Defense
Force Western Army Band
di stanza a Kyushu. Il
compositore si e ispirato
alla questa regione
giapponese dichiarando la
bellezza della natura, le
grandi distese e il
colore dell'Oceano mi
hanno profondamente. E
questa natura, sono
sicuro trasmette le
proprie energie agli
abitanti di Kyushu, gente
molto espressiva ed
energia, in perfetta
sintonia con la terra in
cui vivono.
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.
Odyssee Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000508-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000508-140
Composed by Jan Bosveld.
Score Only. 20 pages.
Gobelin Music
Publications #GOB
000508-140. Published by
Gobelin Music
Publications
(BT.GOB-000508-140).
The Odyssee
tells the story of
Odysseus, the undaunted
hero. In times long
ago the blind poet Homer
wrote this famous epic.
The Odyssey follows
the Iliad, the story of
the bloody war between
the Greek and the
Trojans. This battle
endsafter ten years
thanks to the Odysseys
famous trick. the Trojan
Horse. The Odyssey
is not a war epic, but a
story about perseverance,
loyalty, adventure, and
the survival instinct of
its ingenious hero.
In The Odyssey, Homer
describes howOdysseus,
the king of Ithaca, had
to endure another ten
years of affliction after
the ten years of war in
Troy before he could
finally return to his
home land. During
those years, his wife,
Penelope, had to try and
keep her many admirers
away.These men not only
wanted het hand but also
the kingship. To prove
her husbands worth, she
played a trick: As soon
as I have finished
weaving this shroud for
my father-in-law,
Laertes, I will choose
one of you to become my
husband, she
promisedthem. But
during the night, she
secretly loosened what
she had woven during the
day, prolonging the time
until Odysseus would
finally return. After
twenty long years, when
he finally stood at the
door, she wondered: Is
this really my husband?
Ishe an imposter?
Cunningly, she asked him
to move the bed, because
only she and her husband
know that the bed was
immovable and was build
around an old three
trunk! Odysseus was
deeply moved: this really
was his wife, his
Penelope! Nearly
threethousands years
later, the loyalty and
strength of this
character, and all the
dangerous adventures that
Odysseus survived thanks
to courage and
intelligence, still moves
us today.
Odyssee
by Jan Bosveld is not
just an adventure story,
butrather a
characteristic piece in
which memories of Homers
story can be heard.
The composition opens
with a firm, stirring
theme describing our
hero, Odysseus, in
detail: This man is not
to be taken lightly.
The further
development of thisshort
introduction completes
this character sketch:
trustworthy, perseverant,
and a genius. After
that we can picture
Odysseus on the lonely
beach of Ogygia. Do the
trumpets depict his
memories of the war of
Troy? Does he think of
his wife, as werecognise
the weaving loom of
Penelope in the murmuring
eighth? In the
solemn, plaintive part
that follows, we can
imagine Penelope feeling
lonely, sitting in the
womens room with her
servants.One of the girls
plays the harp, but that
does notclear the sombre
atmosphere. Then we can
imagine seeing the
sorceress Circe, who
changed Odysseus men into
swine. After she gives a
simple magic sign
something follows that
reminds us of the sound
of pigs grunting. Then
the Odysseus theme
resounds:the hero comes
to savi his comrades.
Assisted by Hermes, he
forces Circe to lift the
spell. The piece ends
the same way as it began,
with an animated theme:
Odysseus is still the
same, undefeated and not
to be taken
lighty!
Het
muzikale relaas van de
Griekse schrijver Homerus
over de held Odyssee in
een karakterstuk vol
herinneringen. Een
stevig opgewekt thema
symboliseert de
grootsheid van Odyssee en
zijn karaktertrekken -
betrouwbaar, volhardenden
vernuftig. De tegenslagen
welke hij tegenkomt en in
het tweede tragische
gedeelte dreigen te
escaleren, nemen in het
derde snelle gedeelte bij
zijn verschijning toch
weer een positieve
wending. Nijmegenaar
Jan Bosveld bewijstin dit
originele werk dat hij op
de hoogte is van de
onmogelijkheden, maar
vooral de ongekende
mogelijkheden van
muzikanten uit de lagere
afdelingen.
Odyssee Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000508-010 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000508-010
Composed by Jan Bosveld.
Set (Score & Parts). 72
pages. Gobelin Music
Publications #GOB
000508-010. Published by
Gobelin Music
Publications
(BT.GOB-000508-010).
