Concert Band - Grade 5 SKU: ML.013762070 Overture. Composed by Bed...(+)
Concert Band - Grade 5
SKU: ML.013762070
Overture. Composed
by Bedrich Smetana.
Arranged by Harrie
Janssen. Full set.
Molenaar Edition
#013762070. Published by
Molenaar Edition
(ML.013762070).
Libuše is a
'festival opera' in three
acts, with music by
Bedřich Smetana. The
libretto was originally
written in German by
Josef Wenzig and then
translated into Czech by
Ervín Špindler. In
Czech historical myth,
Libuše, the title
character, predicts the
founding of Prague. This
arrangement was very
skillfully made by Harrie
Janssen.
Libuše
is een 'festivalopera' in
drie bedrijven, met
muziek van Bedřich
Smetana. Het libretto
werd oorspronkelijk in
het Duits geschreven door
Josef Wenzig en
vervolgens in het
Tsjechisch vertaald door
Ervín Špindler. In de
Tsjechische historische
mythe voorspelt Libuše,
de titelfiguur, de
stichting van Praag. Dit
arrangement werd zeer
vakkundige gemaakt door
Harrie Janssen.
Libuše est un
'opéra-festival' en
trois actes, sur une
musique de Bedřich
Smetana. Le livret a
été écrit à l'origine
en allemand par Josef
Wenzig, puis traduit en
tchèque par Ervín
Špindler. Dans le mythe
historique tchèque,
Libuše, le personnage
principal, prédit la
fondation de Prague. Cet
arrangement a été
réalisé avec beaucoup
d'expertise par Harrie
Janssen.
Libuše
ist eine 'Festoper' in
drei Akten mit Musik von
Bedřich Smetana. Das
Libretto wurde
ursprünglich von Josef
Wenzig auf Deutsch
verfasst und dann von
Ervín Špindler ins
Tschechische übersetzt.
Im tschechischen
historischen Mythos sagt
Libuše, die Titelfigur,
die Gründung von Prag
voraus. Diese Bearbeitung
wurde von Harrie Janssen
sehr gekonnt
umgesetzt.
The Baron of Dedem Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-001135-140 Composed by Carl W...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-001135-140
Composed by Carl
Wittrock. Score Only. 36
pages. Gobelin Music
Publications #GOB
001135-140. Published by
Gobelin Music
Publications
(BT.GOB-001135-140).
The Baron of
Dedem once ruled over a
large plot of peat in the
Netherlands. 1809 saw the
beginning of the
construction of a canal
to transport this fuel,
so important in those
days. The canal was named
after the Baron, as was
the nearby village. This
work describes the
establishment of the
canal and the village,
but also life in the
region nowadays, thereby
setting a slice of Dutch
life to music.
Met The Baron
of Dedem verklankt
Wittrock op bijzondere
wijze een mooi stukje
Nederlandse geschiedenis.
Baron van Dedem heerste
200 jaar geleden over een
aanzienlijk gebied waar
turf werd gewonnen. Toen
begin negentiende eeuween
groot kanaal werd
gegraven om deze
brandstof te vervoeren,
kreeg deze vaart de naam
Dedemsvaart mee. Ook een
nabijgelegen dorp kreeg
deze toepasselijke naam.
Dit werk beschrijft het
ontstaan van het kanaal
en het dorp. Maarook
staat het hedendaagse
leven op en rond de vaart
centraal. Dit werk werd
speciaal geschreven ter
gelegenheid van het
tweehonderdjarig jubileum
van Dedemsvaart. The
Baron of Dedem is
geschreven in opdracht
van muziekverenigingJubal
uit Dedemsvaart
(Nederland) ter
gelegenheid van het
200-jarig jubileum van De
Dedemsvaart.
Der
Baron von Dedem herrschte
einst über ein
großes Torfabbaugebiet
in den Niederlanden. Im
Jahre 1809 begann man zum
Abtransport des damals so
wichtigen Brennstoffs
einen Kanal zu bauen, der
nach dem Baron
Dedemsvaart genannt wurde
und in der Folge auch
einem nahe gelegenen Dorf
seinen Namen gab. Dieses
Werk beschreibt die
Entstehung des Kanals und
des Dorfes, aber auch das
Leben in der Region heute
und setzt damit ein
Stück
niederländischer
Geschichte in Musik
um.
Le Baron de
Dedem était
propriétaire d’une
grande tourbière dans
une province située au
nord des Pays-Bas. En
1809, l’idée lui vint
de construire un canal
pour faciliter le
transport de
combustibles. Le canal
fut nommé tel son
propriétaire, ainsi que
le fleurissant village
avoisinant. Alors que le
canal était l’apogée
de son influence
commerciale, le Baron dut
réduire son projet par
manque de financement.
Carl Wittrock signe avec
passion une page musicale
dans l’histoire de la
province
d’Overijssel.
