Comet Ride Orchestre d'harmonie [Conducteur et Parties séparées] - Facile FJH
By Brian Balmages. Intermediate Wind Band/Ensemble. FJH Developing Band. So what...(+)
By Brian Balmages.
Intermediate Wind
Band/Ensemble. FJH
Developing Band. So what
would it be like if
someone could actually
grab on to one of these
comets and take a ride
through the solar system?
Comet Ride seeks to
convey that very feeling.
The opening bold section
describes the sighting of
the comet and builds as
it gets closer and
closer. The piece then
takes off, launching a
wild comet ride filled
with excitement and
energy. Eventually, the
sheer beauty and awe of
outer space becomes the
focus of the work before
the piece builds once
again into a final roller
coaster of excitement.
Score for this title:
B1291S. Extra part for
this title: B1291P.
Concert Band. Level: 1.5.
Score and Set of Parts.
Published by The FJH
Music Company Inc.
(O Come, O Come Emmanuel / Ukrainian Bell Carol). Arranged by Jared Barnes. Conc...(+)
(O Come, O Come Emmanuel
/ Ukrainian Bell Carol).
Arranged by Jared Barnes.
Concert Band. Concert
Band; Part(s); Score.
Alfred Concert Band.
Christmas; Sacred;
Secular; Winter. Grade 3.
206 pages. Published by
Alfred Music
The Book of Urizen is Jacob de Haan his first Symphony for concert band, ...(+)
The Book of Urizen
is Jacob de Haan his
first Symphony for
concert band, solo
soprano, and a male
narrator in which sound
collages of expressions
are used. The piece is
inspired by the
compelling visionary poem
of the samename (which
the poet illustrated
himself) by the
Englishman William Blake
(1757-1827). The
Vision, first
movement and The
Creation, second
movement of The Book
of Urizen are
available by following
editionnumber: DHP
1043551. The Web,
the third movement of
The Book of Urizen
is available by the
following edition number:
DHP 1125252. Download the
audio samples here: track
1, track 2, track
3
In The Book
of Urizen - Jacob de
Haan zijn eerste symfonie
voor harmonieorkest,
zangstem (sopraan) en een
mannelijke spreekstem -
wordt gebruik gemaakt van
geluidscollages. De
compositie is ge
nspireerd op het
gelijknamigegedicht van
William Blake
(1757-1827). The
Vision, het eerste
deel en The
Creation, het tweede
deel van The Book of
Urizen zijn
beschikbaar via volgend
editienummer: DHP
1043551. The Web,
het derdedeel van The
Book of Urizen is
verkrijgbaar via
editienummer: DHP
1125252. Download
audiofragmenten hier:
track 1, track 2, track
3
The Book of
Urizen ist Jacob de
Haan seine erste
Symphonie für
Blasorchester, Gesang
(Sopran) und
(männliche)
Sprechstimme, in welcher
Botschaften durch
Geräuschcollagen
wiedergegeben werden. Als
Inspirationsquelle
dienteder gleichnamige
Gedichtzyklus des
großen englischen
Dichters und Malers
William Blake
(1757-1827). The
Vision, erster Satz
und The Creation,
zweiter Satz von The
Book of Urizen sind
unter der
folgendenEditionsnummer
erhältlich: DHP
1043551. The Web,
der dritte Satz von
The Book of Urizen , ist
unter der folgenden
Editionsnummer
erhältlich: DHP
1125252. Laden Sie hier
die Audiosamples
herunter: track 1, track
2,track 3
The Book of
Urizen is a work for
concert band, solo
soprano, and a male
narrator in which sound
collages of religious
expressions are used. The
piece is inspired by the
compelling visionary poem
of the same name (which
the poet
illustratedhimself) by
the Englishman William
Blake (1757-1827), who
occupies a unique
position in western
literature and the visual
arts. He was not just a
poet and a writer, but he
was also a graphic
artist, a painter, an
illustrator, a
spiritualist, areligious
visionary, and a mystic
philosopher. For the
performance of this work,
a professional sound
system, including two
microphones and a CD
player, is needed. The
three sound collages are
three separate tracks on
the enclosed CD and can
beplayed easily at the
right moment. The Book
of Urizen bears
resemblance to Genesis
and Exodus, of which the
contents form the basis
of the Christian, Jewish,
and Islamic faith. Blake
adhered to the principle
that all religions are in
fact one,and that deities
reside in human beings.
