All the While Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS198 Composed by Tyler Arcari. Youn...(+)
Band Concert Band - Grade
2
SKU: CF.YPS198
Composed by Tyler Arcari.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
8+2+8+8+2+4+10+4+2+4+4+8+
12+6+3+1+1+4+2+16+4
pages. Duration 2
minutes, 14 seconds. Carl
Fischer Music #YPS198.
Published by Carl Fischer
Music (CF.YPS198).
ISBN 9781491152188.
UPC: 680160909681. Key: C
minor.
All the
While was inspired by
a very special person in
Tyler Arcari's life.
Directors will be happy
to find many
opportunities for
emotional and passionate
playing with plenty of
fun in the middle for
young bands. All the
While gives students a
number of chances to
work on expressive
playing during the
beginning and ending
sections, and offers a
light rhythmic middle
section for
contrast. Program
Notes:All the While is a
bit of a personal piece
for me. I was inspired to
write it by a very
special person in my
life. It might be a
young-band piece but I
feel that it has the
capacity for great
emotion and passionate
playing as well as a
little fun in the middle.
Sometimes it is difficult
to tell people how you
feel, even if you have
known them for a long
time. I think sometimes
we say in our heads that
“I have felt this
way for a long
time,†and all the
while never being able to
put it to words.About the
work:The piece opens with
a flute and alto
saxophone duet. This
melody trades off at m.
10 with the addition of
new voices and harmonies
building in intensity all
the way to m. 28. I
personally like to use
extended phrases in this
section, though it looks
like it would just
utilize four-measure
phrases. I feel this adds
to the momentum building
in dynamic intensity.
Measure 28 is a subito
change beginning with a
prominent Timpani solo.
The following section
should be played as
lightly as possible to
avoid a lumbering feel.
In mm. 68- 70, the agogic
accents should not be
very heavy, but more
pointed in their momentum
to m. 70.Measures
70–76 should be
taken with metric liberty
bringing out all of the
moving parts in the low
brass. The low brass
really adds the
foundation of momentum
for the rest of the band
here. Measure 76 to the
end, though a repetition
of material from the
beginning, should be
played as the high point
of the piece and familiar
conclusion.
Jackson 5 Medley Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Composed by Michael Jackson. Arranged by Takashi Hoshide. Pop and Rock. Set (S...(+)
Composed by Michael
Jackson.
Arranged by Takashi
Hoshide.
Pop and Rock. Set (Score
and
Parts). Composed 2012. De
Haske Publications #DHP
1125265-010. Published by
De
Haske Publications
I Love the 207 Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1125251-010 Composed by Itaru...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1125251-010
Composed by Itaru Sakai.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2012. De
Haske Publications #DHP
1125251-010. Published by
De Haske Publications
(BT.DHP-1125251-010).
9x12 inches.
English-German-French-Dut
ch.
I Love the
207 was composed in
February 2010 for a
commission by Osumi
Symphonic Band in Kyoto.
It was first performed on
25 April 2010 by Osumi
Symphonic Band, conducted
by Masanori Ozaki. This
piece begins with an
introduction to present
the instruments, followed
by a light scherzo. The
title is an affectionate
reference to the commuter
rail 207 series of the
West Japan Railway
Company. When the band
started their activity,
the 207 series trains
began running through the
fields next to the
building where they
practice. The composer
hopes that the trains
continue to run and bring
smiles to people’s
faces.
I Love
the 207 is in
februari 2010
gecomponeerd in opdracht
van de Osumi Symphonic
Band uit Kyoto, Japan.
Dit orkest bracht op 25
april 2010 de
première, onder
leiding van dirigent
Masanori Ozaki. Het werk
begint met een
inleidingwaarin de
instrumenten worden
gepresenteerd, gevolgd
door een licht scherzo.
De titel verwijst naar de
forenzentrein van het
type 207 van de West
Japan Railway Company.
Toen het orkest begon,
begonnen ook de treinen
uit de207-serie door de
velden te rijden naast
het gebouw waar wordt
gerepeteerd. De componist
hoopt dat de treinen
zullen blijven rijden tot
tevredenheid van de
mensen die er gebruik van
maken.
I Love
the 207 wurde im
Februar 2010 als
Auftragswerk für die
Osumi Symphonic Band in
Kyoto (Japan) komponiert.
Die Urraufführung fand
am 25. April 2010 mit der
Osumi Symphonic Band,
unter der Leitung von
Masanori Ozaki, statt.
Das Stück beginnt
einer Einleitung zur
Vorstellung aller
Instrumente; dann folgt
ein leichtes Scherzo. Der
Titel ist eine liebevolle
Anspielung auf die
Pendlerzüge der Serie
207 der West-Japanischen
Eisenbahngesellschaft.
Während der
Anfangszeit des
Blasorchesters begannen
die Züge der
207er-Serie die Felder
ganz in der Nähe des
Proberaums zu
durchqueren. Mit diesem
Stück will der
Komponist seiner Hoffnung
Ausdruck verleihen, dass
die Züge auchweiterhin
fahren und ein Lächeln
auf die Gesichter der
Menschen zaubern
mögen.
Questo brano
è stato commissionato
a Itaru Sakai
dall’orchestra di
fiati di Osumi in
Giappone. I Love the
207 inizia con la
presentazione di ogni
sezione della banda,
seguita da un leggero
scherzo. Il titolo si
riferisce affettuosamente
e con un tocco ironico ai
treni della periferia
della serie 207 della
West Japan Railway
Company. In effetti, la
data di fondazione
dell’orchestra di
fiati che ha
commissionato il brano
coincide con la nascita
di questi treni che
attraversano le campagne
e sfrecciano vicino alla
sede della banda.
I Love the 207 Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1125251-140 Composed by Itaru...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1125251-140
Composed by Itaru Sakai.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2012. 36 pages.
De Haske Publications
#DHP 1125251-140.
Published by De Haske
Publications
(BT.DHP-1125251-140).
9x12 inches.
English-German-French-Dut
ch.
I Love the
207 was composed in
February 2010 for a
commission by Osumi
Symphonic Band in Kyoto.
It was first performed on
25 April 2010 by Osumi
Symphonic Band, conducted
by Masanori Ozaki. This
piece begins with an
introduction to present
the instruments, followed
by a light scherzo. The
title is an affectionate
reference to the commuter
rail 207 series of the
West Japan Railway
Company. When the band
started their activity,
the 207 series trains
began running through the
fields next to the
building where they
practice. The composer
hopes that the trains
continue to run and bring
smiles to people’s
faces.
I Love
the 207 is in
februari 2010
gecomponeerd in opdracht
van de Osumi Symphonic
Band uit Kyoto, Japan.