The Odyssee
tells the story of
Odysseus, the undaunted
hero. In times long
ago the blind poet Homer
wrote this famous epic.
The Odyssey follows
the Iliad, the story of
the bloody war between
the Greek and the
Trojans. This battle
endsafter ten years
thanks to the Odysseys
famous trick. the Trojan
Horse. The Odyssey
is not a war epic, but a
story about perseverance,
loyalty, adventure, and
the survival instinct of
its ingenious hero.
In The Odyssey, Homer
describes howOdysseus,
the king of Ithaca, had
to endure another ten
years of affliction after
the ten years of war in
Troy before he could
finally return to his
home land. During
those years, his wife,
Penelope, had to try and
keep her many admirers
away.These men not only
wanted het hand but also
the kingship. To prove
her husbands worth, she
played a trick: As soon
as I have finished
weaving this shroud for
my father-in-law,
Laertes, I will choose
one of you to become my
husband, she
promisedthem. But
during the night, she
secretly loosened what
she had woven during the
day, prolonging the time
until Odysseus would
finally return. After
twenty long years, when
he finally stood at the
door, she wondered: Is
this really my husband?
Ishe an imposter?
Cunningly, she asked him
to move the bed, because
only she and her husband
know that the bed was
immovable and was build
around an old three
trunk! Odysseus was
deeply moved: this really
was his wife, his
Penelope! Nearly
threethousands years
later, the loyalty and
strength of this
character, and all the
dangerous adventures that
Odysseus survived thanks
to courage and
intelligence, still moves
us today.
Odyssee
by Jan Bosveld is not
just an adventure story,
butrather a
characteristic piece in
which memories of Homers
story can be heard.
The composition opens
with a firm, stirring
theme describing our
hero, Odysseus, in
detail: This man is not
to be taken lightly.
The further
development of thisshort
introduction completes
this character sketch:
trustworthy, perseverant,
and a genius. After
that we can picture
Odysseus on the lonely
beach of Ogygia. Do the
trumpets depict his
memories of the war of
Troy? Does he think of
his wife, as werecognise
the weaving loom of
Penelope in the murmuring
eighth? In the
solemn, plaintive part
that follows, we can
imagine Penelope feeling
lonely, sitting in the
womens room with her
servants.One of the girls
plays the harp, but that
does notclear the sombre
atmosphere. Then we can
imagine seeing the
sorceress Circe, who
changed Odysseus men into
swine. After she gives a
simple magic sign
something follows that
reminds us of the sound
of pigs grunting. Then
the Odysseus theme
resounds:the hero comes
to savi his comrades.
Assisted by Hermes, he
forces Circe to lift the
spell. The piece ends
the same way as it began,
with an animated theme:
Odysseus is still the
same, undefeated and not
to be taken
lighty!
Het
muzikale relaas van de
Griekse schrijver Homerus
over de held Odyssee in
een karakterstuk vol
herinneringen. Een
stevig opgewekt thema
symboliseert de
grootsheid van Odyssee en
zijn karaktertrekken -
betrouwbaar, volhardenden
vernuftig. De tegenslagen
welke hij tegenkomt en in
het tweede tragische
gedeelte dreigen te
escaleren, nemen in het
derde snelle gedeelte bij
zijn verschijning toch
weer een positieve
wending. Nijmegenaar
Jan Bosveld bewijstin dit
originele werk dat hij op
de hoogte is van de
onmogelijkheden, maar
vooral de ongekende
mogelijkheden van
muzikanten uit de lagere
afdelingen.
Seventeen Come Sunday Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 3 SKU: CL.026-4895-00 From English Folk Song Suite, Mvt. I. ...(+)
Grade 3
SKU:
CL.026-4895-00
From English Folk Song
Suite, Mvt. I.
Arranged by Huckeby.
Concert Band.
Build-A-Band. Score and
set of parts. Composed
2020. Duration 3 minutes,
39 seconds. C.L.
Barnhouse #026-4895-00.
Published by C.L.
Barnhouse
(CL.026-4895-00).
The famous
march Seventeen Come
Sunday from Ralph Vaughan
Williams’ iconic
Folk Song Suite has been
masterfully arranged by
Ed Huckeby for the
Build-A-Band series,
allowing bands with
limited instrumentation
to enjoy the uniqueness
of this classic work.