In The Book of
Urizen this is
represented in “The
Net of Religion,â€
which is spanned over the
earth by Urizen. The
sound collages, compiled
by Jacob de Haan in the
studio, find their origin
inJerusalem, the Holy
City, where the
afore-mentioned faiths
“come
together.†In the
first movement of
this composition, The
Vision, Urizen
prepares his vision of
the world, and he
presents this to the
“Eternals.â€
His vision is
rejected,and Urizen locks
himself up in his own
abstract world. When he
does emerge again, he is
confronted with rage by
the gathered Eternals.
Urizen flees the wrath of
the Eternals, “the
flames of eternal
fury,†and enwombs
himself in his own world.
Whenthe Eternals see
Urizen in his
“stony
sleep,†they wonder
if this is death. The
blacksmith Los is torn by
grief because of the
isolation of Urizen. It
brings him to rouse his
fires, prepare his forge,
and to give
Urizen’s world
concrete form. In
thesecond
movement, The
Creation,
Urizen’s world,
but also man, woman, and
child are created. Los is
horrified with the
appearance of
Urizen’s body. He
mourns and pities Urizen,
and from his blood a
female form comes into
being, with thename
Enitharmon. The Eternals,
fearful of the female
form, decide to erect a
tent to obstruct their
view to eternity.
Enitharmon and Los beget
a son, called Orc. Los
baptizes him as a child
of the “fallen
world.†Orc is fed
at Enitharmon’s
breast,which makes a
girdle of jealousy
restrict Los’
chest. He takes the child
to the top of the
mountain and chains him
down. The cries of Orc
awaken Urizen, who
explores his world
creating instruments of
scientific measurement to
do so. Los encircles
theface of Enitharmon
from the sight of Urizen
and Orc. She then
populates the earth by
giving birth to an
enormous race.The
Web, third movement
of The Book of
Urizen is now
available: DHP 1125252
As Performed by Lady Gaga. Composed by Lady Gaga, Natalie Hemby, Hillary Lind...(+)
As Performed by Lady
Gaga.
Composed by Lady Gaga,
Natalie Hemby, Hillary
Lindsey, and Aaron
Raitiere.
Arranged by Michael
Kamuf.
Concert Band; Performance
Music Ensemble. Pop Young
Band. Movie. Score. 24
pages.
Duration 4:00. Alfred
Music
#00-47413S. Published by
Alfred Music
As Performed by Lady Gaga. Composed by Lady Gaga, Natalie Hemby, Hillary Lind...(+)
As Performed by Lady
Gaga.
Composed by Lady Gaga,
Natalie Hemby, Hillary
Lindsey, and Aaron
Raitiere.
Arranged by Michael
Kamuf.
Concert Band; Performance
Music Ensemble. Pop Young
Band. Movie. Score and
Parts.
262 pages. Duration 4:00.
Alfred Music #00-47413.
Published by Alfred Music
Arranged by Mark Weston. Trans. And scored by Douglas E. Wagner. For Concert Ban...(+)
Arranged by Mark Weston.
Trans. And scored by
Douglas E. Wagner. For
Concert Band. Concert
Band. Belwin Young Band.
Level: 2 (Easy) (grade
2). Conductor Score.
Published by Alfred
Publishing.
Arranged by Mark Weston. Trans. And scored by Douglas E. Wagner. For Concert Ban...(+)
Arranged by Mark Weston.
Trans. And scored by
Douglas E. Wagner. For
Concert Band. Concert
Band. Belwin Young Band.
Level: 2 (Easy) (grade
2). Conductor Score &
Parts. Duration 3:10.
Published by Alfred
Publishing.
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.44013354 <...(+)
Score and Parts Concert
Band (Score & Parts) -
Grade 4
SKU:
HL.44013354
Concert Band Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Classical. Softcover.
