Concert Band/Harmonie - Grade 3 SKU: BT.AMP-337-140 For the victims of...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-337-140
For
the victims of the
Japanese earthquake and
tsunami, March 2011.
Composed by Philip
Sparke. Anglo Music
Midway Series. Score
Only. Composed 2011. 16
pages. Anglo Music Press
#AMP 337-140. Published
by Anglo Music Press
(BT.AMP-337-140).
9x12
inches.
English-German-French-Dut
ch.
The composer
writes:On March 11th 2011
a massive 9.0- magnitude
earthquake occurred off
the coast of
north-eastern Japan.I'm
writing these programme
notes barely a week later
and the death toll caused
by the quake and
resulting tsunami already
exceeds 6000, with
thousands of people still
unaccounted for. I have
many friends associated
with many bands
throughout Japan and one
of these, Yutaka Nishida,
suggested I write a piece
to raise money to help
those affected by the
disaster. I was
immediately attracted by
the idea and have
arranged Cantilena (a
brass band piece recently
commissioned by the
Grenland International
Brass Festival, Norway)
for wind band, giving it
a new title tohonour my
friends in the Land of
the Rising Sun.I will be
donating royalties from
this piece to the
Japanese Red Cross
Society Emergency Relief
Fund and am delighted to
say that my distributors,
De Haske, who will
generously also donate
all net profits from
sales of this piece, have
pledged a substantial
advance payment to the
Red Cross so that what
little help this project
generates can be
immediate.It is my
sincere wish that this
'Band Aid' project will
allow wind bands around
the world support the
people of Japan, where
bands are a way of life
for many, in this
difficult time.Philip
Sparke
De
componist schrijft:Op 11
maart 2011 vond er vlak
bij de noordkust van
Japan een enorme
aardbeving - 9.0 op de
schaal van Richter -
plaats.Ik maak deze
werkbeschrijving
nauwelijks een week later
en het aantal doden dat
de aardbevingen de
daaropvolgende tsunami
hebben geëist, komt al
uit boven de 6000,
terwijl er nog steeds
duizenden mensen worden
vermist.Ik heb veel
vrienden die met orkesten
in heel Japan werken, en
een van hen, Yutaka
Nishida, steldevoor dat
ik een stuk zou schrijven
om geld bij elkaar te
krijgen voor hulp aan de
slachtoffers van de ramp.
Ik vond het meteen een
goed idee en ik heb
vervolgens Cantilena (
een brassbandwerk dat ik
recentelijk heb
gecomponeerd voorhet
Grenland International
Brass festival in
Noorwegen) gearrangeerd
voor harmonieorkest en er
een nieuwe titel aan
gegeven, als eerbewijs
aan mijn vrienden in het
land van de rijzende
zon.De royalty's die ik
voor dit werk krijg,zal
ik doneren aan het
Japanse noodhulpfonds van
het Rode Kruis, en ik ben
heel blij dat mijn
distributeur, De Haske,
die eveneens alle
nettowinst op dit werk
zal doneren, bereid is
alvast een grote
vooruitbetaling te doen
aanhet Rode Kruis, zodat
de hulp die uit dit
project voortkomt, hoe
bescheiden wellicht ook,
onmiddellijk in gang
gezet kan worden.Ik hoop
oprecht dat dit 'Band
Aid-project' het
blaasorkesten wereldwijd
mogelijk maakt de mensen
in Japante steunen - een
land waar blaasmuziek
voor velen een manier van
leven is.
Der
Komponist schreibt
über sein Stück:Am
11. März 2011
ereignete sich ein
Erdbeben der Stärke
9,0 vor der
nordöstlichen Küste
Japans.Diese
Werkbeschreibung schreibe
ich nur eine Woche
später. Die Zahl der
Todesopfer des Erdbebens
und des dadurch
ausgelösten Tsunamis
überschreitet bereits
die 6000, wobei noch
tausende Menschen als
vermisst gelten.Ich habe
zahlreiche Freunde in
Japan, die mit vielen
Blasorchestern im ganzen
Land verbunden sind.