Every original melodic
line, chord and nuance is
included so it can be
performed in its original
style, even by ensembles
with very limited
instrumentation. This is
a MUST HAVE for any band
library. A true band
standard!
About
Build-A-Band
Series
The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.)
Band Concert Band - Grade 2 SKU: CF.YPS200 Composed by Matthew R. Putnam....(+)
Band Concert Band - Grade
2
SKU: CF.YPS200
Composed by Matthew R.
Putnam. Young Band (YPS).
Set of Score and Parts.
With Standard notation.
8+2+4+2+2+5+2+2+4+4+6+3+3
+2+1+3+16+4+4+2+2 pages.
Duration 2:15. Carl
Fischer Music #YPS200.
Published by Carl Fischer
Music (CF.YPS200).
ISBN 9781491152201.
UPC: 680160909704. Key: D
minor.
Joy Revisited Orchestre d'harmonie [Conducteur] - Intermédiaire 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 3:30
Band Concert Band - Grade 3 SKU: CF.CPS220 March. Composed by John...(+)
Band Concert Band - Grade
3
SKU: CF.CPS220
March. Composed by
John Pasternak. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
8+8+4+8+16+16+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+8+2+2+4+
2+20+4 pages. Duration 2
minutes, 57 seconds. Carl
Fischer Music #CPS220.
Published by Carl Fischer
Music (CF.CPS220).
ISBN 9781491152461.
UPC:
680160909964.
An
exciting new original
march in classic American
march form and style.Â
Composer John Paternak
has captured the essence
of the great marches of
Sousa and Fillmore in a
new tuneful and fresh
sound traditional
march. The trio
melody is essential
catchy and the march is
worthy of use as a solid
warm-up march for
festival by advancing
level concert bands. I
wrote this piece for my
friend Ralph Meyer and
the members of the
Western Reserve Community
Band, who are always
there for me when I need
a group to read or record
one of my compositions. I
would also like to thank
Larry Clark for helping
this march come to
life.There are a lot of
sudden dynamic changes in
this piece. It is crucial
that there is dynamic
contrast, so the piece
can be performed
effectively. There are
also several instances
with contrast in
articulation styles. Make
sure your group is
playing short notes
different from the legato
passages. At m. 87 during
the second time through,
I have made the tempo
jump to 152. Feel free to
take it faster if your
group is capable of
it.
Western Reserve Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS220F March. Composed by Joh...(+)
Band Concert Band - Grade
3
SKU: CF.CPS220F
March. Composed by
John Pasternak. Concert
Band (CPS). Full score.
With Standard notation.
20 pages. Carl Fischer
Music #CPS220F. Published
by Carl Fischer Music
(CF.CPS220F).
ISBN
9781491153147. UPC:
680160910649.
An
exciting new original
march in classic American
march form and style.Â
Composer John Paternak
has captured the essence
of the great marches of
Sousa and Fillmore in a
new tuneful and fresh
sound traditional
march. The trio
melody is essential
catchy and the march is
worthy of use as a solid
warm-up march for
festival by advancing
level concert bands. I
wrote this piece for my
friend Ralph Meyer and
the members of the
Western Reserve Community
Band, who are always
there for me when I need
a group to read or record
one of my compositions. I
would also like to thank
Larry Clark for helping
this march come to
life.There are a lot of
sudden dynamic changes in
this piece. It is crucial
that there is dynamic
contrast, so the piece
can be performed
effectively. There are
also several instances
with contrast in
articulation styles. Make
sure your group is
playing short notes
different from the legato
passages. At m. 87 during
the second time through,
I have made the tempo
jump to 152. Feel free to
take it faster if your
group is capable of
it.
Band Concert Band - Grade 2 SKU: CF.YPS200F Composed by Matthew R. Putnam...(+)
Band Concert Band - Grade
2
SKU: CF.YPS200F
Composed by Matthew R.
Putnam. Young Band (YPS).
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #YPS200F.
Published by Carl Fischer
Music (CF.YPS200F).
Grade 3 SKU: CL.026-4895-01 From English Folk Song Suite, Mvt. I. ...(+)
Grade 3
SKU:
CL.026-4895-01
From English Folk Song
Suite, Mvt. I.
Composed by Ralph Vaughan
Williams. Arranged by
Huckeby. Concert Band.
Extra full score. C.L.
Barnhouse #026-4895-01.
Published by C.L.