Duration 820 seconds.
Anglo Music Press
#AMP471030. Published by
Anglo Music Press
(HL.44013354).
Sinfonietta:
The Town Beneath the
Cliff was commissioned by
Holmestrand Ungdomskorps
from Vestfold in Norway.
The work is in four
movements: a spectacular
fanfare followed by a
'moto perpetuo'-like
toccata. The third
movement Hymn is a
beautiful piece of music
allowing the band to show
its musicality and sound.
The last movement Scherzo
Finale opens with a short
phrase from Holmestrand's
own 'town song' -
Holmestrandsangen, which
comes again in full at
the end of the piece,
accompanied by a florid
passage based on
theopening theme.
Concert Band (Score) - Grade 4 SKU: HL.44013355 Concert Band Score...(+)
Concert Band (Score) -
Grade 4
SKU:
HL.44013355
Concert Band
Score. Composed by
Philip Sparke. Anglo
Music Concert Band.
Classical. Softcover.
Duration 820 seconds.
Anglo Music Press
#AMP471130. Published by
Anglo Music Press
(HL.44013355).
UPC:
888680923037.
Sinfo
nietta: The Town Beneath
the Cliff was
commissioned by
Holmestrand Ungdomskorps
from Vestfold in Norway.
The work is in four
movements: a spectacular
fanfare followed by a
'moto perpetuo'-like
toccata. The third
movement Hymn is a
beautiful piece of music
allowing the band to show
its musicality and sound.
The last movement Scherzo
Finale opens with a short
phrase from Holmestrand's
own 'town song' -
Holmestrandsangen, which
comes again in full at
the end of the piece,
accompanied by a florid
passage based on
theopening theme.
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/Harmonie - Grade 5 SKU: BT.DHP-1043551-140 I. The Vision ...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1043551-140
I. The Vision - II.
The Creation.
Composed by Jacob De
Haan. Sovereign Series.
Concert Piece. Score
Only. Composed 2004. De
Haske Publications #DHP
1043551-140. Published by
De Haske Publications
(BT.DHP-1043551-140).
The Book of
Urizen is Jacob de
Haan his first Symphony
for concert band, solo
soprano, and a male
narrator in which sound
collages of expressions
are used. The piece is
inspired by the
compelling visionary poem
of the samename (which
the poet illustrated
himself) by the
Englishman William Blake
(1757-1827). The
Vision, first
movement and The
Creation, second
movement of The Book
of Urizen are
available by following
editionnumber: DHP
1043551. The Web,
the third movement of
The Book of Urizen
is available by the
following edition number:
DHP 1125252. Download the
audio samples here: track
1, track 2, track
3
In The Book
of Urizen - Jacob de
Haan zijn eerste symfonie
voor harmonieorkest,
zangstem (sopraan) en een
mannelijke spreekstem -
wordt gebruik gemaakt van
geluidscollages. De
compositie is ge
nspireerd op het
gelijknamigegedicht van
William Blake
(1757-1827). The
Vision, het eerste
deel en The
Creation, het tweede
deel van The Book of
Urizen zijn
beschikbaar via volgend
editienummer: DHP
1043551. The Web,
het derdedeel van The
Book of Urizen is
verkrijgbaar via
editienummer: DHP
1125252. Download
audiofragmenten hier:
track 1, track 2, track
3
The Book of
Urizen ist Jacob de
Haan seine erste
Symphonie für
Blasorchester, Gesang
(Sopran) und
(männliche)
Sprechstimme, in welcher
Botschaften durch
Geräuschcollagen
wiedergegeben werden. Als
Inspirationsquelle
dienteder gleichnamige
Gedichtzyklus des
großen englischen
Dichters und Malers
William Blake
(1757-1827). The
Vision, erster Satz
und The Creation,
zweiter Satz von The
Book of Urizen sind
unter der
folgendenEditionsnummer
erhältlich: DHP
1043551. The Web,
der dritte Satz von
The Book of Urizen , ist
unter der folgenden
Editionsnummer
erhältlich: DHP
1125252. Laden Sie hier
die Audiosamples
herunter: track 1, track
2,track 3
The Book of
Urizen is a work for
concert band, solo
soprano, and a male
narrator in which sound
collages of religious
expressions are used. The
piece is inspired by the
compelling visionary poem
of the same name (which
the poet
illustratedhimself) by
the Englishman William
Blake (1757-1827), who
occupies a unique
position in western
literature and the visual
arts. He was not just a
poet and a writer, but he
was also a graphic
artist, a painter, an
illustrator, a
spiritualist, areligious
visionary, and a mystic
philosopher. For the
performance of this work,
a professional sound
system, including two
microphones and a CD
player, is needed. The
three sound collages are
three separate tracks on
the enclosed CD and can
beplayed easily at the
right moment. The Book
of Urizen bears
resemblance to Genesis
and Exodus, of which the
contents form the basis
of the Christian, Jewish,
and Islamic faith. Blake
adhered to the principle
that all religions are in
fact one,and that deities
reside in human beings.