Il
Barone di Dedem possedeva
una torbiera in una
provincia dei Paesi
Bassi. Nel 1809, l’uomo
ebbe l’idea di
costruire un canale per
facilitare il trasporto
della torba. Il canale
prese il nome del
proprietario e contribuì
alla prosperit dei
villaggi limitrofi. Al
culmine delle attivit
commerciali, il barone
dovette ridurre
l’importanza del
progetto per mancanza di
fondi. Carl Wittrock
firma con passione una
pagina musicale della
provincia olandese di
Overijssel.
By George W. Warren and William Steffe. Arranged by James D. Ployhar. By George ...(+)
By George W. Warren and
William Steffe. Arranged
by James D. Ployhar. By
George W. Warren and
William Steffe / arr.
James D. Ployhar. For
Concert Band. Concert
Band. Belwin Concert
Band. Patriotic. Level:
Medium Easy (grade 3).
Conductor Score & Parts.
Duration 4:09:00.
Published by Alfred
Publishing.
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2
SKU: CF.YPS204
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Set of Score and
Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+3+1+1+4+16+2+4 pages.
Duration 2 minutes, 24
seconds. Carl Fischer
Music #YPS204. Published
by Carl Fischer Music
(CF.YPS204).
ISBN
9781491152249. UPC:
680160909742. Key: D
minor.
Avalonâ€
Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King!
La Boheme Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Baton Music
(Symphonic Suite from the Opera). By Giacomo Puccini (1858-1924). Arranged by Ch...(+)
(Symphonic Suite from the
Opera). By Giacomo
Puccini (1858-1924).
Arranged by Christiaan
Janssen. For Concert
Band. Grade 5. Full score
and set of parts.
Duration 14:30. Published
by Baton Music
Composed by Adam Gorb.
Arranged by Michael
Brand. Band Music. Score
only. Duration 4:20.
Published by G & M Brand
Music Publishers
(CN.S11242).
Scenes from an
English Landscape is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end of
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax.
This is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. I
imagined a community of
villagers coming out of
church and filling a
village square with their
vibrant presence. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end o
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax. Adam Gorb was
born in Cardiff and
started composing at the
age of ten. His first
work broadcast on
national radio was
written when he was
fifteen. He studied at
Cambridge University
(1977-1980) and the Royal
Academy of Music
(1991-1993) where he
graduated with the
highest honours including
the Principal's Prize. He
has been on the staff at
the London College of
Music and Media, the
junior Academy of the
Royal Academy of Music
and, since 2000 he has
been the Head of School
of Composition at the
Royal Northern College of
Music in Manchester .
International recognition
came in 1994 with the US
Walter Beeler Prize for
his work Metropolis .
With it began what has
developed into probably
the most important wind
ensemble catalogue by a
contemporary composer,
ranging from extremely
challenging to the most
accessible, at all
technical levels, seized
on by players
internationally, widely
recorded and now
absolutely central to the
world's wind repertoire.
Equally important though
are his works for dance,
and concert pieces like
the chamber orchestral
Weimar , the Violin
Sonata , a Clarinet
Concerto for the Royal
Liverpool Philharmonic
Orchestra and Diaspora
for strings (for the
Goldberg Ensemble).
Deceptively mainstream at
first glance, they
display the same
inventive brilliance,
pulsating sound world,
striking use of rhythm
and an undogmatic absence
of stylistic hang-ups to
embrace jazz and
serialism in works where
power, poetry, irony and
pathos, often underlaid
by a theatrical and
deeply subversive
element, coalesce in an
integrated, highly
individual musical voice.
Gorb is also not afraid
to draw on the vivid
musical heritage of his
Jewish roots, sometimes
directly, often in a more
subsumed or radically
creative way. The crucial
and consistent feature of
Gorb's work though is
that it communicates
strongly without
patronizing players or
audiences. He firmly
believes that if
contemporary music - any
music - does not impact
on listeners then its
message is irrelevant; it
is lost.
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.
Remembrance Day Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1043706-010 Composed by Jac...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1043706-010
Composed by Jacob De
Haan. Performance Series.
Festive and Solemn Music.
Set (Score & Parts).
Composed 2004. De Haske
Publications #DHP
1043706-010. Published by
De Haske Publications
(BT.DHP-1043706-010).
Remembrance Day
(Totengedenken) is a
chorale-like piece in
memory of those who have
died in service. Jacob de
Haan composed this work
for a concert by the
symphonic wind orchestra
Symphonic Winds, which he
conducted in Germany on
Volkstrauertag (national
remembrance day). The
composition is based on a
text from Totengedenken
(Commemoration of Those
Who Have Died). This
narrative text is
provided in four
languages, and is
intended to be spoken
(using a microphone) ad
libitum during the
performance. Choir parts
are also available to
complement the
performance.