Einer dieser Freunde,
Yutaka Nishida, schlug
mir vor, ein Stück zu
schreiben, um mit dem
Erlös den von der
Katastrophe betroffenen
Menschen zu helfen. Ich
war gleich begeistert von
dieser Idee und habe
daraufhin
Cantilena(ein
Brass-Band-Stück, das
ich jüngst für das
Grenland International
Brass Festival in
Norwegen komponierte)
für Blasorchester
bearbeitet und ihm zu
Ehren meiner Freunde im
Land der aufgehenden
Sonne einen neuen Titel
gegeben.Ich werde meine
Tantiemen für dieses
Stück dem Hilfsfonds
des Japanischen Roten
Kreuzes spenden. Ich bin
auch sehr froh, dass mein
Verlag De Haske, der
ebenfalls alle Erlöse
aus diesem Stück
spenden wird, dem Roten
Kreuz bereits im Voraus
eine bedeutende Summe
geschickt hat, damit der
kleine Beitrag, den
dieses Projekt beitragen
kann, sofort ankommt.Es
ist mein inniger Wunsch,
dass dieses Band
Aid“-Projekt
Blasorchestern auf der
ganzen Welt
ermöglichen wird, den
Menschen in Japan zu
helfen, wo Blasorchester
in dieser schweren Zeit
für viele ein Weg
sind, das Leben aufrecht
zu erhalten.“Philip
Sparke
La
recente tragedia del
Giappone, messo in
ginocchio dal terremoto,
ha spinto Philip Sparke a
comporre The Sun Will
Rise Again (Il sole
sorger nuovamente), un
brano che vuole essere un
messaggio di solidariet
al popolo nipponico, ma
anche un aiuto concreto:
gli introiti saranno
interamente devoluti, sia
dal compositore sia dalla
casa editrice De Haske,
alla Croce Rossa
giapponese.
Concert Band - Grade 2 SKU: FJ.B1871 Composed by Traditional. Arranged by...(+)
Concert Band - Grade 2
SKU: FJ.B1871
Composed by Traditional.
Arranged by Timothy
Loest. Concert Band. FJH
Young Band. Christmas;
Holiday Pops. Score and
Part(s). The FJH Music
Company Inc #98-B1871.
Published by The FJH
Music Company Inc
(FJ.B1871).
English.
Ring in
the holiday cheer with
this festive medley of
five bell-inspired carols
including Ding Dong!
Merrily on High,
Ukrainian Bell Carol, I
Heard the Bells on
Christmas Day, Ring
Little Bell, and Jingle
Bells. Feature the entire
ensemble, while directing
the musical spotlight on
orchestra bells, chimes,
and sleigh bells. A
solid, superb arrangement
that works equally well
as a jubilant opener, or
a joyous closer!
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/Harmonie - Grade 4 SKU: BT.1165-04-140-MS Arranged by Toshio...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1165-04-140-MS
Arranged by Toshio
Mashima. New Sounds for
Concert Band. Pop & Rock.
Score Only. Composed
2004. Music Sales
#1165-04-140 MS.
Published by Music Sales
(BT.1165-04-140-MS).
Can't Take
My Eyes Off You war
ein Riesenerfolg für
das Duo Bob Crewe und Bob
Gaudio. Bekannte
Künstler, wie unter
anderem Diana Ross,
Gloria Gaynor und
später die Pet Shop
Boys, brachten den Titel
über drei Jahrzehnte
hinweg immer wieder in
die Hitparaden und die
Menschen in den Discos
zum Tanzen. Toshio
Mashima bearbeitete den
unwiderstehlich flotten
Popsongs für
Blasorchester. Bei diesem
Titel kann niemand still
sitzen!
There have been
many arrangements of
Beatles’ songs for
various kinds of
ensembles, so rather than
just producing a further
medley of Beatles’
hits, Peter Kleine
Schaars has added a new
twist to them with this
excellent new work. All
You Need Is Love and With
a Little Help from my
Friends pass by in a
swing march, Michelle
sounds like a newly
composed ballad and When
I’m Sixty Four is
played in Dixie swing
style. A Hard
Day’s Night is
transformed into a funk
theme with a samba
interlude, Let It Be into
a slow march, and
Ob-La-Di, Ob-La-Da in a
rock beat. Experience The
Beatles as you have never
heard them before.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Scottish Dances Orchestre d'harmonie - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000956-140 Composed by Pete...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000956-140
Composed by Peter Martin.
Arranged by Menno
Haantjes. Score Only.
Gobelin Music
Publications #GOB
000956-140. Published by
Gobelin Music
Publications
(BT.GOB-000956-140).
Scottish Dances
is based on three
Scottish traditionals:
Cock of the North, The
Bonnie Bank's O'Loch
Lomond and Marie's
Wedding.
I. Cock
of the North's name is
used for multiple things
or events. For example
for a locomotive to a
famous, it seems,
delicious liqueur, and
rallies to snowboard
competitions. Furthermore
is Cock O' the North a
nickname of a famous
Duke. (The 4th Duke of
Gordon). In this
composition Cock of the
North (a Jig) is a
traditional Scottish
bagpipe tune, regularly
played on tattoos by Pipe
Bands. Not infrequently
the drummers sing the
text.
Auntie
Mary, had a canary,
Up the leg of her
trousers While she
was sleeping Iwas
peeping Up the leg of
her trousers.
II.
The Bonnie Bank's O'Loch
Lomond is about a sad
story that took place
during an revolt against
the British. In 1745
Bonnie Prince Charlie had
to retreat. Two of his
men were captured. One
was convicted and
executed, while the other
was released. The spirit
of the executed soldier
would arrive in Scotland
via the 'low road'
(underworld) before his
companion, who had still
a long way to go.