In The Book of
Urizen this is
represented in “The
Net of Religion,â€
which is spanned over the
earth by Urizen. The
sound collages, compiled
by Jacob de Haan in the
studio, find their origin
inJerusalem, the Holy
City, where the
afore-mentioned faiths
“come
together.†In the
first movement of
this composition, The
Vision, Urizen
prepares his vision of
the world, and he
presents this to the
“Eternals.â€
His vision is
rejected,and Urizen locks
himself up in his own
abstract world. When he
does emerge again, he is
confronted with rage by
the gathered Eternals.
Urizen flees the wrath of
the Eternals, “the
flames of eternal
fury,†and enwombs
himself in his own world.
Whenthe Eternals see
Urizen in his
“stony
sleep,†they wonder
if this is death. The
blacksmith Los is torn by
grief because of the
isolation of Urizen. It
brings him to rouse his
fires, prepare his forge,
and to give
Urizen’s world
concrete form. In
thesecond
movement, The
Creation,
Urizen’s world,
but also man, woman, and
child are created. Los is
horrified with the
appearance of
Urizen’s body. He
mourns and pities Urizen,
and from his blood a
female form comes into
being, with thename
Enitharmon. The Eternals,
fearful of the female
form, decide to erect a
tent to obstruct their
view to eternity.
Enitharmon and Los beget
a son, called Orc. Los
baptizes him as a child
of the “fallen
world.†Orc is fed
at Enitharmon’s
breast,which makes a
girdle of jealousy
restrict Los’
chest. He takes the child
to the top of the
mountain and chains him
down. The cries of Orc
awaken Urizen, who
explores his world
creating instruments of
scientific measurement to
do so. Los encircles
theface of Enitharmon
from the sight of Urizen
and Orc. She then
populates the earth by
giving birth to an
enormous race.The
Web, third movement
of The Book of
Urizen is now
available: DHP
1125252.
Composed by Jutras.
Concert Band. Symphony
Band Series. Audio
recording available
separately (item
CL.WFR367). Extra full
score. Composed 2010.
Duration 3 minutes, 42
seconds. Opus III Wind
Orchestra Publications
#012-3935-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3935-01).
This new
publication marks Andre
Jutras' 25-year
association with C.L.
Barnhouse Co. and will
certainly become a
classic of band
literature in the years
to come! You can again
expect Andre's unique
signature touch of fresh
harmonies, beautiful
melodies and full, solid
orchestration that will
make your band shine and
sound at its best in any
concert or festival
situation. If you wish to
challenge your musicians
you can also turn this
piece into a longer
French-Canadian folk song
suite by performing it in
conjunction with this
composer's much
celebrated Three Folk
Miniatures. A welcome
addition to your music
library!
Light of the Sword Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094729-140 Composed by Itaru...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094729-140
Composed by Itaru Sakai.
Brilliant Marches.
Concert March. Score
Only. Composed 2009. 20
pages. De Haske
Publications #DHP
1094729-140. Published by
De Haske Publications
(BT.DHP-1094729-140).