Remem
brance Day ist ein
choralartiges Stück
zum Angedenken an die
Verstorbenen. Die
Komposition basiert auf
einem Text aus
Totengedenken,
herausgegeben vom
Volksbund deutsche
Kriegsgräberfürsorg
e. Ein beiliegender Text
kann zur angegebenen Zeit
während der
Aufführung gesprochen
werden. Das Ganze kann ad
libitum durch einen
gemischten Chor, der
lange Töne ohne Text
singt, vervollständigt
werden. Remembrance Day
ist ein recht langsames,
erhabenes Werk zur
würdevollen Umrahmung
von Trauer- oder
Gedenkfeiern, zum
Volkstrauertag und
ähnlichen feierlichen
Anlässen.
Textauszug A
Remembrance
DayWir denken
heute an die Opfer von
Gewalt und Krieg, Kinder,
Frauen und Männeraller
Völker. Wir gedenken
der Soldaten, die in den
Weltkriegen starben, der
Menschen, die durch
Kriegshandlungen oder
danach in Gefangenschaft,
als Vertriebene und als
Flüchtlinge ihr Leben
verloren. Wir gedenken
derer, die verfolgt und
getötet wurden, weil
sie einem anderen Volk
angehörten, einer
anderen Rasse zugerechnet
wurden oder deren Leben
wegen einer Krankheit
oder Behinderung als
lebensunwert bezeichnet
wurde. Wir gedenken
derer, die ums Leben
kamen weil sie Widerstand
gegen die
Gewaltherrschaft
geleistet haben, und
derer, die den Tod fanden
weil sie an ihrer
Ãœberzeugung oder an
ihrem Glauben
festhielten. Wir trauern
um die Opfer der Kriege
und Bürgerkriege
unserer Tage, um die
Opfer von Terrorismus und
politischer Verfolgung.
Wir gedenken heute auch
derer, die in diesem Jahr
bei uns durch Hass und
Gewalt gegen Fremde und
Schwache Opfer geworden
sind. Wir trauern mit den
Müttern und mit allen,
die Leid tragen um die
Toten. Aber unser Leben
steht im Zeichen der
Hoffnung auf
Versöhnung unter den
Menschen und Völkern,
und unsere Verantwortung
gilt dem Frieden unter
den Menschen zu Hause und
in der Welt.
Shlof,
Mayn Kind. Composed
by Larry Clark. Young
Band (YPS). Set of Score
and Parts. With Standard
notation.
8+2+4+4+2+2+5+2+2+4+4+4+6
+3+2+3+1+1+2+6+12 pages.
Duration 4 minutes, 31
seconds. Carl Fischer
Music #YPS208. Published
by Carl Fischer Music
(CF.YPS208).
ISBN
9781491152287. UPC:
680160909780. Key: D
minor.
A stunning
and heart-wrenching
composition based on the
Jewish folk son Shlof,
Mayn Kind. You can
hear the emotional
content pour out of this
piece written in memory
of an outstanding
orchestra director. The
piece beginnings with
original material to set
the tone, followed by
a clarinet solo on the
song. It then develops
through a variety of
different harmonic
presentation before
building to a nice key
change and climatic
moment. The piece ends as
it began, but with a more
hopeful tone. An amazing
piece. Sleep, My Child
was commissioned by the
Madison Middle School
Band and Orchestra in
Tampa, Florida, and is
dedicated to the memory
of their Director of
Orchestras Kevin Frye.
Director of Bands Chris
Shultz championed the
commissioning of this
piece to honor Kevin
after he passed away in
December 2016. Mr. Frye
was a beloved member of
the staff at Madison
Middle as well as the
music community of Tampa
and the state of
Florida. I was a
personal friend of
Kevin’s. We were
in several musical groups
together when we were
young that were formative
to both of our musical
careers. I also guest
conducted his Madison
Middle School Orchestra
several times over the
past four years. His
musicianship, teaching
skills and love for his
students were
exemplary.When taking on
the challenge of writing
a piece to honor
Kevin’s legacy,
Mr. Shultz and I decided
to try and include
several important aspects
of Kevin’s life
into the piece. Kevin was
proudly Jewish, a
fantastic trumpet player
and loved Jazz. With that
in mind, and after a lot
of research, a Jewish
folk song Shlof, Mayn
Kind was selected as the
basis for the piece, not
to be religious, but to
honor his faith and
heritage. Plus it is a
beautiful song, and I
felt the title reflected
the sentiment I was
looking to express, which
is of someone taking rest
after a long battle with
illness. Thus, a lullaby
seemed appropriate.I also
wanted to incorporate
Jazz into the piece, but
in a concert setting, so
you will hear as the
piece develops, the
harmonies of the folk
song expand into ones
found more commonly in
Jazz compositions. Not
in a far out way, but in
a subtle way to again
honor this part of his
life. For example the
climactic moment of the
piece at the fermata in
m. 57 is a Dbmaj9#11
chord. It appropriately
give the piece the angst
that I was looking for at
this moment in the piece,
while honoring the
importance of Jazz in
Kevin’s musical
life.The piece was also
conceived to include both
the Madison band and
orchestra in the
performance at the
premiere. I wanted the
pieces to work separately
by the band and
separately by the
orchestra, but I also
wanted them to be able to
play the piece together
to honor Kevin.The piece
begins with original
material designed to set
the mood of the piece
with a tempo/style
marking of pensive, but
also as material that I
used as connective
musical tissue between
statements of the folk
song. After this
introduction, the folk
song is presented by a
solo violin (or clarinet)
with orchestral
accompaniment in a simple
straight forward
presentation of the song.