You'll take the
high road And I'll
take the low road And
I'll be in Scotland afore
ye But me and my true
love will never meet
again On the Bonnie
Bonnie Banks of Loch
Lomond
III. In a
Scottish wedding, after
the official ceremonies,
there is often danced.
This is called a ceilidh.
For this we use
traditional Scottish
music such as Marie's
Wedding '. Mid dance
we go back to the church,
where a lovely song in
honor of the couple
sounds. Marie's
Wedding has been recorded
by Van Morrison (among
many others).
Step we gaely, on we go,
heel for heel and toe for
toe Arm and arm and
on we go, all for Marie's
wedding
Scottish
Dances is gebaseerd op
drie Schotse
traditionals: Cock of the
North, The Bonnie Bank's
O'Loch Lomond en Marie's
Wedding.
I. De
naam Cock of the North
wordt voor meerdere
dingen of evenementen
gebruikt. Van een
beroemdelocomotief tot
een, naar het schijnt,
een heerlijke likeur, en
van rally's tot snowboard
wedstrijden. Bovendien
was 'Cock O' the North'
een bijnaam van een
bekende hertog. (the 4th
Duke of Gordon) Het
in deze
compositiegebruikte Cock
of the North (een Jig) is
een traditioneel Schotse
bagpipe tune (doedelzak
liedje) wat regelmatig
gespeeld wordt op taptoes
door Pipebands. Niet
zelden zingen de
slagwerkers de tekst
mee.
Auntie Mary,
had acanary, Up the
leg of her trousers
While she was sleeping I
was peeping Up the
leg of her
trousers.
You'll
take the high road
And I'll take the low
road And I'll be in
Scotland aforeye But
me and my true love will
never meet again On
the Bonnie Bonnie Banks
of Loch Lomond
III. Bij een Schotse
bruiloft wordt na de
officiele plechtigheden
vaak gedanst. Dit noemt
men een ceilidh. Hiervoor
gebruiktmen traditionele
Schotse muziek zoals
bijv. 'Marie's
Wedding'. Halverwege
de dans gaan we nog even
terug naar de kerk, waar
een lieflijk lied ter ere
van het bruidspaar
klinkt. Marie's
Wedding is o.a. door Van
Morrison opgenomen.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 20 pages. Carl
Fischer Music #YPS212F.
Published by Carl Fischer
Music (CF.YPS212F).
ISBN 9781491152997.
UPC:
680160910496.
Takin
g its title from a poem
about grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Composed by Larry Clark.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+10+20+4
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS212.
Published by Carl Fischer
Music (CF.YPS212).
ISBN 9781491152317.
UPC: 680160909810. Key: C
minor.
Taking its
title from a poem about
grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Concert band - Grade 4 SKU: MH.1-59913-072-6 Composed by Timothy Broege. ...(+)
Concert band - Grade 4
SKU:
MH.1-59913-072-6
Composed by Timothy
Broege. Suitable for high
school, community, and
college bands. Conductor
score and set of parts.
Duration 7:00. Published
by Manhattan Beach Music
(MH.1-59913-072-6).
ISBN
9781599130729.
Prog
ram Notes: It was a happy
coincidence that the
commission for SINFONIA
XVI: TRANSCENDENTAL
VIENNA came from the
Henry David Thoreau
School located in Vienna,
Virginia. Thoreau is one
of the magic names in
American culture: Henry
David Thoreau, one of the
leading figures of the
Transcendentalist
movement, centered in
19th-century New England,
left us a body of unique
philosophical and
poetical writings. To
utter the words, Walden
Pond, is to invoke an
America long past in
physical actuality, but
still present in the
minds and hearts of many
American citizens. The
name, Vienna, of course,
summons thoughts of the
Old World: culture, fine
food, wine, civilized
cities. While
contemplating the form
that SINFONIA XVI should
take, I found myself
thinking of two pillars
of Viennese culture:
expressionism and the
waltz. Musically
speaking, expressionism
reached a zenith in the
works of Arnold
Schoenberg and Alban
Berg. It was Berg, in
particular, that I wanted
to invoke in the outer
movements of my
composition. I knew I
would also have to
include a waltz, and an
invocation of the
mysterious forces that
are contained in both
expressionism and
transcendentalism. Thus
was the structure of the
work generated. The outer
movements with their
vision of the night sky
and the stars, Aldebaran
and Sirius, frame the
central movements, which
are essentially two
versions of the same
material, and are quieter
and less dramatic. The
outer movements are
symmetrical, and share
both pitch and rhythmic
materials. Accordingly, I
see the work as a ternary
form, with the central
movements forming a unit
within the outer frame: A
(Movement 1) B (Movements
2 & 3) A' (Movement 4).