9x12
inches.
This work
takes both its name and
inspiration from a
lighthouse “Sword
Cape†that keeps
watch near Japan’s
naval base. The piece
describes how, come rain
or shine, the lighthouse
bids a safe journey to
departing ships, guides
them during their travels
and eventually welcomes
them home again. The
music evokes many musical
images - grand ships
sailing by, white-capped
waves, the deep blue of
the ocean and the light
of ‘sword
cape†as it
silently guides ships
over the mysterious
waters.
Dieses
Werk wurde von einem
Leuchtturm mit dem Namen
Schwert-Kap“
inspiriert, der in der
Nähe des
Marinestützpunkts von
Japan steht. Es
beschreibt, wie die
Schiffe bei jedem Wetter
von diesem Leuchtturm
verabschiedet, auf ihrem
Weg geleitet und bei der
Rückkehr willkommen
geheißen werden. Dabei
entstehen verschiedene
musikalische Bilder vor
dem inneren Auge des
Zuhörers: das
Vorbeiziehen eines
Schiffes, weiße Wellen
blauer See oder das Licht
des Leuchtturm auf dem
stillen Wasser bei
Nebel.
Light of
the Sword è un
brano commissionato a
Sakai dalla Banda
Militare delle Forze
marittime di autodifesa
giapponesi di stanza nel
porto di Yokosuka nella
baia di Tokio.
L’origine del
titolo ha due
significati: da una parte
si ispira al faro di
Tsurugizaki
(letteralmente
“estremit della
spadaâ€), la cui
luce serve come punto di
riferimento tra la terra
ed il mare, e
dall’altra alla
luce emanata dalla spada
che appartiene alla
grande tradizione degli
ufficiali di marina. Una
marcia luminosa!
Light of the Sword Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094729-010 Composed by Itaru...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094729-010
Composed by Itaru Sakai.
Brilliant Marches.
Concert March. Set (Score
& Parts). Composed 2009.
De Haske Publications
#DHP 1094729-010.
Published by De Haske
Publications
(BT.DHP-1094729-010).
9x12
inches.
This work
takes both its name and
inspiration from a
lighthouse “Sword
Cape†that keeps
watch near Japan’s
naval base. The piece
describes how, come rain
or shine, the lighthouse
bids a safe journey to
departing ships, guides
them during their travels
and eventually welcomes
them home again. The
music evokes many musical
images - grand ships
sailing by, white-capped
waves, the deep blue of
the ocean and the light
of ‘sword
cape†as it
silently guides ships
over the mysterious
waters.
Dieses
Werk wurde von einem
Leuchtturm mit dem Namen
Schwert-Kap“
inspiriert, der in der
Nähe des
Marinestützpunkts von
Japan steht. Es
beschreibt, wie die
Schiffe bei jedem Wetter
von diesem Leuchtturm
verabschiedet, auf ihrem
Weg geleitet und bei der
Rückkehr willkommen
geheißen werden. Dabei
entstehen verschiedene
musikalische Bilder vor
dem inneren Auge des
Zuhörers: das
Vorbeiziehen eines
Schiffes, weiße Wellen
blauer See oder das Licht
des Leuchtturm auf dem
stillen Wasser bei
Nebel.
Light of
the Sword è un
brano commissionato a
Sakai dalla Banda
Militare delle Forze
marittime di autodifesa
giapponesi di stanza nel
porto di Yokosuka nella
baia di Tokio.
L’origine del
titolo ha due
significati: da una parte
si ispira al faro di
Tsurugizaki
(letteralmente
“estremit della
spadaâ€), la cui
luce serve come punto di
riferimento tra la terra
ed il mare, e
dall’altra alla
luce emanata dalla spada
che appartiene alla
grande tradizione degli
ufficiali di marina. Una
marcia luminosa!
Commence! Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Cla...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Chimes, China
Cymbal, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1
and more. - Grade 3
SKU: CF.CPS210
Composed by Sean
O'Loughlin. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
16+16+8+16+32+32+8+8+8+8+
8+8+16+16+16+8+8+12+12+12
+16+8+4+8+32+40+8 pages.