Barnhouse
(CL.026-4895-01).
The famous
march Seventeen Come
Sunday from Ralph Vaughan
Williams’ iconic
Folk Song Suite has been
masterfully arranged by
Ed Huckeby for the
Build-A-Band series,
allowing bands with
limited instrumentation
to enjoy the uniqueness
of this classic work.
Every original melodic
line, chord and nuance is
included so it can be
performed in its original
style, even by ensembles
with very limited
instrumentation. This is
a MUST HAVE for any band
library. A true band
standard!
200 B.C. Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Oxford University Press
Concert band - Grade 4 SKU: MH.0-931329-53-1 Composed by Gregory B.Rudger...(+)
Concert band - Grade 4
SKU:
MH.0-931329-53-1
Composed by Gregory
B.Rudgers. Suitable for
high school, community,
and college bands.
Conductor score and set
of parts. Duration 7:30.
Published by Manhattan
Beach Music
(MH.0-931329-53-1).
ISBN
9780931329531.
Jour
ney back to ancient
Greece and view a place
of long-gone legend.
Follow the trail to the
Kingdom of Ithaca, from
the heroic palace, to a
place of tranquility, to
a reckless dance of
abandon, to the return of
Odysseus. The melodic
material used in 200 B.C.
is from a two thousand
year old Greek hymn to
Apollo. The legendary
adventures of Odysseus as
described by Homer in the
Odyssey (ca. 700 B.C.)
provide the programmatic
material. The music is
freely based upon the
First Delphic Hymn (or
Paen to Apollo), composed
ca. 200 B.C. The source
is a transcription
appearing on pages 363 -
367 of Ancient and
Oriental Music, Edited by
Egon Wellesz (Oxford
University Press: London,
1957). Each movement of
the work depicts a key
event in the epic Homeric
poem, as described below.
Movement I: Intrada - The
first four notes of this
movement, C - Bb - G -
Bb, are the melodic and
harmonic foundation for
the entire work. These
pitches, introduced in a
simple and direct manner,
are subsequently
developed in more complex
fashions throughout the
suite. Following this
stately introduction is a
militaristic fanfare that
introduces the
dotted-eighth and
sixteenth-note figure
later reprised in the
second and fourth
movements. Indeed, all
the musical ideas which
will be central to the
remaining movements first
appear in the Intrada.
This movement depicts the
grandeur of Odysseus and
his kingdom in Ithaca,
and establishes the
heroic mood of the entire
work. Movement II: Ballad
- After a brief
restatement of the
opening
dotted-eighth-and-sixteen
th fanfare, the second
movement extracts the
falling third (Bb to G)
from the C - Bb - G - Bb
motif and extends it and
expands it into a
haunting solo for alto
saxophone. The C - Bb - G
- Bb motif appears again
(see measures 23 - 33 in
trumpets) as counterpoint
to this melody, now
pulsing through the thick
texture of the band. Many
performers have come to
view the Ballad as the
emotional epicenter of
the entire suite; my
conception of the Ballad
is to achieve a union of
pathos and strength.
Programmatically, this
movement depicts
Odysseus's son,
Telemachos, as he both
longs for Odysseus's
return and stoically
defends his father's
kingdom. Movement III:
Dance - It will take
Odysseus twenty years to
return to Ithaca. During
his absence, noblemen
besiege his palace,
violating the sanctity of
the household and seeking
the hand of his wife,
Penelope. This movement
depicts the wanton
revelries that result.
The original four-note
motif is chromatically
altered and the meter is
made irregular. The rapid
tempo, driving
percussion, and angular
meter and melodies
combine in an explosion
of reckless abandon.
Movement IV: March
Building from a delicate
woodwind ensemble
accompanied by finger
cymbals to a fully
orchestrated statement
replete with thundering
percussion, this is a
resounding march of
victory. Odysseus has
returned in triumph to
restore dignity to his
household and to reclaim
the throne of the Kingdom
of Ithaca. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1 - 2, 2
Oboe 1 - 2, 4 Bb Clarinet
1, 4 Bb Clarinet 2, 4 Bb
Clarinet 3, 1 Eb Alto
Clarinet, 3 Bb Bass
Clarinet, 2 Bassoon 1 -
2, 3 Eb Alto Saxophone 1,
3 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1-2, 2 F Horn 3-4, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
(B.C.), 2 Euphonium T.C.,
4 Tuba, 1 Timpani, 2
Mallet Percussion: Bells,
Xylophone, 2 Percussion
1: Snare Drum,
Tambourine, 2 Percussion
2: Crash Cymbals,
Suspended Cymbal,
Tom-Tom, Finger Cymbals,
1 Percussion 3: Bass
Drum.