This is followed by a
woodwind section
statement of the folk
song accompanied by muted
trumpets. During this
presentation the harmony
starts to expand with
more color notes in the
chords. The low brass are
added half way through
this statement to add
depth and lushness.The
introductory material
returns, but with some
angry hits in the lower
voices. This leads to a
full ensemble state of
new material that is used
to transition to the
climax of the piece, and
to build tension. After
the build, the piece
modulates to a shortened
statement of the folk
song with more advanced
harmonies and an active
counter line in the
violas, horns, saxes and
first clarinets to
further build the
tension. This tension
is released at the
fermata in m. 57, as
mentioned above. After a
thoughtful pause, the
piece concludes with a
completion of the folk
song again with a solo
violin (or clarinet)
followed by a return of
the introductory material
to tie the piece
together. The piece ends
hopeful, with a solo
trumpet (Kevin’s
instrument) that is
dissonant at first, but
then resolves as if to
say - everything will be
OK! It has been my
distinct honor to have
been asked to write this
piece in Kevin’s
memory! I hope that in
some small way the piece
helps to bring comfort to
his family, students,
colleagues and to all
those that knew
him!–Larry
ClarkLakeland, FLÂ
2017.
The Final Countdown Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band/Brass Band - Grade 3 SKU: BT.DHP-0960710-2...(+)
Concert
Band/Harmonie/Fanfare
Band/Brass Band - Grade 3
SKU:
BT.DHP-0960710-216
Composed by Joey Tempest.
Arranged by Ron Sebregts.
De Haske Pop Collection.
Pop and Rock. Score Only.
Composed 1996. 18 pages.
De Haske Publications
#DHP 0960710-216.
Published by De Haske
Publications
(BT.DHP-0960710-216).
9x12
inches.
Everyone
knows this rock anthem
which was released in
1986 the Swedish rock
band Europe. This driving
arrangement retains all
the grandiose pomp of the
original and will ensure
every member of both band
and audience will leave
singing those immortal
words â??Itâ??s the
Final Countdownâ??.
De opzwepende
song The final
Countdown, geschreven
door leadzanger Ioey
Tempest, was in 1986 een
ernorme Europeese hit
voor de Sweedse rockgroep
Europe. Er gingen meer
dan acht miljoen
exemplaren van de single
over e toonbank.Dit
arrangement voor
harmonieorkest is zeker
zo doeltreffend als het
origineel.
The
Final Countdown war
der grö�te Hit
für die schwedische
Rockgruppe Europe. Europe
füllte im Jahr 1986
damit ganze
FuÃ?ballstadien und
heute ist der Titel in
den Stadien auf der
ganzen Welt zu Hause. Ein
absoluter
Stimmungsmacher, mit dem
Sie nur gewinnen
können!
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115151-140 As performed b...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115151-140
As performed by Chris
de Burgh. Arranged by
Simon Fahnholz. DHP Pop,
Film and Show. Pop &
Rock. Score Only.
Composed 2011. 12 pages.
De Haske Publications
#DHP 1115151-140.
Published by De Haske
Publications
(BT.DHP-1115151-140).
9x12 inches.
English-German-French-Dut
ch.
“The idea
behind this song is to
remind everyone, for all
those who have forgotten,
how colourful and
exciting Christmas was
during their childhood.
Christmas is a magical
time and, after all, no
matter how old we are, we
are all still children at
heart.†These words
were written by Chris de
Burgh about his 2009 hit,
The Bells of Christmas,
inspired by
Dickens’ A
Christmas Carol. Simon
Fahnholz has now made an
excellent version of this
Christmas hit for concert
band.
Voor
iedereen die vergeten is
hoe bont en levendig de
kerst in zijn jeugdjaren
was. Kerst is een
betoverend feest. Diep in
ons hart zijn we allemaal
nog kinderen, ook al zijn
we al lang
volwassenen.†Dit
zei Chris de Burgh over
zijnkersthit van 2009
waarin hij zich liet
inspireren door de
prachtige kerstverhalen
van Charles
Dickens.