Duration 3 minutes, 57
seconds. Carl Fischer
Music #CPS210. Published
by Carl Fischer Music
(CF.CPS210).
ISBN
9781491152362. UPC:
680160909865.
A
driving composition from
Sean
O'loughlin,?Commence!?beg
ins with a spirited theme
that oscillates between
triple and duple meter.
After developing into a
heartfelt lush brass
chorale, the lilting
theme returns again. The
composition concludes
with a dramatic return of
the B theme and a rousing
finale. A beautiful
piece,?Commence!?is
a?strong choice for any
contest or
festival.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
. Co
mmence! was commissioned
by the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn. This piece is
a loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension releases
into a slow section that
features a flowing,
heartfelt melody. This
builds to the big moment
at m. 112. The timpani
ushers us back to the
6/8, 2/4 section. The
melody is now accompanied
by some flowing
counterpoint at m. 153
which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing finale.
Commence! Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Cla...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Chimes, China
Cymbal, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1
and more. - Grade 3
SKU: CF.CPS210F
Composed by Sean
O'Loughlin. Concert Band
(CPS). Full score. With
Standard notation. 40
pages. Carl Fischer Music
#CPS210F. Published by
Carl Fischer Music
(CF.CPS210F).
ISBN
9781491153048. UPC:
680160910540.
A
driving composition from
Sean
O'loughlin,?Commence!?beg
ins with a spirited theme
that oscillates between
triple and duple meter.
After developing into a
heartfelt lush brass
chorale, the lilting
theme returns again. The
composition concludes
with a dramatic return of
the B theme and a rousing
finale. A beautiful
piece,?Commence!?is
a?strong choice for any
contest or
festival.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
. Co
mmence! was commissioned
by the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn. This piece is
a loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension releases
into a slow section that
features a flowing,
heartfelt melody. This
builds to the big moment
at m. 112. The timpani
ushers us back to the
6/8, 2/4 section. The
melody is now accompanied
by some flowing
counterpoint at m. 153
which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing finale.
Celtic Dance Orchestre d'harmonie - Facile Curnow Music
Concert Band/Harmonie - Grade 2 SKU: BT.CMP-0423-00-010 Composed by Dougl...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.CMP-0423-00-010
Composed by Douglas
Court. Passport Series.
Set (Score & Parts).
Composed 2000. Curnow
Music #CMP 0423-00-010.
Published by Curnow Music
(BT.CMP-0423-00-010).
You'll be
a-wearin' the green with
CELTIC DANCE by Douglas
Court. The unmistakable
Galway Piper opens the
piece, and through artful
variation, playfully
comes a-visitin' now and
again, while original
thematic material leads
us on a tour of a lovely
emerald musical
countryside. The
energetic joy of Irish
dance and the
internationally appealing
flavor of Irish folk
music come together in
CELTIC DANCE to form a
jewel of young band
literature. Court's
unerring sense of young
player's abilities makes
this one a pot o'
gold!
Celtic
Dance is een fris,
jeugdig stuk dat de
levendigheid van de dans
verbindt met de sfeer van
de Ierse volksmuziek. De
compositie begint met de
volksliedklanken van de
Galway Piper, die
vervolgens worden
gecombineerdmet origineel
muzikaal materiaal. Met
dit stuk worden beelden
van het groene Ierse
landschap
opgeroepen.
Ein
frisches, jugendliches
Stück für junge
Musiker! Celtic
Dance verbindet die
kraftvolle
Ausgelassenheit des
Tanzes mit dem
unverwechselbaren Flair
irischer Volksmusik. Der
berühmte 'Galway
Piper' - Klang
eröffnet die
Komposition und wird in
deren Verlauf mit
originalem musikalischen
Material kombiniert. Die
grüne irische
Landschaft und ihr Zauber
sind förmlich zu
spüren!
Ross Roy Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0971085-010 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-0971085-010
Composed by Jacob De
Haan. Inspiration Series.
Festive and Solemn Music.
Set (Score & Parts).