Composed by
Bruce Fraser. Arranged by
Geoffrey Brand. Band
Music. Score and parts.
Duration 4:30. Published
by G & M Brand Music
Publishers (CN.R10183).
The music of
War, Women and Witchcraft
is a web with strands of
magic, a romantic
impression of the
Scottish landscape and
the sounds of battle
using fanfare-like
figures and drum effects,
and a lovely melody near
the end when everyone
lives happily ever
after.
The titles
comes from a book by the
Scottish poet, author and
composer James Hogg,
known as The Ettrick
Shepherd. It is the
subtitle to his wonderful
book The Three Perils of
Man. I was commissioned
to write a wind band work
of this title for the
Borders Festival in 1991.
The book weaves fact and
fantasy togethers around
the Scottish Borders in
the thirteenth century. I
have used a note row
based on some of Hogg's
melodies and also created
my own mixture
representing Master
Michael Scott, the Black
Magician, and his wild
adventures, the battle
for the castle at
Roxburgh and the prize of
the Princess' hand to the
winner of the battle. The
music is a web with
strands of magic, a
romantic impression of
the Scottish landscape
and the sounds of battle
using fanfare-like
figures and drum effects,
and a direct quote of a
Hogg Strathspey melody
near the end when
everyone lives happily
ever after. -BF.
Composed by
Ed Kiefer. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
2+8+8+4+8+8+8+4+4+4+4+4+4
+6+6+6+4+4+6+6+6+4+6+8+2+
1+4+4+24 pages. Duration
3 minutes, 56 seconds.
Carl Fischer Music
#SPS74. Published by Carl
Fischer Music (CF.SPS74).
ISBN 9781491147696.
UPC: 680160905195. 9 x 12
inches. Key: F
minor.
Courage of
the Cossacks is a
refreshing march in the
style of Russian folk
music, offering a break
from the standard
American march style for
festival performance.
Composer Ed Kiefer has
scored this piece to
sound sonorous throughout
while highlighting all
sections of the band.
Directors looking for a
unique march need look no
further. Courage of
the Cossacks was written
for my friends in Union
County, NC . Based on
several Cossack folk
tunes it is a very dark
sounding march which
features almost every
section of the band . The
trio is one of the most
beautiful oppressive
melodies I have ever
heard, and it is set in
stark contrast to the
upbeat, Russian sounding
opening strains . After
the trio comes to a halt,
the piece restarts
slowly, gradually
accelerating to the final
strain, much like many
Cossack dances . A
combination of March and
Dance, this piece is not
too difficult to perform
and is very rewarding for
both students and
audiences . Courage of
the Cossacks is a great
piece to begin or end any
concert and a perfect
march for showing off
your group at festival
.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Algona Overture Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1053750-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1053750-010
Composed by Jan Van der
Roost. Inspiration
Series. Concert Piece.
Set (Score & Parts).
Composed 2005. 48 pages.
De Haske Publications
#DHP 1053750-010.
Published by De Haske
Publications
(BT.DHP-1053750-010).
English-German-French-
Dutch.
This piece
is dedicated to all the
citizens who live, have
lived, and will live in
the US town of Algona,
who commissioned the work
to celebrate it’s
150th anniversary. With
dark-tinted tones (low
drums, heavy brass), this
overture begins with a
primitive sacred feel, it
seems as if centuries-old
Indian singing is heard
once more. Gradually the
sound becomes clearer and
brighter as the same
theme travels throughout
the band in various
guises and variants.
Imposing tutti passages
then give the band the
chance to lavishly shine.
This bright and catchy
overture radiates
spontaneous energy and as
it features every section
of the band all the
players as well as the
listenersare continually
surprised and captivated.
Met donkere tonen
begint deze ouverture
sacraal en bezwerend: het
lijkt of eeuwenoude
indianengezangen weer tot
klinken komen.