Harmonically, the work
can be summarized by the
two pitch-series which
occur in the opening bars
of Movement 1: the
initial 12-note row, with
a tonal center on F-sharp
(measures 1-6), and the
subsequent D-minor Dorian
7-note row (beginning in
measure 14). Aspects of
these materials occur in
all four movements, but
they are most strongly
present in Movements 1
and 4. Note that the
12-note row is not
subjected to the usual
serial procedures, but
instead is treated as a
signifier and is left
unchanged. Since the
fourth movement takes up
where the first movement
leaves off, I can
conceive of one
interpretation of
SINFONIA XVI as an
evocation of Thoreau
himself contemplating two
of the brightest stars on
a clear, cold night.
Aldebaran is an orange,
first-magnitude star,
located in the
constellation Taurus;
Sirius, the Dog Star, is
the brightest star in the
sky, and is located in
the constellation Canis
Major. Thoreau interrupts
his star-gazing to
entertain some inward
thoughts, waking dreams,
as it were, then returns
his gaze to the splendid
night sky and all its
treasures. Although many
other interpretations of
the material are
possible, it is important
to remember that the
abstract materials of the
piece -- pitch, rhythm,
structure -- are what
count the most. Ensemble
instrumentation: 1
Piccolo, 4 Flute 1, 4
Flute 2, 3 Oboe, 1 Eb
Clarinet (opt.), 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 3
Bass Clarinet, 3 Bassoon,
3 Eb Alto Saxophone 1, 3
Eb Alto Saxophone 2, 2 Bb
Tenor Saxophone, 2 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 Horn
1, 2 Horn 2, 3 Trombone
1, 3 Trombone 2, 3
Euphonium B.C., 2
Euphonium T.C., 5 Tuba, 2
Timpani, 3 Percussion 1,
3 Percussion 2, 3
Percussion 3, 3
Percussion 4.
Composed by Bart Howard,
Charles Strouse, Howard
Greenfield, Jimmy Webb,
L. Duddy, L. Pockriss,
Lee Adams, Neil Sedaka,
R.C. Bennett, and Sid
Tepper. Arranged by
Naohiro Iwai. New Sounds
for Concert Band. Pop &
Rock. Set (Score &
Parts). Composed 2007.
Music Sales #1510-07-010
MS. Published by Music
Sales
(BT.1510-07-010-MS).
9x12 inches.
For
this medley, Naohiro Iwai
has gathered six of the
finest Americanhits from
the 1940's and 1950's,
that despite their age
are still in thehearts
and minds of many people
today - true American
Beauties!
Dit
werk bevat een aantal
Amerikaanse muzikale
juweeltjes in een
vakkundig arrangement
voor harmonieorkest van
de hand van Naohiro Iwai.
Met Johnny Angel, By
the Time I Get to
Phoenix, Oh! Carol, Red
Roses for a Blue Lady,
FlyMe to the Moon
en Bye Bye
Birdie.
In
diesem Medley versammelte
Naohiro Iwai sechs der
schönsten
amerikanischen Hits, die
in den vierziger und
fünfziger Jahren
erstmals
veröffentlicht wurden,
aber heute noch in aller
Munde und Herzen sind:
wahre musikalische
American Beauties
eben!
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1125271-140 Composed by Micha...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1125271-140
Composed by Michael
Jackson. Arranged by Miho
Hazama. Pop and Rock.
Score Only. Composed
2012. 20 pages. De Haske
Publications #DHP
1125271-140. Published by
De Haske Publications
(BT.DHP-1125271-140).
I Just
Canâ??t Stop Loving
You was de eerste
single van het album
Bad. Michael
Jackson nam dit
romantisch duet, samen
met zangeres en
songwriter Siedah Garret,
op. Dit gevoelige nummer
werd wereldwijd bekend
door Michaelâ??sBad
World Tour in 1987. Miho
Hazama maakte er een
arrangement van met een
prachtig volle
klank.
I Just
Canâ??t Stop Loving
You war die erste
Single aus dem Album
Bad, wo das
romantische Duett
zusammen mit der
Sängerin und
Songwriterin Siedah
Garret aufgenommen wurde.
Weltweit ist der
gefu?hlvolle Song vor
allem von der Bad World
Tour im Jahr 1987 bekannt
geworden. Dieses
Arrangement besticht vor
allem durch seinen vollen
Orchesterklang.
I
Just Canâ??t Stop Loving
You, il primo single
dellâ??album Bad,
include il romantico duo
con la cantante e autrice
Siedah Garret. Il brano
è diventato famoso
grazie al Bad World Tour
del 1987. Questo
raffinato arrangiamento
si contraddistingue per
le sonorit .
Concert Band - Grade 2.5 SKU: FJ.B1882 Composed by Brian Balmages. Concer...(+)
Concert Band - Grade 2.5
SKU: FJ.B1882
Composed by Brian
Balmages. Concert Band.