Die Idee
dieses Songs ist, allen
die vergessen haben, wie
bunt und lebendig
Weihnachten in ihrer
Kinderzeit war, dies noch
einmal vor Augen zu
führen. Weihnachten
ist ein Zauber und wir
sind im tiefsten Herzen
doch alle große
Kinder, auch wenn wir
längst erwachsen
sind.“ Dies sind
Chris De Burghs Worte
über seinen
Weihnachts-Hit von 2009,
zu dem er sich von
Charles’ Dickens
Weihnachtsgeschichte
inspirieren ließ.
“Il
messaggio di questa
canzone è di ricordare
a coloro che
l’avessero
dimenticato,
com’era il Natale
quando erano bambini, una
festa vivace e calda.
Anche se siamo cresciuti
e divenuti adulti,
abbiamo mantenuto il
cuore di bambini, non
dimentichiamo allora che
il Natale è una festa
magicaâ€. Ecco un
estratto del testo della
ballata The Bells of
Christmas, divenuta un
grande successo del
Natale 2009 e cantata da
Chris de Burgh che si era
ispirato al celebre
romanzo di Charles
Dickens.
Concert Band/Harmonie/Fanfare/Bra ss Band - Grade 3 SKU: HL.44002590 Comp...(+)
Concert
Band/Harmonie/Fanfare/Bra
ss Band - Grade 3
SKU:
HL.44002590
Composed
by Joey Tempest. Arranged
by Ron Sebregts. De Haske
Concert Band. Pop & Rock.
Score Only. Composed
1996. 18 pages. De Haske
Publications #960710.
Published by De Haske
Publications
(HL.44002590).
UPC:
073999025903. 6.75x10.5
inches.
Everyone
knows this rock anthem
which was released in
1986 the Swedish rock
band Europe. This driving
arrangement retains all
the grandiose pomp of the
original and will ensure
every member of both band
and audience will leave
singing those immortal
words 'It's the Final
Countdown'.
De
opzwepende song The
final Countdown,
geschreven door
leadzanger Ioey Tempest,
was in 1986 een ernorme
Europeese hit voor de
Sweedse rockgroep Europe.
Er gingen meer dan acht
miljoen exemplaren van de
single over e
toonbank.Dit arrangement
voor harmonieorkest is
zeker zo doeltreffend als
het
origineel.
The
Final Countdown war
der grosste Hit fur die
schwedische Rockgruppe
Europe. Europe fullte im
Jahr 1986 damit ganze
Fussballstadien und heute
ist der Titel in den
Stadien auf der ganzen
Welt zu Hause. Ein
absoluter
Stimmungsmacher, mit dem
Sie nur gewinnen konnen!
En 1986, le
groupe Europe s'est
classe au sommet des
hit-parades du monde
entier avec son titre
The Final
Countdown, compose
par Joey Tempest le
chanteur du groupe.
The Final
Countdown s'est vendu
a plus de 8 millions
d'exemplaires. Le succes
fut planetaire. Ron
Sebregts en a realise un
arrangement tres rythme
qui enthousiasmera les
musiciens et les
auditeurs.
The Bells of Christmas Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115151-010 As performed b...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115151-010
As performed by Chris
de Burgh. Arranged by
Simon Fahnholz. DHP Pop,
Film and Show. Christmas.
Set (Score & Parts).
Composed 2011. De Haske
Publications #DHP
1115151-010. Published by
De Haske Publications
(BT.DHP-1115151-010).
9x12 inches.
English-German-French-Dut
ch.
“The idea
behind this song is to
remind everyone, for all
those who have forgotten,
how colourful and
exciting Christmas was
during their childhood.
Christmas is a magical
time and, after all, no
matter how old we are, we
are all still children at
heart.†These words
were written by Chris de
Burgh about his 2009 hit,
The Bells of Christmas,
inspired by
Dickens’ A
Christmas Carol. Simon
Fahnholz has now made an
excellent version of this
Christmas hit for concert
band.
Voor
iedereen die vergeten is
hoe bont en levendig de
kerst in zijn jeugdjaren
was. Kerst is een
betoverend feest. Diep in
ons hart zijn we allemaal
nog kinderen, ook al zijn
we al lang
volwassenen.†Dit
zei Chris de Burgh over
zijnkersthit van 2009
waarin hij zich liet
inspireren door de
prachtige kerstverhalen
van Charles
Dickens.
Die Idee
dieses Songs ist, allen
die vergessen haben, wie
bunt und lebendig
Weihnachten in ihrer
Kinderzeit war, dies noch
einmal vor Augen zu
führen. Weihnachten
ist ein Zauber und wir
sind im tiefsten Herzen
doch alle große
Kinder, auch wenn wir
längst erwachsen
sind.“ Dies sind
Chris De Burghs Worte
über seinen
Weihnachts-Hit von 2009,
zu dem er sich von
Charles’ Dickens
Weihnachtsgeschichte
inspirieren ließ.