Geleidelijk wordt het
klankbeeld helderder:
hetzelfde thema maakt in
diverse varianten als het
ware eenronde door het
orkest. Met een paar
imposante tuttipassages
kan het orkest goed
uitpakken. Nadien komt
een energiek allegro met
een krachtige thematiek
naar voren, gevolgd door
een lyrisch gegeven. Deze
ingrediënten wisselen
elkaaraf op weg naar een
opwindende finale. Het
klankidioom is zeer
toegankelijk en alle
geledingen van het orkest
komen aan
bod!
Anlässlich
der 150-Jahrfeier der
Stadt Algona im US-Staat
Iowa komponiert, strahlt
diese klare,
eingängige
Ouvertüre spontane
Energie aus. Zwar beginnt
das Werk sakral und
flehend mit dunkel
gefärbten Tönen,
doch allmählich wird
der Klang klarer und
heller, während das
Thema in verschiedenen
Gewändern und
Varianten durch das
Blasorchester wandert.
Dem folgenden energischen
Allegro folgt ein
lyrisches Thema, und
beide Elemente
verschmelzen
schließlich in einem
aufregenden Finale. Alle
Register des
Blasorchesters werden
hier beleuchtet, sodass
sowohl Spieler als auch
Zuhörer fortwährend
überrascht und
bezaubert
werden.
Qu
esto brano è dedicato
a tutti i cittadini che
vivono, che hanno
vissuto, e che vivranno
nella cittadina americana
di Algona, che ha
commissionato questo
brano per festeggiare il
suo 150. anniversario.
Algona Overture inizia in
un universo sonoro dai
colori scuri. La musica
rivela una dimensione
sacra, uno spirito di
supplica. Un canto
indiano datato di alcuni
secoli risuona come un
canto dimenticato.
Imponenti passaggi
affidati al tutti svelano
le sontuose sfacettature
dell’orchestra di
fiati. Algona Overture
è una composizione
coinvolgente che
trasmette entusiasmo e
spontaneit . In un brano
dove la scrittura
orchestrale privilegia
tutte le sezioni
dell’organico, la
musicariesce a
sorprendere e
accattivarsi il pubblico
e gli interpreti.
Algona Overture Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1053750-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1053750-140
Composed by Jan Van der
Roost. Inspiration
Series. Concert Piece.
Score Only. Composed
2005. 48 pages. De Haske
Publications #DHP
1053750-140. Published by
De Haske Publications
(BT.DHP-1053750-140).
English-German-French-
Dutch.
This piece
is dedicated to all the
citizens who live, have
lived, and will live in
the US town of Algona,
who commissioned the work
to celebrate itâ??s
150th anniversary. With
dark-tinted tones (low
drums, heavy brass), this
overture begins with a
primitive sacred feel, it
seems as if centuries-old
Indian singing is heard
once more. Gradually the
sound becomes clearer and
brighter as the same
theme travels throughout
the band in various
guises and variants.
Imposing tutti passages
then give the band the
chance to lavishly shine.
This bright and catchy
overture radiates
spontaneous energy and as
it features every section
of the band all the
players as well as the
listenersare continually
surprised and captivated.
Met donkere tonen
begint deze ouverture
sacraal en bezwerend: het
lijkt of eeuwenoude
indianengezangen weer tot
klinken komen.
Geleidelijk wordt het
klankbeeld helderder:
hetzelfde thema maakt in
diverse varianten als het
ware eenronde door het
orkest. Met een paar
imposante tuttipassages
kan het orkest goed
uitpakken. Nadien komt
een energiek allegro met
een krachtige thematiek
naar voren, gevolgd door
een lyrisch gegeven. Deze
ingrediënten wisselen
elkaaraf op weg naar een
opwindende finale. Het
klankidioom is zeer
toegankelijk en alle
geledingen van het orkest
komen aan
bod!
Anlässlich
der 150-Jahrfeier der
Stadt Algona im US-Staat
Iowa komponiert, strahlt
diese klare,
eingängige
Ouvertüre spontane
Energie aus. Zwar beginnt
das Werk sakral und
flehend mit dunkel
gefärbten Tönen,
doch allmählich wird
der Klang klarer und
heller, während das
Thema in verschiedenen
Gewändern und
Varianten durch das
Blasorchester wandert.
Dem folgenden energischen
Allegro folgt ein
lyrisches Thema, und
beide Elemente
verschmelzen
schlieÃ?lich in einem
aufregenden Finale. Alle
Register des
Blasorchesters werden
hier beleuchtet, sodass
sowohl Spieler als auch
Zuhörer fortwährend
überrascht und
bezaubert
werden.