Dit orkest bracht op 25
april 2010 de
première, onder
leiding van dirigent
Masanori Ozaki. Het werk
begint met een
inleidingwaarin de
instrumenten worden
gepresenteerd, gevolgd
door een licht scherzo.
De titel verwijst naar de
forenzentrein van het
type 207 van de West
Japan Railway Company.
Toen het orkest begon,
begonnen ook de treinen
uit de207-serie door de
velden te rijden naast
het gebouw waar wordt
gerepeteerd. De componist
hoopt dat de treinen
zullen blijven rijden tot
tevredenheid van de
mensen die er gebruik van
maken.
I Love
the 207 wurde im
Februar 2010 als
Auftragswerk für die
Osumi Symphonic Band in
Kyoto (Japan) komponiert.
Die Urraufführung fand
am 25. April 2010 mit der
Osumi Symphonic Band,
unter der Leitung von
Masanori Ozaki, statt.
Das Stück beginnt
einer Einleitung zur
Vorstellung aller
Instrumente; dann folgt
ein leichtes Scherzo. Der
Titel ist eine liebevolle
Anspielung auf die
Pendlerzüge der Serie
207 der West-Japanischen
Eisenbahngesellschaft.
Während der
Anfangszeit des
Blasorchesters begannen
die Züge der
207er-Serie die Felder
ganz in der Nähe des
Proberaums zu
durchqueren. Mit diesem
Stück will der
Komponist seiner Hoffnung
Ausdruck verleihen, dass
die Züge auchweiterhin
fahren und ein Lächeln
auf die Gesichter der
Menschen zaubern
mögen.
Questo brano
è stato commissionato
a Itaru Sakai
dall’orchestra di
fiati di Osumi in
Giappone. I Love the
207 inizia con la
presentazione di ogni
sezione della banda,
seguita da un leggero
scherzo. Il titolo si
riferisce affettuosamente
e con un tocco ironico ai
treni della periferia
della serie 207 della
West Japan Railway
Company. In effetti, la
data di fondazione
dell’orchestra di
fiati che ha
commissionato il brano
coincide con la nascita
di questi treni che
attraversano le campagne
e sfrecciano vicino alla
sede della banda.
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1115042-010 Composed by Rod T...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1115042-010
Composed by Rod
Temperton. Arranged by
Naohiro Iwai. New Sounds
for Concert Band. Pop &
Rock. Set (Score &
Parts). Composed 2011. De
Haske Publications #DHP
1115042-010. Published by
De Haske Publications
(BT.DHP-1115042-010).
9x12
inches.
Over the
years much has been
written and broadcast
about Michael Jackson.
Naohiro Iwai has created
a powerful medley by
letting the music of the
undisputed ‘King of
Pop’ speak for
itself. The medley
contains the hits
Thriller,
I’ll
BeThere and I Want
You Back.
Don’t stop
’til you get
enough!
Michael
Jackson: alles wat over
hem kan worden beweerd is
al gezegd, geschreven en
uitgezonden. Naohiro Iwai
laat liever de muziek van
deze onbetwistbare
‘King of
Pop’ voor zich
spreken. Zie hier een
overtuigende medley voor
harmonieorkestvan de
nummers
Thriller,
I’ll be There
en I Want You
Back.
Ãœber
Michael Jackson wurde
schon viel geschrieben,
gesagt und gezeigt.
Naohiro Iwai lässt die
Musik des unangefochtenen
King of Pop“
sprechen in seinem
überzeugenden
Blasorchestermedley aus
den Hits Thriller,
I’ll be
There und I Want
You Back.
Di Michael
Jackson si è parlato,
scritto e mostrato tanto,
forse troppo. In questo
coinvolgente medley che
raggruppa Thriller,
I’ll Be There e I
Want You Back, Naohiro
Iwai lascia semplicemente
parlare la musica
dell’indiscusso
“King of
popâ€.
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1413S Score Only. C...(+)
Concert Band Concert Band
- Grade 2.5
SKU:
FJ.B1413S
Score
Only. Composed by
Buck Ram, Kim Gannon, and
Walter Kent. Arranged by
Erik Morales. Concert
Band. FJH Young Band.
Christmas; Holiday Pops.
Score. Duration 2:00. The
FJH Music Company Inc
#98-B1413S. Published by
The FJH Music Company Inc
(FJ.B1413S).
English.
This
popular holiday tune can
now function as the
ultimate encore to your
program. Extremely
accessible, this
arrangement is still able
to utilize a wealth of
jazz harmonies that will
leave your audience
breathless. Incredibly
tasteful and certain to
be the stunning end to a
delightful evening!
About FJH
Young
Band
Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1413 Composed by Buck Ram,...(+)
Concert Band Concert Band
- Grade 2.5
SKU:
FJ.B1413
Composed by
Buck Ram, Kim Gannon, and
Walter Kent. Arranged by
Erik Morales. Concert
Band. FJH Young Band.
Christmas; Holiday Pops.
Score and Part(s).
Duration 2:00. The FJH
Music Company Inc
#98-B1413. Published by
The FJH Music Company Inc
(FJ.B1413).
UPC:
674398225392.
English.
This
popular holiday tune can
now function as the
ultimate encore to your
program. Extremely
accessible, this
arrangement is still able
to utilize a wealth of
jazz harmonies that will
leave your audience
breathless. Incredibly
tasteful and certain to
be the stunning end to a
delightful evening!
About FJH
Young
Band
Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5
Song of Hope Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115227-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115227-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Hymns & Chorals. Score
Only. Composed 2012. 20
pages. De Haske
Publications #DHP
1115227-140. Published by
De Haske Publications
(BT.DHP-1115227-140).
9x12 inches.
English-German-French-Dut
ch.
2011 was a
disastrous year for
Japan: on March 11 the
northeast of the country
suffered a violent
earthquake, which
triggered a huge tsunami
and caused massive damage
to people and the
environment. The ensuing
problems with the nuclear
reactor at Fukushima only
increased the misery: a
black day in the
country’s
history…One almost
inevitable consequence of
such dramatic
circumstances is the
particular damage
suffered by the cultural
arts. And so it was in
Japan: various high
school wind orchestras in
the effected areas lost
their practice rooms
and/or instruments. It
will take a long time
before the damage
suffered is
repaired—and it
will take great effort to
overcome thepsychological
effects, too. Focusing on
the latter, Yutada
Nishida (director of The
Bandwagon radio program)
asked a few composers for
a simple work that could
be played by many
orchestras. It just so
happened that the Osakan
Philharmonic Winds (with
whom Jan Van der Roost
had conducted a concert
exclusively of his own
works on September 25th)
had had a similar idea.