“Il
messaggio di questa
canzone è di ricordare
a coloro che
l’avessero
dimenticato,
com’era il Natale
quando erano bambini, una
festa vivace e calda.
Anche se siamo cresciuti
e divenuti adulti,
abbiamo mantenuto il
cuore di bambini, non
dimentichiamo allora che
il Natale è una festa
magicaâ€. Ecco un
estratto del testo della
ballata The Bells of
Christmas, divenuta un
grande successo del
Natale 2009 e cantata da
Chris de Burgh che si era
ispirato al celebre
romanzo di Charles
Dickens.
Concert Band/Harmonie/Fanfare Band - Grade 3 SKU: BT.DHP-0960710-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3
SKU:
BT.DHP-0960710-015
Composed by Joey Tempest.
Arranged by Ron Sebregts.
De Haske Pop Collection.
Pop and Rock. Set (Score
and Parts). Composed
1996. De Haske
Publications #DHP
0960710-015. Published by
De Haske Publications
(BT.DHP-0960710-015).
9x12
inches.
Everyone
knows this rock anthem
which was released in
1986 the Swedish rock
band Europe. This driving
arrangement retains all
the grandiose pomp of the
original and will ensure
every member of both band
and audience will leave
singing those immortal
words â??Itâ??s the
Final Countdownâ??.
De opzwepende
song The final
Countdown, geschreven
door leadzanger Ioey
Tempest, was in 1986 een
ernorme Europeese hit
voor de Sweedse rockgroep
Europe. Er gingen meer
dan acht miljoen
exemplaren van de single
over e toonbank.Dit
arrangement voor
harmonieorkest is zeker
zo doeltreffend als het
origineel.
The
Final Countdown hielt
sich 1986 monatelang an
den Spitzen der
Hitparaden auf fünf
Kontinenten. Mittlerweile
ist aus der Rockhymne der
achtziger Jahre eine
FuÃ?ballhymne geworden,
die in den Stadien auf
der ganzen Welt Fans und
Akteure in Stimmung
bringt. Läuten Sie mit
dem Hit der schwedischen
Gruppe Europe den
musikalischen Countdown
zur FuÃ?ball-EM 2008
ein!
Nel
1986, il gruppo Europe si
è trovato in vetta
alla hit-parade mondiale
con The Final
Countdown, composta
da Joey Tempest, il
cantante del gruppo. The
Final Countdown si è
venduto in oltre 8
milioni di esemplari. Ron
Sebregts ha realizzato un
arrangiamento molto
ritmato che entusiasmer
musicisti e pubblico.
Grade 5 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Classical. Score Only.
Composed 2009. Anglo
Music Press #AMP260.
Published by Anglo Music
Press (HL.44010539).
Also available
for euphonium and piano
(HL44010860) Scaramouche
was commissioned by
Katrina Marzella with a
grant from the BBC
Performing Arts Fund.
Undoubtedly the finest
baritone player of her
generation, Ms. Marzella
was granted an education
bursary from the BBC
Performing Arts Fund (as
a result of winning BBC
Radio 2's Young Brass
Soloist of the Year in
2004), which allowed her
to commission a series of
new works for euphonium.
Scaramouche continues
Sparke's series of works
that highlights the
Italian theatre tradition
of commedia dell'arte.
Like its predecessors
Pantomime and Harlequin,
Scaramouche draws on the
contrasting moods of
pathos and comedy
characterized by the
symbolic happy/sad masks
of European theatre. A
slow, expressive ballad
followed by a spirited
vivace allows the
composer to exploit both
the lyrical and technical
sides of the instrument,
and the soloist to
display its full
capabilities.
Composed by
Sean O'Loughlin. SWS.
Premiere Performance
Series. Full score. With
Standard notation. 16
pages. Duration 2
minutes, 22 seconds. Carl
Fischer Music #PPS10F.
Published by Carl Fischer
Music (CF.PPS10F).
ISBN 9780825887505.
UPC: 798408087500. 9x12
inches.
Harkening
back to the past, this
modal-sounding piece from
Sean O'Loughlin will make
your students feel like
they are playing some
serious music! In fact
they are, but it just
happens to be dapted well
for the youngest of
students with limited
rhythms and notes, as
well as carefully crafted
aggressive minor sounds,
making your band sound
marvelous. This is the
piece your students will
want to play again and
again, and is certain to
be a winner!
Mythos (full set) Orchestre d'harmonie [Score|Score and Parts|Set of Parts|Part] Carl Fischer
By Sean O'Loughlin. For concert band (flute, oboe (opt. flute 2), clarinet in Bb...(+)
By Sean O'Loughlin. For
concert band (flute, oboe
(opt. flute 2), clarinet
in Bb, bass clarinet in
Bb (opt. euphonium t.c.
in Bb), alto saxophone in
Eb, tenor saxophone in
Bb, baritone saxophone in
Eb, trumpet in Bb,
alternate horn in F, horn
in F, alternate trombone,
trombone, euphonium
b.c.). Premiere
Performance Series. Score
and part(s). Duration 2
minutes, 22 seconds.
