Par DE HAAN JACOB. A collection of 5 short works in pop style which can be performed by any kind of compilation. The titles can be presented on the programme as separate works but the Universal Band Collection can also be performed as a complete suite. From a didactic point of view it is a suitable work to teach musicians something about the structure in music. For this purpose not only the big structure but also the small structure was kept very clear. Western Girl : A girl from the west of the USA rides her horse across the prairie, dreaming of her future. The rough structure: introduction - theme in a blues scale - the same thing in a different instrumentation - finale. Just a ballad : A balladin pop style with a rough A-B-A form. First there is the introduction of the main theme (A), then follows a tenor melody in minor with a rhythmical reference to the main theme (B). Finally there is the main melody, performed tutti with a different rhythm in the drums (A'). Play the Game : An English saying meaning: play fairly. Playful music in up-tempo with a wink to China, where almost all games are manufactured nowadays. Once again an A-B-A structure here. San Diego : A Mexican fugitive enjoys his freedom in America but also remembers his place of birth with melancholy. A sad minor melody with a straight trendy beat appears twice. The second time it has a slightly different instrumentation, in which the muted trumpets represent the Mexican feeling. Final Dance : Eventually there is a dance with an introduction in renaissance style, followed by a fast dance in rock style. All this composed in a classical song structure: introduction, verse, bridge, chorus, shortened verse, bridge, chorus, chorus. / Niveau : 2 / Musique légère originale / Répertoire / Brass Band

Par DE HAAN JACOB. In this composition, Jacob de Haan sees the 'Ross Roy' as a metaphor for the years spent at school (a monument in time), where one's personality is formed. So, the opening theme the artist calls the Ross Roy theme initially has monumental characteristics. The rhythmic motion, which strides along in the lower register and percussion at the beginning of the next section is typical of 'Tempo di Marcia'. This movement, accompanied by repetitions of sound, is a metaphor for the structure and discipline in school. This is the introduction to a march theme, symbolic of 'passing through' the classes up to the final examinations. Then, the Ross Roy theme is dealt with again, now in aplayful, humorous variation. As if the composer is saying there should also be time for a smile in school. The same theme can be heard in major key and a slower tempo in the following section, expressing pride and self-confidence. This is also the introduction to the expressive middle section that represents love, friendship and understanding. We then return to the march theme in a slightly altered construction. The oriental sounds, constituting the modulation to the final theme, are symbols of the diversity of cultures in the school. The characteristic final theme first sounds solemn, but turns into a festive apotheosis. It is no coincidence that the final cadence is reminiscent of the close to a traditional overture, for the school years can be considered the 'overture' to the rest of one's life. / Niveau : 4 / Pièce de concert / Répertoire / Brass Band

Sleigh Ride. Par CURNOW JAMES. Troika is a Russian word that means a group of three but it also means a light Russian sleigh pulled by three horses. Christmas Troika portrays the joy of Christmas via a musical sleigh-ride. Listen as the glistening snow crinkles beneath the weight of the sleigh and the hooves of the prancing horses as it travels through the countryside. One can almost see the frost on the trees and hear the wind blow and the sleigh-bells ring as the tune O Come, All Ye Faithful winds its way through the music. / Niveau : 3 / Pièce de concert / Répertoire / Brass Band

Indian Sketches. Par DE HAAN JACOB. Les Indiens Dakota (Sioux) des États américains du Dakota du Nord et du Dakota du Sud sont au centre de cette fresque musicale, dans laquelle Jacob de Haan dépeint certains aspects de leur culture et de leur histoire. Dans plusieurs mouvements de cette oeuvre, le compositeur a intégré une mélodie indienne ancienne provenant du Dakota du Sud. 1. Le Grand Esprit : la culture des Indiens Dakota était liée à la terre et au monde des esprits. Dans leurs croyances, le Grand Esprit avait créé la terre en jetant une balle noire dans l’eau, puis il prit une deuxième balle et créa les êtres vivants. 2. La chasse au bison : courir à bride abattue vers un bisonvigoureux nécessitait beaucoup d’adresse et de courage. Pourtant, les hommes attendaient impatiemment l’occasion de pouvoir faire leurs preuves à la chasse. 3. Fumer le calumet : le calumet était le symbole de la paix. On l’utilisait pour sceller une entente entre les hommes et les nations. Fumer le calumet était un gage de bonne volonté. Et lorsqu’un homme-médecine fumait le calumet, il communiait avec le Grand Esprit. 4. The Ghost Dance (“La Danse des Esprits”) Pour faire renaître l’espoir, les Indiens exécutaient une danse religieuse accompagnée d’incantations et des chants rituels. En 1890 à Wounded Knee, l’armée fédérale a ouvert le feu sur tous ceux qui célébraient la Ghost Dance. 5. Les pèlerins de Wounded Knee : la tragédie de Wounded Knee est un moment douloureux dans l’histoire des nations indiennes. Ils sont encore nombreux à faire un pèlerinage sur cette colline sacrée, balayée par le vent, où tant d’innocents ont été massacrés. / Niveau : 2.5 / Pièce de concert / Date parution : 1905-06-24/ Répertoire / Brass Band

Little Suite for Orchestra No. 1: Op 53. Par ARNOLD MALCOLM. Malcolm Arnold is one Britain’s best-loved composers. In 1948 he composed a very short suite for the National Youth Orchestra of Great Britain - entitled simply To Youth. Seven years later he took To Youth and made some fairly major revisions, including a complete new movement, and the Little Suite for Orchestra was born. The Little Suite for Orchestra follows a very similar pattern to the later suites for brass band, starting with a bold, strident Prelude, which strangely ends quietly before a lovely, lilting, Dance composed in 3/8 time. Finally a rollicking and militaristic March brings the suite to a conclusion. This arrangement for brass band by Robin Norman is sure tobecome a classic in the brass band repertoire. / Niveau : 4 / Pièce de concert / Date parution : 1905-06-30/ Répertoire / Brass Band