This concert saw the
baptism of Song of Hope.
This piece immediately
struck a chord with
musicians and audience
alike: it begins bleakly
in the low register and
evolves to a more open,
optimistic close. There
really is hope for better
times!
2011 was
een rampzalig jaar voor
Japan: op 11 maart
teisterde een hevige
aardbeving het
noordoosten van het land,
bracht een enorme tsunami
teweeg en veroorzaakte
zeer grote schade aan
mens en natuur. De
daaruit voortvloeiende
problemenmet de
kernreactor van Fukushima
maakten de ellende nog
groter: een zwarte pagina
in het bestaan van het
land ... Dat in
dergelijke dramatische
omstandigheden ook (en
vooral) het culturele
bestel een flinke knauw
krijgt, ishelaas een
haast onvermijdelijke
consequentie. Zo ook in
Japan: verschillende high
school bands in de
getroffen regio verloren
hun repetitieruimte en/of
instrumenten: het zal
lang duren voordat de
geleden schade is
hersteld - enhet zal ook
moeite kosten om er
mentaal weer bovenop te
geraken. Met het oog op
dat laatste aspect
verzocht Yutaka Nishida
(samensteller van het
radioprogramma The
Bandwagon) een paar
componisten om een
eenvoudig werkje te
schrijvendat speelbaar is
door een groot aantal
orkesten. Als bij toeval
kwam een dergelijk
verzoek eveneens van de
kant van de OSAKAN
Philharmonic Winds,
waarmee Jan Van der Roost
op 25 september een
concert dirigeerde,
uitsluitend gewijdaan
eigen werken. Daar werd
Song of Hope dan ook ten
doop gehouden en het
werkje sloeg meteen aan
bij uitvoerders en
publiek: na een tamelijk
donkere start in het lage
register evolueert het
tot een optimistischer en
opener slot.Er is
inderdaad hoop op betere
tijden!
Am 11.
März 2011 löste ein
heftiges Erdbeben in
Japan einen riesigen
Tsunami mit
desaströsen Folgen
für Mensch, Natur auch
das kulturelle Leben.
Yutaka Nishida vom
Radioprogramm The
Bandwagon bat daher
einige Komponisten,
darunter Jan Van der
Roost, ein einfaches,
für viele Orchester
spielbares Werk zu
schreiben. Song of
Hope beginnt
düster im tiefen
Register, um sich dann zu
einem optimistischeren
Schluss hin zu
entwickeln. Es gibt sie,
die Hoffnung auf bessere
Zeiten... !
Il 2011 è
stato un anno tragico per
il Giappone; al
devastante terremoto e al
non meno catastrofico
tsunami dell’11
marzo, sono seguiti i
gravi problemi al
reattore nucleare di
Fukushima. Il settore
della cultura in
generale, e quello della
musica in particolare
hanno sofferto
immensamente a causa di
questi nefasti eventi
naturali. Song of
Hope è un brano
che ha profondamente
commosso esecutori e
pubblico.Song of
Hope inizia nel
registro acuto con suoni
oscuri e melanconici, ma
si sviluppa in un clima
di ottimismo, come a
voler simboleggiare un
futuro più sereno.
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-028-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.AMP-028-140
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2005. 68
pages. Anglo Music Press
#AMP 028-140. Published
by Anglo Music Press
(BT.AMP-028-140).
English-German-French-
Dutch.
The piece
reflects the composer's
fascination with the
origins of the universe
and deep space in
general. The title comes
from a theory, formulated
by Pythagoras, that the
cosmos was ruled by the
same laws he had
discovered that govern
the ratios of note
frequencies of the
musical scale.
(‘Harmonia’
in Ancient Greek, which
means scale or tuning
rather than harmony -
Greek music was
monophonic). He also
believed that these
ratios corresponded to
the distances of the six
known planets from the
sun and that the planets
each produced a musical
note which combined to
weave a continuous
heavenly melody (which,
unfortunately, we humans
cannot hear). In this
work, these six notesform
the basis of the sections
MUSIC OF THE SPHERES and
HARMONIA. The pieces
opens with a horn solo
called t = 0, a name
given by some scientists
to the moment of the Big
Bang when time and space
were created, and this is
followed by a depiction
of the BIG BANG itself,
as the entire universe
bursts out from a single
point. A slower section
follows called THE LONELY
PLANET which is a
meditation on the
incredible and unlikely
set of circumstances
which led to the creation
of the Earth as a planet
that can support life,
and the constant search
for other civilisations
elsewhere in the
universe. ASTEROIDS AND
SHOOTING STARS depicts
both the benign and
dangerous objects that
are flying through space
and which constantly
threaten our planet, and
the piece ends with THE
UNKNOWN, leaving in
question whether our
continually expanding
exploration of the
universe will eventually
lead to enlightenment or
destruction.
Dit
werk weerspiegelt de
fascinatie van de
componist voor het
heelal. Het begint met
een hoornsolo met de naam
t = 0, waarmee
sommige wetenschappers de
oerknal aanduiden. Dan
volgt een weergave van de
oerknal zelf. Het
volgendegedeelte, The
Lonely Planet, is een
meditatie over het
ongelooflijke samenspel
van omstandigheden dat
leidde tot het ontstaan
van de Aarde.
Asteroids and Shooting
Stars beschrijft
objecten in de ruimte.
Het werkeindigt met
The Unknown,
waarmee we in het
ongewisse blijven over de
gevolgen van onze verdere
verkenning van het
universum. In 2005 won
Philip Sparke met
Music of the
Spheres de National
Band Association/William
D.Revelli Memorial Band
Composition
Contest.
Dieses
Werk handelt vom Weltall
und unserem Platz im
Universum, auf dem
Weltbild von Pythagoras
basierend. Am einfachsten
lässt sich diese
außergewöhnliche
Komposition wohl als
Filmmusik ähnliches
Stück beschreiben ?
Musik zu einem
Science-Fiction-Film
eines Ripley Scott oder
Steven Spielberg oder
auch Musik, wie sie ein
John Williams oder Danny
Elfman schreiben
würde: absolut
stimmungsvoll, brillant
instrumentiert mit
Klangfarben, Strukturen,
Effekten und Timbres,
gemischt mit
fließenden
musikalischen Linien, die
die Substanz des Themas
auf den Punkt treffen.
Dieses atemberaubende
neue Stück hebt Ihr
Blasorchester auf ein
höheres Niveau, sowohl
im technischen als
auchmusikalischen Sinn.