Published by Carl Fischer
Grade 5 - Score
Only. Composed by
James Curnow. Curnow
Music Concert Band.
Curnow Music #45800140.
Published by Curnow Music
(HL.44003517).
UPC:
073999173727. 9x12
inches.
A concert
centerpiece, this major
work from James Curnow
explores the spiritual
perspectives of the First
Nations of the Pacific
Northwest in North
America. The five
movements investigate the
cosmos and its four
worlds; with such
complete contrasts as
“The Undersea
World” and the
ceremonial dance in
“The Mortal
World,” an
authentic First Nations
melody in “The
Spirit World” and
the ethos of “The
Sky World,” the
wonders are many.
Grade 5 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Classical. Score Only.
Composed 2009. 40 pages.
Anglo Music Press
#AMP260. Published by
Anglo Music Press
(HL.44010538).
Als
o available for euphonium
and piano (HL44010860)
Scaramouche was
commissioned by Katrina
Marzella with a grant
from the BBC Performing
Arts Fund. Undoubtedly
the finest baritone
player of her generation,
Ms. Marzella was granted
an education bursary from
the BBC Performing Arts
Fund (as a result of
winning BBC Radio 2's
“Young Brass
Soloist of the
Year†in 2004),
which allowed her to
commission a series of
new works for euphonium.
Scaramouche continues
Sparke's series of works
that highlights the
Italian theatre tradition
of commedia dell'arte.
Like its predecessors
Pantomime and Harlequin,
Scaramouche draws on the
contrasting moods of
pathos and comedy
characterized by the
symbolic
“happy/sadâ€
masks of European
theatre. A slow,
expressive ballad
followed by a spirited
vivace allows the
composer to exploit both
the lyrical and technical
sides of the instrument,
and the soloist to
display its full
capabilities.
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!
Concert band (ST KPL) - intermediate SKU: HL.49012046 From the Oratori...(+)
Concert band (ST KPL) -
intermediate
SKU:
HL.49012046
From
the Oratorio Saul.
Composed by George
Frideric Handel. Arranged
by Norbert Studnitzky.
This edition: Folding.
Sheet music. Schott
Harmonie Serie (Concert
Band). Classical. Set of
Parts. Duration 13'.
Schott Music #SHS
1006-70. Published by
Schott Music
(HL.49012046).
ISBN
9790001100793.
8.25x11.75x0.692
inches.
Handel's
Oralorio Saul, composed
in 1739, contains a
series of instrumental
movements which provide
commentary on the action.
Composers have often
written works in the form
of suites from these
movements. Handel's
blocks of polyphonic
music are also
particularly suitable for
wind band. His orchestral
suites were usually
performed in Ihe open
air. Many of his themes
rank among the great
inventions of musical
history. They give his
music dignity and
greatness and at the same
time they remain popular
in character. The
instrumental movements
from 'Saul' are suitable
for concerts, including
those in churches, for
serenades and for
contests from
intermediate to advanced
level.
(2 Floten,
1 Oboe ad lib., 1 Fagott
ad lib., 1 Klarinette in
Es ad lib., 3 Klarinetten
in B, 2 Alt-Saxophone in
Es, 1 Tenor-Saxophon in
B, 3 Horner in F, 3
Trompeten in B, 3
Posaunen, 2 Flugelhorner
(Kornette) in B, 1
Tenorhorn in B, 1
Bariton, 2 Tuben, Pauken,
Schlagzeug: Glockenspiel,
kleine Trommel, grosse
Trommel, Becken).
Condensed Score.
Composed by George
Frideric Handel. Arranged
by Norbert Studnitzky.
This edition: Saddle
stitching. Sheet music.
Schott Harmonie Serie
(Concert Band).
Classical. Condensed
Score. 40 pages. Duration
13'. Schott Music
#SHS1006-10. Published by
Schott Music
(HL.49012045).
ISBN
9790001113205. UPC:
073999296280.
8.25x11.75x0.202
inches.
Handel's
Oralorio Saul, composed
in 1739, contains a
series of instrumental
movements which provide
commentary on the action.
Composers have often
written works in the form
of suites from these
movements. Handel's
blocks of polyphonic
music are also
particularly suitable for
wind band. His orchestral
suites were usually
performed in Ihe open
air. Many of his themes
rank among the great
inventions of musical
history. They give his
music dignity and
greatness and at the same
time they remain popular
in character. The
instrumental movements
from 'Saul' are suitable
for concerts, including
those in churches, for
serenades and for
contests from
intermediate to advanced
level.