FJH Young Band. Score and
Part(s). The FJH Music
Company Inc #98-B1882.
Published by The FJH
Music Company Inc
(FJ.B1882).
English.
Who
will be better because of
what I do today? These
words inspire the opening
chorale and the joyous
celebration that follows.
A powerful reminder of
how each of us can affect
positive change in the
people and world around
us, the music eventually
erupts in a euphoria of
sound, almost akin to a
pop music concert. As
quickly as this comes,
the chorale returns once
more, leaving everyone
with a sense of
peace.
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 - Grade 2.5 SKU: FJ.B1882S Composed by Brian Balmages. Conce...(+)
Concert Band - Grade 2.5
SKU: FJ.B1882S
Composed by Brian
Balmages. Concert Band.
FJH Young Band. Score.
The FJH Music Company Inc
#98-B1882S. Published by
The FJH Music Company Inc
(FJ.B1882S).
English.
Who
will be better because of
what I do today? These
words inspire the opening
chorale and the joyous
celebration that follows.
A powerful reminder of
how each of us can affect
positive change in the
people and world around
us, the music eventually
erupts in a euphoria of
sound, almost akin to a
pop music concert. As
quickly as this comes,
the chorale returns once
more, leaving everyone
with a sense of
peace.
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
Score Only Concert Band (Score) - Grade 3 SKU: HL.4006391 By Elton John. ...(+)
Score Only Concert Band
(Score) - Grade 3
SKU:
HL.4006391
By Elton
John. By Bernie Taupin.
Arranged by Johnnie
Vinson. Flex-Band Grade
3. Pop, Rock. Softcover.
36 pages. Duration 513
seconds. Published by Hal
Leonard (HL.4006391).
UPC: 888680988005.
9.0x12.0x0.072
inches.
Hit songs
by Elton John have become
an enduring part of our
pop culture. Featured in
the bio pic Rocketman,
these familiar classics
feature catchy melodies
and timeless lyrics.
Here's a medley for
flexible instrumentation
that includes Rocket Man,
Crocodile Rock, Your
Song, and I'm Still
Standing.
I Just Can't Stop Loving You Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Composed by Michael Jackson. Arranged by Miho Hazama. Pop and Rock. Set (Score...(+)
Composed by Michael
Jackson.
Arranged by Miho Hazama.
Pop
and Rock. Set (Score and
Parts).
Composed 2012. De Haske
Publications #DHP
1125271-
010. Published by De
Haske
Publications
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44007255 Roman Carniva...(+)
Concert Band/Harmonie
(Score) - Grade 5
SKU:
HL.44007255
Roman
Carnival Overture.
Composed by Hector
Berlioz. De Haske Concert
Band. Transcription.
Score Only. Composed
2007. De Haske
Publications #DHP1074278.
Published by De Haske
Publications
(HL.44007255).
Berlioz based
his sparkling overture Le
Carnaval Romain on
themesfrom his opera
Benvenuto Cellini. The
opera had been performed
a fewtimes in Paris, a
number of years before,
with little success. The
overturehowever, quickly
became very popular and
is still today a great a
crowdpleaser. The
energetic vitality of the
work - with an Italian
touch- is certainly
present in this skilfully
written transcription by
TohruTakahashi.
Hector Berlioz
(1803-1869) baseerde zijn
sprankelende ouverture
Le Carnaval Romain
- die verscheen in 1844 -
op thema's uit zijn opera
Benvenuto Cellini,
namelijk de tenoraria uit
de eerste akte en de
carnavalscene uitde
tweede akte. De opera was
een aantal jaren daarvoor
een paar keer opgevoerd
in Parijs, met weinig
succes. De ouverture werd
echter al snel bijzonder
geliefd. Een snelle
opening leidt een
langzaam deel in, waarna
een spannendallegro
volgt. De energieke
vitaliteit - met een
Italiaans tintje - spat
van het werk af, ook in
deze vakkundig geschreven
transcriptie van Tohru
Takahashi.
Die
strahlende Ouverture
Le Carnaval von
Hector Berlioz greift auf
Themen aus der einige
Jahre zuvor
uraufgefuhrten Oper
Benevenuto Cellini
zuruck. Damals war die
Ouverture erfolgreicher
als die Oper selbst und
hat - zu Recht - bis
heute nicht an
Popularitat verloren. Die
energiegeladene
Lebendigkeit dieses
Werkes mit italienischem
Flair ist in der
geschickt geschriebenen
Transkription von Tohru
Takahashi absolut
prasent.