Music of the
Spheres evidenza il
fascino che le origini
dell’universo
esercitano su Philip
Sparke. Il titolo
proviene da una teoria
del matematico greco
Pitagora, secondo la
quale il cosmo è retto
dalle stesse leggi che
governano i rapporti di
frequenza tra le note
della scala musicale.
Questa composizione
inizia con un assolo di
corno chiamato t = 0,
nozione che definisce il
momento del big-bang.
The Lonely Planet
(Il pianeta solitario)
è una meditazione
sulle circostanze che
hanno portato alla
creazione della terra.
Asteroids and Shooting
Stars (Asteroidi e
Stelle cadenti) descrive
i molteplici oggetti che
si muovono nello spazio e
che rappresentano
unrischio per il nostro
pianeta. Le battute
finali portano verso
l’ignoto (The
Unknown) sollevando
una domanda la cui
risposta resta in
sospeso: la nostra
continua avanzata
nell’esplorazione
dell’Universo
porter un giorno alla
scoperta o alla
distruzione?
Concert Band (Score) - Grade 2 SKU: HL.8725247 By Michael Jackson. Arrang...(+)
Concert Band (Score) -
Grade 2
SKU:
HL.8725247
By Michael
Jackson. Arranged by
Johnnie Vinson. Discovery
Plus Concert Band. Pop.
Softcover. Published by
Hal Leonard (HL.8725247).
UPC: 884088432133.
9.0x12.0x0.05
inches.
Featuring
three key songs from
Michael Jackson's diverse
musical career, this
concise and easy to learn
medley features Man in
the Mirror, I'll Be There
and Thriller.
For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L).
UPC:
680160039531. 11 x 17
inches.
Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland.
Blue Shades Orchestre d'harmonie [Conducteur] Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Conductor Full Score.
Duration 10:00. Published
by Manhattan Beach Music.
Level: Grade 5.
Concert Band - Grade 2.5 SKU: AP.48184S Featuring: The British Grenadi...(+)
Concert Band - Grade 2.5
SKU: AP.48184S
Featuring: The British
Grenadiers / I Know Where
I'm Going / The Girl I
Left Behind Me.
Arranged by Patrick
Roszell. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Young Band. Folk;
Traditional. Score. 16
pages. Duration 3:00.
Belwin Music #00-48184S.
Published by Belwin Music
(AP.48184S).
UPC:
038081557298.
English.
The
British Grenadiers
regally opens the
through-played medley
followed by the endearing
I Know Where I'm Going.
The Girl I Left Behind Me
festively concludes the
arrangement. A delightful
diverse medley of folk
songs from the British
Isles perfect for concert
or contest. (3:00).
Concert Band - Grade 2.5 SKU: AP.48184 Featuring: The British Grenadie...(+)
Concert Band - Grade 2.5
SKU: AP.48184
Featuring: The British
Grenadiers / I Know Where
I'm Going / The Girl I
Left Behind Me.
Arranged by Patrick
Roszell. Concert Band;
Performance Music
Ensemble; Single Titles.
Belwin Young Band.
Traditional. Score and
Part(s). 168 pages.
Duration 3:00. Belwin
Music #00-48184.
Published by Belwin Music
(AP.48184).
UPC:
038081557281.
English.
The
British Grenadiers
regally opens the
through-played medley
followed by the endearing
I Know Where I'm Going.
The Girl I Left Behind Me
festively concludes the
arrangement. A delightful
diverse medley of folk
songs from the British
Isles perfect for concert
or contest. (3:00).
Concert Band - Grade 2 SKU: AP.44916S IX. Rudolph, the Red-Nosed Reind...(+)
Concert Band - Grade 2
SKU: AP.44916S
IX. Rudolph, the
Red-Nosed Reindeer, X.
Santa Claus Is Coming to
Town, XI. I'll Be Home
for Christmas, XII.
Sleigh Ride. Composed
by Various. Arranged by
Jack Bullock. Concert
Band; Performance Music
Ensemble; Single Titles.
Belwin Young Band.
Christmas; Pop; Secular;
Winter. Score. 36 pages.
Duration 7:00. Belwin
Music #00-44916S.
Published by Belwin Music
(AP.44916S).
UPC:
038081515762. English.
Various.
The third
installment in the wildly
versatile series, the
suite includes Rudolph,
the Red-Nosed Reindeer,
Santa Claus Is Coming to
Town, I'll Be Home for
Christmas, and Sleigh
Ride. Playable year after
year using quintets,
woodwind or brass
ensembles, or full
concert band. Adding this
volume, there are now 12
holiday classics
available for the
ultimate in flexibility
while programming your
holiday concert. Also
available: Vol. 1
(00-42178) and Vol. 2
(00-43107). Bravo!
(7:00).
Blue Shades Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 5. Conductor
score and set of parts.
Duration 10:00. Published
by Manhattan Beach Music.
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1196080-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1196080-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2019.
De Haske Publications
#DHP 1196080-010.
Published by De Haske
Publications
(BT.DHP-1196080-010).
English-German-French-
Dutch.
This work
for soprano and concert
band was originally
written for a special
occasion: the wedding of
one of the
composer’s
children. It therefore
matches another piece
written for a similar
occasion “I
Shall Love But
Theeâ€. The
lyrics are from the book
Respiro Neve by
the internationally
renowned art photographer
Luca Artioli who
possesses poetic talent
as well. The first
movement is stately and
serene as where the
contrasting allegro is
much more dynamic and
cheerful, requiring the
solid high register of
the singer. The
conclusion is festive and
radiant, partly thanks to
the contribution of a
piccolo trumpet! This
work is a wonderful
addition to the
bandrepertoire wanting to
perform with an excellent
vocal soloist!
Deze compositie
voor sopraan en
kamerorkest is net als
Van der Roosts eerdere
werk I Shall Love But
Thee oorspronkelijk
geschreven voor een
speciale gelegenheid: het
huwelijk van een van de
kinderen van de
componist. De teksten
komen uit het boek
Respiro Neve van
de internationaal
gerenommeerde
kunstfotograaf Luca
Artioli, die ook
poëtische talenten
heeft. Het eerste deel is
statig en sereen: het
contrasterende allegro is
veel dynamischer en
opgewekter en vergt heel
wat van de soliste,
vooral in het hoge
register. Het slot is
feestelijk en stralend,
mede dankzij de inbreng
van de piccolotrompet.
Dit werk is een aanwinst
voor het repertoire van
elk goed orkest datmet
een uitstekende soliste
wil/kan concerteren!
Dieses Werk
für Sopran und
Blasorchester wurde
ursprünglich für
einen besonderen Anlass
geschrieben: die Hochzeit
eines der Kinder des
Komponisten. Es passt
daher zu einem anderen
Stück, das für
einen ähnlichen Anlass
komponiert wurde: I
Shall Love But Thee.