Qu
esto brano è dedicato
a tutti i cittadini che
vivono, che hanno
vissuto, e che vivranno
nella cittadina americana
di Algona, che ha
commissionato questo
brano per festeggiare il
suo 150. anniversario.
Algona Overture inizia in
un universo sonoro dai
colori scuri. La musica
rivela una dimensione
sacra, uno spirito di
supplica. Un canto
indiano datato di alcuni
secoli risuona come un
canto dimenticato.
Imponenti passaggi
affidati al tutti svelano
le sontuose sfacettature
dellâ??orchestra di
fiati. Algona Overture
è una composizione
coinvolgente che
trasmette entusiasmo e
spontaneit . In un brano
dove la scrittura
orchestrale privilegia
tutte le sezioni
dellâ??organico, la
musicariesce a
sorprendere e
accattivarsi il pubblico
e gli interpreti.
Algona Overture Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band - Grade 3 SKU: BT.DHP-1053750-040 Composed by Jan Van der Ro...(+)
Concert Band - Grade 3
SKU:
BT.DHP-1053750-040
Composed by Jan Van der
Roost. Inspiration
Series. Concert Piece.
Set (Score & Parts).
Composed 2005. 48 pages.
De Haske Publications
#DHP 1053750-040.
Published by De Haske
Publications
(BT.DHP-1053750-040).
English-German-French-
Dutch.
This piece
is dedicated to all the
citizens who live, have
lived, and will live in
the US town of Algona,
who commissioned the work
to celebrate it’s
150th anniversary. With
dark-tinted tones (low
drums, heavy brass), this
overture begins with a
primitive sacred feel, it
seems as if centuries-old
Indian singing is heard
once more. Gradually the
sound becomes clearer and
brighter as the same
theme travels throughout
the band in various
guises and variants.
Imposing tutti passages
then give the band the
chance to lavishly shine.
This bright and catchy
overture radiates
spontaneous energy and as
it features every section
of the band all the
players as well as the
listenersare continually
surprised and captivated.
Met donkere tonen
begint deze ouverture
sacraal en bezwerend: het
lijkt of eeuwenoude
indianengezangen weer tot
klinken komen.
Geleidelijk wordt het
klankbeeld helderder:
hetzelfde thema maakt in
diverse varianten als het
ware eenronde door het
orkest. Met een paar
imposante tuttipassages
kan het orkest goed
uitpakken. Nadien komt
een energiek allegro met
een krachtige thematiek
naar voren, gevolgd door
een lyrisch gegeven. Deze
ingrediënten wisselen
elkaaraf op weg naar een
opwindende finale. Het
klankidioom is zeer
toegankelijk en alle
geledingen van het orkest
komen aan
bod!
Anlässlich
der 150-Jahrfeier der
Stadt Algona im US-Staat
Iowa komponiert, strahlt
diese klare,
eingängige
Ouvertüre spontane
Energie aus. Zwar beginnt
das Werk sakral und
flehend mit dunkel
gefärbten Tönen,
doch allmählich wird
der Klang klarer und
heller, während das
Thema in verschiedenen
Gewändern und
Varianten durch das
Blasorchester wandert.
Dem folgenden energischen
Allegro folgt ein
lyrisches Thema, und
beide Elemente
verschmelzen
schließlich in einem
aufregenden Finale. Alle
Register des
Blasorchesters werden
hier beleuchtet, sodass
sowohl Spieler als auch
Zuhörer fortwährend
überrascht und
bezaubert
werden.
Qu
esto brano è dedicato
a tutti i cittadini che
vivono, che hanno
vissuto, e che vivranno
nella cittadina americana
di Algona, che ha
commissionato questo
brano per festeggiare il
suo 150. anniversario.
Algona Overture inizia in
un universo sonoro dai
colori scuri. La musica
rivela una dimensione
sacra, uno spirito di
supplica. Un canto
indiano datato di alcuni
secoli risuona come un
canto dimenticato.
Imponenti passaggi
affidati al tutti svelano
le sontuose sfacettature
dell’orchestra di
fiati. Algona Overture
è una composizione
coinvolgente che
trasmette entusiasmo e
spontaneit . In un brano
dove la scrittura
orchestrale privilegia
tutte le sezioni
dell’organico, la
musicariesce a
sorprendere e
accattivarsi il pubblico
e gli interpreti.