Le
compositeur, chef
d'orchestre et critique
musical Hector Berlioz
(1803-1869) fut un des
plus grands innovateurs
et plus eminents
representants du
romantisme musical
francais.La semillante
ouverture du Carnaval
romain (1844),
reprend quelques themes
de l'opera malchanceux
Benvenuto Cellini
et notamment le duo
initial (Acte I) et la
grande scene du Carnaval
(Acte II). Lorsque
Benvenuto Cellini
fut offert au public
parisien en 1838,
l'œuvre fut
conspuee. Au bout de
quelques representations,
l'opera fut abandonne,
mais son ouverture connut
un immense succes.La
frenesie du bref passage
introductif est absorbee
par une phase lente.
L'Allegro qui
suitdechaine la liesse du
Carnaval.
L'extraordinaire vitalite
de l'œuvre
originale, coloree d'une
touche italienne, se
revele aussi dans cette
brillante transcription
pour Orchestre d'Harmonie
signee Tohru
Takahashi.
Concert Band/Harmonie - Grade 5 SKU: HL.44007254 Roman Carnival Overtu...(+)
Concert Band/Harmonie -
Grade 5
SKU:
HL.44007254
Roman
Carnival Overture.
Composed by Hector
Berlioz. De Haske Concert
Band. Transcription.
Score Only. Composed
2007. Hal Leonard
#1074278. Published by
Hal Leonard
(HL.44007254).
Ber
lioz based his sparkling
overture Le Carnaval
Romain on themesfrom his
opera Benvenuto Cellini.
The opera had been
performed a fewtimes in
Paris, a number of years
before, with little
success. The
overturehowever, quickly
became very popular and
is still today a great a
crowdpleaser. The
energetic vitality of the
work - with an Italian
touch- is certainly
present in this skilfully
written transcription by
TohruTakahashi.
Hector Berlioz
(1803-1869) baseerde zijn
sprankelende ouverture
Le Carnaval Romain
- die verscheen in 1844 -
op thema's uit zijn opera
Benvenuto Cellini,
namelijk de tenoraria uit
de eerste akte en de
carnavalscene uitde
tweede akte. De opera was
een aantal jaren daarvoor
een paar keer opgevoerd
in Parijs, met weinig
succes. De ouverture werd
echter al snel bijzonder
geliefd. Een snelle
opening leidt een
langzaam deel in, waarna
een spannendallegro
volgt. De energieke
vitaliteit - met een
Italiaans tintje - spat
van het werk af, ook in
deze vakkundig geschreven
transcriptie van Tohru
Takahashi.
Die
strahlende Ouverture
Le Carnaval von
Hector Berlioz greift auf
Themen aus der einige
Jahre zuvor
uraufgefuhrten Oper
Benevenuto Cellini
zuruck. Damals war die
Ouverture erfolgreicher
als die Oper selbst und
hat - zu Recht - bis
heute nicht an
Popularitat verloren. Die
energiegeladene
Lebendigkeit dieses
Werkes mit italienischem
Flair ist in der
geschickt geschriebenen
Transkription von Tohru
Takahashi absolut
prasent.
Le
compositeur, chef
d'orchestre et critique
musical Hector Berlioz
(1803-1869) fut un des
plus grands innovateurs
et plus eminents
representants du
romantisme musical
francais.La semillante
ouverture du Carnaval
romain (1844),
reprend quelques themes
de l'opera malchanceux
Benvenuto Cellini
et notamment le duo
initial (Acte I) et la
grande scene du Carnaval
(Acte II). Lorsque
Benvenuto Cellini
fut offert au public
parisien en 1838,
l'œuvre fut
conspuee. Au bout de
quelques representations,
l'opera fut abandonne,
mais son ouverture connut
un immense succes.La
frenesie du bref passage
introductif est absorbee
par une phase lente.
L'Allegro qui
suitdechaine la liesse du
Carnaval.
L'extraordinaire vitalite
de l'œuvre
originale, coloree d'une
touche italienne, se
revele aussi dans cette
brillante transcription
pour Orchestre d'Harmonie
signee Tohru
Takahashi.
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!
Score and Parts Concert Band (Score and Parts) - Grade 3 SKU: HL.4008730...(+)
Score and Parts
Concert Band (Score and
Parts) - Grade 3
SKU:
HL.4008730
Concert
Band, Grade 3 3:50 Score
and parts. Composed
by Peter Knockaert.
Symphonic Dimensions.
Concert Band. Softcover.
Duration 230 seconds. Hal
Leonard #SDP2392302.
Published by Hal Leonard
(HL.4008730).
ISBN
9798350119473. UPC:
196288195238.
The
last decades we humans
have witnessed a
significant number of
disturbing developments.
If we look at the direct
and persistent
destructive influence of
humans on nature: air and
water quality are
reducing, soils are
depleting, crops are
short of pollinators,
coasts are less protected
from storms,
deforestation, the
degradation of land, loss
of biodiversity and
pollution. In stark
contrast we find the
intelligence and
boundless creativity of
humans: what about all
the high technological
advancements? What lies
ahead in the realm of
Artificial Intelligence?