Die Texte stammen aus dem
Buch Respiro Neve
des international
renommierten
Kunstfotografen Luca
Artioli der auch
poetisches Talent
besitzt. Der erste Satz
ist würdevoll und
ruhig, wohingegen das
gegensätzliche Allegro
viel dynamischer und
fröhlicher ist und von
der Sängerin ein
solides hohes Register
erfordert. Der Schluss
ist festlich und
strahlend, auch durch die
Verwendung der
Piccolotrompete!
DiesesWerk ist eine
wunderbare Ergänzung
zum Repertoire für
Blasorchester, die mit
einer hervorragenden
Gesangssolistin auftreten
möchten!
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1196080-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1196080-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2019. 20
pages. De Haske
Publications #DHP
1196080-140. Published by
De Haske Publications
(BT.DHP-1196080-140).
English-German-French-
Dutch.
This work
for soprano and concert
band was originally
written for a special
occasion: the wedding of
one of the
composer’s
children. It therefore
matches another piece
written for a similar
occasion “I
Shall Love But
Theeâ€. The
lyrics are from the book
Respiro Neve by
the internationally
renowned art photographer
Luca Artioli who
possesses poetic talent
as well. The first
movement is stately and
serene as where the
contrasting allegro is
much more dynamic and
cheerful, requiring the
solid high register of
the singer. The
conclusion is festive and
radiant, partly thanks to
the contribution of a
piccolo trumpet! This
work is a wonderful
addition to the
bandrepertoire wanting to
perform with an excellent
vocal soloist!
Deze compositie
voor sopraan en
kamerorkest is net als
Van der Roosts eerdere
werk I Shall Love But
Thee oorspronkelijk
geschreven voor een
speciale gelegenheid: het
huwelijk van een van de
kinderen van de
componist. De teksten
komen uit het boek
Respiro Neve van
de internationaal
gerenommeerde
kunstfotograaf Luca
Artioli, die ook
poëtische talenten
heeft. Het eerste deel is
statig en sereen: het
contrasterende allegro is
veel dynamischer en
opgewekter en vergt heel
wat van de soliste,
vooral in het hoge
register. Het slot is
feestelijk en stralend,
mede dankzij de inbreng
van de piccolotrompet.
Dit werk is een aanwinst
voor het repertoire van
elk goed orkest datmet
een uitstekende soliste
wil/kan concerteren!
Dieses Werk
für Sopran und
Blasorchester wurde
ursprünglich für
einen besonderen Anlass
geschrieben: die Hochzeit
eines der Kinder des
Komponisten. Es passt
daher zu einem anderen
Stück, das für
einen ähnlichen Anlass
komponiert wurde: I
Shall Love But Thee.
Die Texte stammen aus dem
Buch Respiro Neve
des international
renommierten
Kunstfotografen Luca
Artioli der auch
poetisches Talent
besitzt. Der erste Satz
ist würdevoll und
ruhig, wohingegen das
gegensätzliche Allegro
viel dynamischer und
fröhlicher ist und von
der Sängerin ein
solides hohes Register
erfordert. Der Schluss
ist festlich und
strahlend, auch durch die
Verwendung der
Piccolotrompete!
DiesesWerk ist eine
wunderbare Ergänzung
zum Repertoire für
Blasorchester, die mit
einer hervorragenden
Gesangssolistin auftreten
möchten!
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1043551-140 I. The Vision ...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1043551-140
I. The Vision - II.
The Creation.
Composed by Jacob De
Haan. Sovereign Series.
Concert Piece. Score
Only. Composed 2004. De
Haske Publications #DHP
1043551-140. Published by
De Haske Publications
(BT.DHP-1043551-140).
The Book of
Urizen is Jacob de
Haan his first Symphony
for concert band, solo
soprano, and a male
narrator in which sound
collages of expressions
are used. The piece is
inspired by the
compelling visionary poem
of the samename (which
the poet illustrated
himself) by the
Englishman William Blake
(1757-1827). The
Vision, first
movement and The
Creation, second
movement of The Book
of Urizen are
available by following
editionnumber: DHP
1043551. The Web,
the third movement of
The Book of Urizen
is available by the
following edition number:
DHP 1125252. Download the
audio samples here: track
1, track 2, track
3
In The Book
of Urizen - Jacob de
Haan zijn eerste symfonie
voor harmonieorkest,
zangstem (sopraan) en een
mannelijke spreekstem -
wordt gebruik gemaakt van
geluidscollages. De
compositie is ge
nspireerd op het
gelijknamigegedicht van
William Blake
(1757-1827). The
Vision, het eerste
deel en The
Creation, het tweede
deel van The Book of
Urizen zijn
beschikbaar via volgend
editienummer: DHP
1043551. The Web,
het derdedeel van The
Book of Urizen is
verkrijgbaar via
editienummer: DHP
1125252. Download
audiofragmenten hier:
track 1, track 2, track
3
The Book of
Urizen ist Jacob de
Haan seine erste
Symphonie für
Blasorchester, Gesang
(Sopran) und
(männliche)
Sprechstimme, in welcher
Botschaften durch
Geräuschcollagen
wiedergegeben werden. Als
Inspirationsquelle
dienteder gleichnamige
Gedichtzyklus des
großen englischen
Dichters und Malers
William Blake
(1757-1827). The
Vision, erster Satz
und The Creation,
zweiter Satz von The
Book of Urizen sind
unter der
folgendenEditionsnummer
erhältlich: DHP
1043551. The Web,
der dritte Satz von
The Book of Urizen , ist
unter der folgenden
Editionsnummer
erhältlich: DHP
1125252. Laden Sie hier
die Audiosamples
herunter: track 1, track
2,track 3
The Book of
Urizen is a work for
concert band, solo
soprano, and a male
narrator in which sound
collages of religious
expressions are used. The
piece is inspired by the
compelling visionary poem
of the same name (which
the poet
illustratedhimself) by
the Englishman William
Blake (1757-1827), who
occupies a unique
position in western
literature and the visual
arts. He was not just a
poet and a writer, but he
was also a graphic
artist, a painter, an
illustrator, a
spiritualist, areligious
visionary, and a mystic
philosopher. For the
performance of this work,
a professional sound
system, including two
microphones and a CD
player, is needed. The
three sound collages are
three separate tracks on
the enclosed CD and can
beplayed easily at the
right moment. The Book
of Urizen bears
resemblance to Genesis
and Exodus, of which the
contents form the basis
of the Christian, Jewish,
and Islamic faith. Blake
adhered to the principle
that all religions are in
fact one,and that deities
reside in human beings.