(2 Floten,
1 Oboe ad lib., 1 Fagott
ad lib., 1 Klarinette in
Es ad lib., 3 Klarinetten
in B, 2 Alt-Saxophone in
Es, 1 Tenor-Saxophon in
B, 3 Horner in F, 3
Trompeten in B, 3
Posaunen, 2 Flugelhorner
(Kornette) in B, 1
Tenorhorn in B, 1
Bariton, 2 Tuben, Pauken,
Schlagzeug: Glockenspiel,
kleine Trommel, grosse
Trommel, Becken).
Nativity Orchestre d'harmonie - Facile Curnow Music
Concert Band - Grade 2.5 SKU: BT.CMP-1001-06-040 Composed by James Curnow...(+)
Concert Band - Grade 2.5
SKU:
BT.CMP-1001-06-040
Composed by James Curnow.
Young Band. Original
Light Music. Set (Score
and Parts). Composed
2006. Curnow Music #CMP
1001-06-040. Published by
Curnow Music
(BT.CMP-1001-06-040).
9x12 inches.
English.
Tender and
expressive! Two of the
most popular settings of
the Away in a
Manger text give the
audience pause to reflect
on the meaning of the
season. This is one of
those beautiful
arrangements that is a
worthwhile endeavor for
bands at every level of
ability. Younger groups
can work on shaping
phrases, balancing
chords, blending the
ensemble and so much
more, while advanced
groups have the mastery
to explore their own
deeply expressive and
freely conducted
interpretation. For
groups in the middle,
remember, itâ??s always
good to include a
performance piece that
does not require too much
â??note chasingâ? so
the subtler aspects of
the musical art can be
examined and
reinforced.Charming!
I>
Mit zwei
reizvollen Variationen
über das Lied Away
in a Manger will der
Komponist und Arrangeur
James Curnow zum
Nachdenken über den
eigentlichen Sinn von
Weihnachten anregen: die
Geburt Christi (englisch
Nativityâ??). Mit viel
Ausdruck interpretiert,
kommt diese musikalische
frohe Botschaft in
(kirchlichen)
Weihnachtskonzerten ganz
bestimmt beim Publikum
an!
Avalon Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, China Cymbal, Clarinet 1, Clarinet 2, Cr...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, China
Cymbal, Clarinet 1,
Clarinet 2, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Flute 2, Horn, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal, Tambourine,
Timpani and more. - Grade
2
SKU: CF.YPS204F
Long Live the
King. Composed by
Tyler Arcari. Young Band
(YPS). Full score. With
Standard notation. 16
pages. Carl Fischer Music
#YPS204F. Published by
Carl Fischer Music
(CF.YPS204F).
ISBN
9781491152928. UPC:
680160910427.
Avalo
n–Long Live the
King is a medieval
fantasy piece depicting
the Isle of Avalon where
the mystical sword
Excalibur of King Arthur
was forged. Composer
Tyler Arcari unearths a
solid piece for young
bands that is both bold
and dramatic. This piece
is sure to spark the
imagination of students
and give them strong
musical content with
which they can develop
their
musicianship. Program
Notes:Avalon–Long
live the King began its
journey as a commission
in honor of a dear friend
and mentor. David Riggs
is one of those band
directors that just seems
timeless. He is a
powerhouse with such a
stacked resume that it is
easy to forget that at
the end of the day he
enjoys taking long bike
rides with his lovely
wife and whittling a
piece of wood just as
much as being a band
director. He has touched
so many lives and
inspired so many people
in our field and beyond.
I was humbled, and
honored, when I was
contacted for the
commission. To David, I
hope that you one day
know how much you mean to
so many people, including
myself.About the
piece:The piece is
written with a little
homage to David’s
long tenure at Avalon
Middle school in Pace,
Florida. He was certainly
treated like a king as
the band director and
rightly so. It seemed
only fitting to add a
little medieval fantasy.
Avalon is a mystical
island in the world of
King Arthur where the
great sword Excalibur was
forged.The piece begins
lyrically with a slow
introduction with melodic
material. This melodic
motive is used throughout
with slight variations
depending on the
instrument voicing etc.
Care should be taken at
m. 10 that the Timpani
roll helps to bridge our
transition from an
exposed section to full
tutti. Care should be
taken so that the tempo
change at m. 19 is brisk
and avoids the low brass
turning into stomping.
Accessories like the
China cymbal and
tambourine can become
overpowering. I recommend
having students think of
these effects as
background in order to
make sure they
don’t POP out. The
dynamic changes at mm.
27-35 should be subito
similar to orchestral
dynamic changes. Avoid
unwritten crescendos in
this section. Measures
60–64 are a great
opportunity to teach
those unwritten dynamics
that make music so
enjoyable as we lead up
to the finale. It was
originally left blank for
some theatrics in the
premiere at
David’s retirement
concert so I know he
would enjoy adding some
Cholesterol as David
would say.Long Live the
King!
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.