Will we let machines make
human decisions? What
ethical issues arise
there? This composition
reflects the desperation
and urgency of the human
need for action. The
music draws inspiration
from the brutal natural
forces that ravage our
world as a direct
consequence of human
failure and selfishness.
Are we heading towards a
'Judgment Day'? Or will
humanity find a way to
reverse negative trends
towards a more livable,
peaceful, and joyful
environment for humans,
animals, and nature? To
underscore this message,
composer Peter Knockaert
opted for a highly
classical idiom that has
been used by many
composers in classical
music: the 'Dies Irae'.
Traditionally, the Dies
Irae is the third part of
a requiem (funeral mass).
The text used in
'Judgment DayÂ? (for
optional choir) is coming
from the original Latin
text.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
Concert
Band, Grde 3 3:50
Score. Composed by
Peter Knockaert.
Symphonic Dimensions.
Concert Band. Softcover.
Duration 230 seconds. Hal
Leonard #SDP2392301.
Published by Hal Leonard
(HL.4008731).
UPC:
196288195245.
The
last decades we humans
have witnessed a
significant number of
disturbing developments.
If we look at the direct
and persistent
destructive influence of
humans on nature: air and
water quality are
reducing, soils are
depleting, crops are
short of pollinators,
coasts are less protected
from storms,
deforestation, the
degradation of land, loss
of biodiversity and
pollution. In stark
contrast we find the
intelligence and
boundless creativity of
humans: what about all
the high technological
advancements? What lies
ahead in the realm of
Artificial Intelligence?
Will we let machines make
human decisions? What
ethical issues arise
there? This composition
reflects the desperation
and urgency of the human
need for action. The
music draws inspiration
from the brutal natural
forces that ravage our
world as a direct
consequence of human
failure and selfishness.
Are we heading towards a
'Judgment Day'? Or will
humanity find a way to
reverse negative trends
towards a more livable,
peaceful, and joyful
environment for humans,
animals, and nature? To
underscore this message,
composer Peter Knockaert
opted for a highly
classical idiom that has
been used by many
composers in classical
music: the 'Dies Irae'.
Traditionally, the Dies
Irae is the third part of
a requiem (funeral mass).
The text used in
'Judgment DayÂ? (for
optional choir) is coming
from the original Latin
text.
Priority
Direct Import titles are
specialty titles that are
not generally offered for
sale by US based
retailers. These items
must be obtained from our
overseas suppliers. When
you order a Priority
Direct Import title, our
overseas warehouse will
ship it to you directly
at the time of order,
typically within one
business day. However,
the shipment time will be
slower than items shipped
from our US warehouse. It
may take up to 2-3 weeks
to get to
you.
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
I'm So Excited Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1043705-140 Arranged by Peter...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1043705-140
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Original
Light Music. Score Only.
Composed 2004. De Haske
Publications #DHP
1043705-140. Published by
De Haske Publications
(BT.DHP-1043705-140).
The sisters
Ruth, Anita and June
Pointer from West Oakland
in California learned how
to sing in the sixties in
church where their father
was a minister. At the
beginning of the 1970s
they entered the music
business, where they
proved to have a mastery
of many styles -
including rhythm & blues,
jazz, and country.
However, the Pointer
Sisters acquired
international fame at the
beginning of the eighties
with their soul-like pop
music. A great hit was
the up-tempo number
I’m So
Excited, which is
still a success on every
dance floor. This
sparkling arrangement by
Peter Kleine Schaars
certainly provides the
excitement that is
suggested in the
title.
Die
Pastorentöchter Ruth,
Anita und June Pointer
aus Kalifornien lernten
in den 60er-Jahren in der
Kirche ihres Vaters das
Singen. Anfang der
70er-Jahre stiegen sie
ins Musikgeschäft ein
und bewiesen ihr
Können in vielen
Stilen - darunter Rhythm
& Blues, Jazz und
Country. Der
internationale Ruhm kam
jedoch zu Beginn der 80er
mit ihrer soulartig
angehauchten Popmusik.
Ein Riesenhit war I'm
So Excited, heute
noch ein Erfolg auf allen
Tanzflächen. Diese
spritzige Bearbeitung
für Blasorchester
sorgt mit Sicherheit
für Aufregung - das im
Titel versprochene
?excitement!
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1206249-010 As performed b...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1206249-010
As performed by Burt
Bacharach. Composed
by Burt Bacharach.
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2020. De Haske
Publications #DHP
1206249-010. Published by
De Haske Publications
(BT.DHP-1206249-010).
This
bittersweet song from
1967 is a real classic,
partly due to the
rendition by two queens
of soul, Dionne Warwick
and later also Aretha
Franklin. The theme was
very topical at the time:
A woman is concerned
about her husband
fighting in the Vietnam
War, and thinks about him
during her day-to-day
worries. Top arranger
Peter Kleine Schaars
created a tasteful and
carefully orchestrated
version. His arrangement
stays true to the
original colour and feel
of the song, and, as a
grade 3 piece, is still
perfectly playable for
most bands.