In The Book of
Urizen this is
represented in “The
Net of Religion,â€
which is spanned over the
earth by Urizen. The
sound collages, compiled
by Jacob de Haan in the
studio, find their origin
inJerusalem, the Holy
City, where the
afore-mentioned faiths
“come
together.†In the
first movement of
this composition, The
Vision, Urizen
prepares his vision of
the world, and he
presents this to the
“Eternals.â€
His vision is
rejected,and Urizen locks
himself up in his own
abstract world. When he
does emerge again, he is
confronted with rage by
the gathered Eternals.
Urizen flees the wrath of
the Eternals, “the
flames of eternal
fury,†and enwombs
himself in his own world.
Whenthe Eternals see
Urizen in his
“stony
sleep,†they wonder
if this is death. The
blacksmith Los is torn by
grief because of the
isolation of Urizen. It
brings him to rouse his
fires, prepare his forge,
and to give
Urizen’s world
concrete form. In
thesecond
movement, The
Creation,
Urizen’s world,
but also man, woman, and
child are created. Los is
horrified with the
appearance of
Urizen’s body. He
mourns and pities Urizen,
and from his blood a
female form comes into
being, with thename
Enitharmon. The Eternals,
fearful of the female
form, decide to erect a
tent to obstruct their
view to eternity.
Enitharmon and Los beget
a son, called Orc. Los
baptizes him as a child
of the “fallen
world.†Orc is fed
at Enitharmon’s
breast,which makes a
girdle of jealousy
restrict Los’
chest. He takes the child
to the top of the
mountain and chains him
down. The cries of Orc
awaken Urizen, who
explores his world
creating instruments of
scientific measurement to
do so. Los encircles
theface of Enitharmon
from the sight of Urizen
and Orc. She then
populates the earth by
giving birth to an
enormous race.The
Web, third movement
of The Book of
Urizen is now
available: DHP
1125252.
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1043752-140 Composed by Modes...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1043752-140
Composed by Modest
Petrovich Mussorgsky.
Arranged by Tohru
Takahashi. The Great
Classics. Concert Piece.
Score Only. Composed
2004. De Haske
Publications #DHP
1043752-140. Published by
De Haske Publications
(BT.DHP-1043752-140).
English-German-French-
Dutch.
Composer
Modest Moussorgsky
(1839-1881) came from the
prosperous environment of
Russian nobility. In
1865, after his
officer’s
education, he joined the
guard’s regiment
in St. Petersburg. Here
he met a number of
well-known
colleague-composers,
including Balakirev, Cui,
Rimsky- Korsakov and
Borodin. They strived to
develop a
“classical
style†of composing
while at the same time
retaining a strong
Russian influence. His
opera Boris Godunov tells
the tale of Boris, who
with the support of the
people, declared himself
Tsar, but totally fell
short of the role. The
opera became popular in
the re-orchestrated
version produced by
Rimsky-Korsakov in 1896.
Tohru Takahashi has
usedthe beautiful musical
themes of this opera in
Selections from Boris
Godunov - a captivating
work for concert band.
Moussorgskyâ€
s opera Boris
Godunov - gebaseerd
op het gelijknamige drama
van Aleksandr Pushkin
(waarin Boris Godunov
zichzelf met steun van
het volk uitroept tot
tsaar, maar in deze rol
compleet tekortschiet) -
werd populairin de
bewerking die
Rimsky-Korsakov in 1896
maakte. De
oorspronkelijke partituur
van Moussorgsky staat
echter vol originele
vondsten en
vooruitstrevende
harmonische, melodische
en instrumentale details.
Tohru Takahashi
gebruiktede prachtige
muzikale thematiek van
deze opera in
Selections from Boris
Godunov - een boeiend
werk voor
harmonieorkest.
Se
in Meisterwerk, die Oper
Boris Godunow,
schrieb Mussorgski auf
der Grundlage des
gleichnamigen Dramas von
Alexander Puschkin. In
diesem Stück
erklärt sich Boris
Godunow mit
Unterstützung des
Volkes selbst zum Zaren,
versagt aber kläglich
in dieser Rolle. Das Werk
ist voll von
einzigartigen Ideen und
damals sehr innovativen
harmonischen, melodischen
und instrumentalen
Details. Tohru Takahashi
verwendete in
Selections from Boris
Godunov die
wunderschönen
musikalischen Themen der
Oper - ein bezauberndes
Werk für
Blasorchester.
Compositore
essenzialmente
autodidatta, Modest
Mussorgski (1839-1881)
discende da una famiglia
agiata della nobilt
russa. Il suo capolavoro
lirico, Boris Godunov, si
basa sulla tragedia di
Alexander Puschkin, nella
quale Boris Godunov,
proclamatosi zar e
sostenuto dal popolo,
fallisce nel suo ruolo.
Nel 1896, l’opera
conosce il successo in
una versione ritoccata da
Rimski Korsakov. La
versione originale di
Mussorgski contiene idee
uniche, dettagli
armonici, melodici e
strumenti innovativi. Per
trascrivere questo brano
per banda, Tohru
Takahashi ha raccolto i
superlativi temi musicali
dell’opera.
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1043752-010 Composed by Modes...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1043752-010
Composed by Modest
Petrovich Mussorgsky.
Arranged by Tohru
Takahashi. The Great
Classics. Concert Piece.
Set (Score & Parts).
Composed 2004. De Haske
Publications #DHP
1043752-010. Published by
De Haske Publications
(BT.DHP-1043752-010).
English-German-French-
Dutch.
Composer
Modest Moussorgsky
(1839-1881) came from the
prosperous environment of
Russian nobility. In
1865, after his
officer’s
education, he joined the
guard’s regiment
in St. Petersburg. Here
he met a number of
well-known
colleague-composers,
including Balakirev, Cui,
Rimsky- Korsakov and
Borodin. They strived to
develop a
“classical
style†of composing
while at the same time
retaining a strong
Russian influence. His
opera Boris Godunov tells
the tale of Boris, who
with the support of the
people, declared himself
Tsar, but totally fell
short of the role. The
opera became popular in
the re-orchestrated
version produced by
Rimsky-Korsakov in 1896.
Tohru Takahashi has
usedthe beautiful musical
themes of this opera in
Selections from Boris
Godunov - a captivating
work for concert band.
Moussorgskyâ€
s opera Boris
Godunov - gebaseerd
op het gelijknamige drama
van Aleksandr Pushkin
(waarin Boris Godunov
zichzelf met steun van
het volk uitroept tot
tsaar, maar in deze rol
compleet tekortschiet) -
werd populairin de
bewerking die
Rimsky-Korsakov in 1896
maakte. De
oorspronkelijke partituur
van Moussorgsky staat
echter vol originele
vondsten en
vooruitstrevende
harmonische, melodische
en instrumentale details.