Deze
bitterzoete song uit 1967
is een echte klassieker,
mede doordat het door
twee soulkoninginnen,
Dionne Warwick en later
ook Aretha Franklin, werd
vertolkt. De thematiek
was destijds erg actueel:
een vrouw maakt zich
tijdens haar dagelijkse
beslommeringen zorgen om
haar man, die in de
Vietnamoorlog vecht.
Toparrangeur Peter Kleine
Schaars maakte er een
smaakvolle en zorgvuldig
georkestreerde versie
van. Zijn arrangement
blijft trouw aan de
originele kleur en feel
van de song, en is in
graad 3 toch voor de
meeste harmonieorkesten
probleemloos
speelbaar.
Dieses
bittersüße Lied aus
dem Jahr 1967 ist ein
echter Klassiker, was
teilweise auf die
Interpretationen der
beiden Queens of
Soul“ Dionne
Warwick und später
auch Aretha Franklin
zurückzuführen ist.
Das Thema war zu der
damaligen Zeit sehr
aktuell: Eine Frau macht
sich Sorgen um ihren
Mann, der im Vietnamkrieg
kämpft und denkt
während ihrer
Alltagssorgen an ihn.
Top-Arrangeur Peter
Kleine Schaars schuf eine
stilvolle und
sorgfältig
orchestrierte Version.
Sein Arrangement im
Schwierigkeitsgrad 3 hat
die ursprüngliche
Klangfarbe und Stimmung
des Liedes beibehalten
und ist für die
meisten Blasorchester gut
spielbar.
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1206249-140 As performed b...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1206249-140
As performed by Burt
Bacharach. Composed
by Burt Bacharach.
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2020. 14 pages. De Haske
Publications #DHP
1206249-140. Published by
De Haske Publications
(BT.DHP-1206249-140).
This
bittersweet song from
1967 is a real classic,
partly due to the
rendition by two queens
of soul, Dionne Warwick
and later also Aretha
Franklin. The theme was
very topical at the time:
A woman is concerned
about her husband
fighting in the Vietnam
War, and thinks about him
during her day-to-day
worries. Top arranger
Peter Kleine Schaars
created a tasteful and
carefully orchestrated
version. His arrangement
stays true to the
original colour and feel
of the song, and, as a
grade 3 piece, is still
perfectly playable for
most bands.
Deze
bitterzoete song uit 1967
is een echte klassieker,
mede doordat het door
twee soulkoninginnen,
Dionne Warwick en later
ook Aretha Franklin, werd
vertolkt. De thematiek
was destijds erg actueel:
een vrouw maakt zich
tijdens haar dagelijkse
beslommeringen zorgen om
haar man, die in de
Vietnamoorlog vecht.
Toparrangeur Peter Kleine
Schaars maakte er een
smaakvolle en zorgvuldig
georkestreerde versie
van. Zijn arrangement
blijft trouw aan de
originele kleur en feel
van de song, en is in
graad 3 toch voor de
meeste harmonieorkesten
probleemloos
speelbaar.
Dieses
bittersüße Lied aus
dem Jahr 1967 ist ein
echter Klassiker, was
teilweise auf die
Interpretationen der
beiden Queens of
Soul“ Dionne
Warwick und später
auch Aretha Franklin
zurückzuführen ist.
Das Thema war zu der
damaligen Zeit sehr
aktuell: Eine Frau macht
sich Sorgen um ihren
Mann, der im Vietnamkrieg
kämpft und denkt
während ihrer
Alltagssorgen an ihn.
Top-Arrangeur Peter
Kleine Schaars schuf eine
stilvolle und
sorgfältig
orchestrierte Version.
Sein Arrangement im
Schwierigkeitsgrad 3 hat
die ursprüngliche
Klangfarbe und Stimmung
des Liedes beibehalten
und ist für die
meisten Blasorchester gut
spielbar.
Score Only Concert Band (Score) - Grade 3 SKU: HL.4005059 Arranged by Mic...(+)
Score Only Concert Band
(Score) - Grade 3
SKU:
HL.4005059
Arranged
by Michael Brown. Young
Concert Band. Children,
Movies. Softcover.
Published by Hal Leonard
(HL.4005059).
UPC:
888680676360.
9.0x12.0x0.086
inches.
The upbeat
animated film Sing
features an entertaining
story about a talent show
and plenty of great
music. Here is an
appealing medley for band
that includes a new song
(Faith) by Stevie Wonder
and Ariana Grande, along
with the classic pop hits
Hallelujah (Leonard
Cohen), I'm Still
Standing (Elton John) and
Stevie Wonder's Don't You
Worry 'Bout a Thing.