Tohru Takahashi
gebruiktede prachtige
muzikale thematiek van
deze opera in
Selections from Boris
Godunov - een boeiend
werk voor
harmonieorkest.
Se
in Meisterwerk, die Oper
Boris Godunow,
schrieb Mussorgski auf
der Grundlage des
gleichnamigen Dramas von
Alexander Puschkin. In
diesem Stück
erklärt sich Boris
Godunow mit
Unterstützung des
Volkes selbst zum Zaren,
versagt aber kläglich
in dieser Rolle. Das Werk
ist voll von
einzigartigen Ideen und
damals sehr innovativen
harmonischen, melodischen
und instrumentalen
Details. Tohru Takahashi
verwendete in
Selections from Boris
Godunov die
wunderschönen
musikalischen Themen der
Oper - ein bezauberndes
Werk für
Blasorchester.
Compositore
essenzialmente
autodidatta, Modest
Mussorgski (1839-1881)
discende da una famiglia
agiata della nobilt
russa. Il suo capolavoro
lirico, Boris Godunov, si
basa sulla tragedia di
Alexander Puschkin, nella
quale Boris Godunov,
proclamatosi zar e
sostenuto dal popolo,
fallisce nel suo ruolo.
Nel 1896, l’opera
conosce il successo in
una versione ritoccata da
Rimski Korsakov. La
versione originale di
Mussorgski contiene idee
uniche, dettagli
armonici, melodici e
strumenti innovativi. Per
trascrivere questo brano
per banda, Tohru
Takahashi ha raccolto i
superlativi temi musicali
dell’opera.
Concert Band Alto
Saxophone, Baritone
Saxophone, Bass Clarinet,
Bass Drum, Bassoon,
Bells, Clarinet I,
Clarinet II, Euphonium,
Field Drum, Flute, Flute
II, Horn, Oboe, Piccolo,
Sleigh Bells, Tenor,
Tenor Saxophone, Trumpet
I, Trumpet II, Tuba -
Grade 1.5
SKU:
CF.FPS54F
Good
King Wenceslas, Up on the
Housetop, Jingle
Bells. Composed by
Traditional. Arranged by
Joseph Compello. SWS.
Carl Fischer First Plus
Performance Series. Full
score. With Standard
notation. Carl Fischer
Music #FPS54F. Published
by Carl Fischer Music
(CF.FPS54F).
ISBN
9780825861741. UPC:
798408061746. 9 X 12
inches.
Arranger
Joseph Compello brings us
a nice holiday collage
that features the
percussion section
playing real street
beats. Beside being an
effective and fun
arrangment, your
percussion section will
learn different roll-offs
and streets that will be
useful for parades or
other events where street
beats are needed. Well
done Joe!
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!
Concert Band - Grade 5 SKU: BT.DHP-1043752-040 Composed by Modest Petrovi...(+)
Concert Band - Grade 5
SKU:
BT.DHP-1043752-040
Composed by Modest
Petrovich Mussorgsky.
Arranged by Tohru
Takahashi. The Great
Classics. Concert Piece.
Set (Score & Parts).
Composed 2004. De Haske
Publications #DHP
1043752-040. Published by
De Haske Publications
(BT.DHP-1043752-040).
English-German-French-
Dutch.
Composer
Modest Moussorgsky
(1839-1881) came from the
prosperous environment of
Russian nobility. In
1865, after his
officer’s
education, he joined the
guard’s regiment
in St. Petersburg. Here
he met a number of
well-known
colleague-composers,
including Balakirev, Cui,
Rimsky- Korsakov and
Borodin. They strived to
develop a
“classical
style†of composing
while at the same time
retaining a strong
Russian influence. His
opera Boris Godunov tells
the tale of Boris, who
with the support of the
people, declared himself
Tsar, but totally fell
short of the role. The
opera became popular in
the re-orchestrated
version produced by
Rimsky-Korsakov in 1896.
Tohru Takahashi has
usedthe beautiful musical
themes of this opera in
Selections from Boris
Godunov - a captivating
work for concert band.
Moussorgskyâ€
s opera Boris
Godunov - gebaseerd
op het gelijknamige drama
van Aleksandr Pushkin
(waarin Boris Godunov
zichzelf met steun van
het volk uitroept tot
tsaar, maar in deze rol
compleet tekortschiet) -
werd populairin de
bewerking die
Rimsky-Korsakov in 1896
maakte. De
oorspronkelijke partituur
van Moussorgsky staat
echter vol originele
vondsten en
vooruitstrevende
harmonische, melodische
en instrumentale details.
Tohru Takahashi
gebruiktede prachtige
muzikale thematiek van
deze opera in
Selections from Boris
Godunov - een boeiend
werk voor
harmonieorkest.
Se
in Meisterwerk, die Oper
Boris Godunow,
schrieb Mussorgski auf
der Grundlage des
gleichnamigen Dramas von
Alexander Puschkin. In
diesem Stück
erklärt sich Boris
Godunow mit
Unterstützung des
Volkes selbst zum Zaren,
versagt aber kläglich
in dieser Rolle. Das Werk
ist voll von
einzigartigen Ideen und
damals sehr innovativen
harmonischen, melodischen
und instrumentalen
Details. Tohru Takahashi
verwendete in
Selections from Boris
Godunov die
wunderschönen
musikalischen Themen der
Oper - ein bezauberndes
Werk für
Blasorchester.
Compositore
essenzialmente
autodidatta, Modest
Mussorgski (1839-1881)
discende da una famiglia
agiata della nobilt
russa. Il suo capolavoro
lirico, Boris Godunov, si
basa sulla tragedia di
Alexander Puschkin, nella
quale Boris Godunov,
proclamatosi zar e
sostenuto dal popolo,
fallisce nel suo ruolo.
Nel 1896, l’opera
conosce il successo in
una versione ritoccata da
Rimski Korsakov. La
versione originale di
Mussorgski contiene idee
uniche, dettagli
armonici, melodici e
strumenti innovativi. Per
trascrivere questo brano
per banda, Tohru
Takahashi ha raccolto i
superlativi temi musicali
dell’opera.
Moyses Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Scomegna Edizioni Musicali
(Biblical Poem). By Federico Agnello. For concert band. Grade 4.5. Score and...(+)
(Biblical Poem). By
Federico
Agnello. For concert
band.
Grade 4.5. Score and full
set
of parts. Duration 16
minutes.
Published by Scomegna
Edizioni
Musical srl
Whispering Wind Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053880-140 Composed by Maxim...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053880-140
Composed by Maxime Aulio.
Inspiration Series.
Concert Piece. Score
Only. Composed 2005. 28
pages. De Haske
Publications #DHP
1053880-140. Published by
De Haske Publications
(BT.DHP-1053880-140).
9x12 inches.
English-German-French-Dut
ch.
“Donâ€
™t listen to
anyone’s advice,
but listen to the lessons
of the wind passing and
telling the history of
the world.†Claude
Debussy Since the dawn of
time, the wind has played
an important role in all
civilisations. Worshipped
as a deity,
“mastermindâ€
of poetry, driving force,
or heaven’s
messenger, the wind took
on the most varied shapes
according to the era and
people. In Claude
Debussy’s time,
music listened to the
voice of nature, and
imagination found its
primary rights again.
This importance of wind
was the inspiration for
Maxime Aulio’s
work Whispering Wind with
its suspended
atmospheres, vaporous
lines and luminous
colours. The wind
caresses the canvas. A
fascinatingnew work for
concert band.
“Luister
niet naar adviezen van
wie dan ook, maar naar de
lessen van de wind die
voorbij waait en de
geschiedenis van de
wereld vertelt.â€
(Claude Debussy) Sinds
het begin der tijden
heeft de wind in alle
beschavingen een
belangrijkerol gespeeld.
In de tijd van Claude
Debussy gaf muziek het
geluid van de natuur weer
en stond
verbeeldingskracht in
hoog aanzien. Het is deze
Franse sensibiliteit die
Maxime Aulio’s
werk Whispering
Wind kenmerkt, met
vluchtigelijnen en
heldere kleuren. De wind
raakt het doek,
suggereert en roept
slechts op, maar met een
indrukwekkende precisie.
Een mooie en bijzondere
compositie!
Seit
Menschengedenken hat der
Wind immer eine wichtige
Rolle in allen
Zivilisationen gespielt.
Vor allem auch zu
Lebzeiten von Claude
Debussy hörte die
Musik auf die Stimme der
Natur. Jedes Instrument
schien Symbol eines
Bildes oder einer
Vorstellung zu sein.
Genau diese typisch
französische
Empfindsamkeit zeichnet
auch deutlich Maxime
Aulios Whispering Wind
mit seinen
spannungsreichen
Stimmungen, nebelhaften
Linien und leuchtenden
Farben aus. Ein sehr
ausdruckvolles
Werk!
“Non
ascoltate i suggerimenti
degli altri, ma ascoltate
le lezioni del vento che
passa raccontando la
storia del mondo.â€
Claude Debussy Le strade
del vento sono quelle che
non sono tracciate in
precedenza, ci raccontato
mille storie di altri
luoghi. I mormorii del
vento sono i sentieri
diafani
dell’anima, i
colori
dell’effimero, la
poesia dei suoni. Con
Claude Debussy, la musica
ascoltava le voci della
natura. Ritroviamo questa
sensibilit tutta francese
che Debussy contribuì
a formare in Whispering
Wind (Il mormorio del
vento), brano del giovane
compositore francese
Maxime Aulio. Tratti
vaporosi, colori
luminosi, il vento che
accarezza, suggerisce,
evoca con
sorprendenteprecisione.
Il vento è una parola
nomade che viaggia a
lungo nel nostro
interiore.
Whispering Wind Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053880-010 Composed by Maxim...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053880-010
Composed by Maxime Aulio.
Inspiration Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
De Haske Publications
#DHP 1053880-010.
Published by De Haske
Publications
(BT.DHP-1053880-010).
9x12 inches.
English-German-French-Dut
ch.
“Donâ€
™t listen to
anyone’s advice,
but listen to the lessons
of the wind passing and
telling the history of
the world.†Claude
Debussy Since the dawn of
time, the wind has played
an important role in all
civilisations. Worshipped
as a deity,
“mastermindâ€
of poetry, driving force,
or heaven’s
messenger, the wind took
on the most varied shapes
according to the era and
people. In Claude
Debussy’s time,
music listened to the
voice of nature, and
imagination found its
primary rights again.
This importance of wind
was the inspiration for
Maxime Aulio’s
work Whispering Wind with
its suspended
atmospheres, vaporous
lines and luminous
colours. The wind
caresses the canvas. A
fascinatingnew work for
concert band.
“Luister
niet naar adviezen van
wie dan ook, maar naar de
lessen van de wind die
voorbij waait en de
geschiedenis van de
wereld vertelt.â€
(Claude Debussy) Sinds
het begin der tijden
heeft de wind in alle
beschavingen een
belangrijkerol gespeeld.
In de tijd van Claude
Debussy gaf muziek het
geluid van de natuur weer
en stond
verbeeldingskracht in
hoog aanzien. Het is deze
Franse sensibiliteit die
Maxime Aulio’s
werk Whispering
Wind kenmerkt, met
vluchtigelijnen en
heldere kleuren. De wind
raakt het doek,
suggereert en roept
slechts op, maar met een
indrukwekkende precisie.
Een mooie en bijzondere
compositie!
Seit
Menschengedenken hat der
Wind immer eine wichtige
Rolle in allen
Zivilisationen gespielt.
Vor allem auch zu
Lebzeiten von Claude
Debussy hörte die
Musik auf die Stimme der
Natur. Jedes Instrument
schien Symbol eines
Bildes oder einer
Vorstellung zu sein.
Genau diese typisch
französische
Empfindsamkeit zeichnet
auch deutlich Maxime
Aulios Whispering Wind
mit seinen
spannungsreichen
Stimmungen, nebelhaften
Linien und leuchtenden
Farben aus. Ein sehr
ausdruckvolles
Werk!
“Non
ascoltate i suggerimenti
degli altri, ma ascoltate
le lezioni del vento che
passa raccontando la
storia del mondo.â€
Claude Debussy Le strade
del vento sono quelle che
non sono tracciate in
precedenza, ci raccontato
mille storie di altri
luoghi. I mormorii del
vento sono i sentieri
diafani
dell’anima, i
colori
dell’effimero, la
poesia dei suoni. Con
Claude Debussy, la musica
ascoltava le voci della
natura. Ritroviamo questa
sensibilit tutta francese
che Debussy contribuì
a formare in Whispering
Wind (Il mormorio del
vento), brano del giovane
compositore francese
Maxime Aulio. Tratti
vaporosi, colori
luminosi, il vento che
accarezza, suggerisce,
evoca con
sorprendenteprecisione.
Il vento è una parola
nomade che viaggia a
lungo nel nostro
interiore.
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!