Composed 1997. De Haske
Publications #DHP
0971085-010. Published by
De Haske Publications
(BT.DHP-0971085-010).
Jacob de Haan
was commissioned to
compose this concert
piece by the St. Peters
Wind Symphony from
Brisbane, Australia. Ross
Roy is the monumental
late 19th century villa
where St. Peters Lutheran
College was founded in
1945. The villa has
always remained the
school symbol. 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.
Thismovement, 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 a
playful, 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. The
premiere of Ross Roy was
conducted by Jacob de
Haan in Brisbane, on
August 22, 1997.
Ross Roy is de
naam van de monumentale
villa in Brisbane
(Australië) waar in
1945 het St. Peters
Lutheran College is
gesticht. In opdracht van
het collegeorkest
componeerde Jacob de Haan
dit gevarieerde
concertwerk vol
metaforen.De structuur en
discipline van de school
horen we in de met
toonherhaling gepaard
gaande ritmische beweging
in basregister en
slagwerk. Het volgende,
martiale thema staat
symbool voor het
doorlopen van de klassen.
Een
schertsende,humoristische
versie van het hoofdthema
ontbreekt niet: op school
moet immers ook tijd zijn
voor vrolijkheid. Het
karakteristieke slotthema
mondt uit in een
feestelijke
apotheose.
Ross
Roy ist der Name
einer monumentalen Villa
in Brisbane, Australien,
in der 1945 das St. Peter
Lutheran College
gegründet wurde. Im
Auftrag dieses
Schulorchesters
komponierte Jacob de Haan
dieses Konzertwerk, das
voll von Metaphern ist.
Die Struktur und
Disziplin dieser Schule
hören wir in der mit
Tonwiederholungen
gepaarten rhythmischen
Bewegung des
Bassregisters und des
Schlagwerks. Das folgende
martialische Thema steht
als Symbol für das
Durchlaufen der Klassen
bis zum Ende der
Schulzeit. Eine
scherzhafte,
humoristische Version des
Hauptthemas darf nicht
fehlen, denn in der
Schule muss auch Zeit
für kleine Späße
und Lachen sein! Das
charakteristische
Schlussthemamündet in
einem festlichen
Höhepunkt.
Commissionato
dalla St. Peter’s
Wind Symphony Orchestra
di Brisbane, è
dedicato alla monumentale
villa tardo-ottocentesca
dove il collegio
dell’orchestra ha
avuto la sua storica
sede. Metafora degli anni
della formazione, è
caratterizzato da un
finale in stile
ouverture, come se gli
anni della scuola
rappresentassero una
sorta di ouverture al
resto della vita.
Olympica Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-0930469-010 Festival Overt...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-0930469-010
Festival Overture for
Band. Composed by Jan
Van der Roost. Sovereign
Series. Concert Piece.
Set (Score & Parts).
Composed 1993. De Haske
Publications #DHP
0930469-010. Published by
De Haske Publications
(BT.DHP-0930469-010).
9x12
inches.
This
“Grand
Overture†was
commissioned by the
“Nagano Community
Band†- Japan- on
occasion of its jubilee
in 1992 and is dedicated
to the band’s
conductor, Ikuo
Inagaki.The work is based
upon three main themes,
each symbolising a
certain theme. The first
part is characterized by
its bright themes played
mainly by the brass,
accompanied by the
woodwinds and festive
percussion. This part
symbolizes the jubilee
which is the origin of
the composition. This is
followed by a bouncing
allegro, in which each
register of the band
displays brilliant
techniques. Especially
the woodwinds come to the
fore! This movement
depicts the
industriousness and
enthousiasm shown by the
members of
the“Nagano
Community Band†in
the carrying out of their
hobby. A third, main
theme, is choral-like in
character and is
displayed both in the
(soft) brass as well as
in the warm medium
register of the reeds.
Here, nature’s
beaty in and around the
city of Nagano is
musically celebrated.
Following a
“chamber-music
episode†(featuring
the flute, oboe,
clarinet, alto-saxophone
and horn) the initial
allegro re-occurs,
weaving its way towards a
grandiose finale, in
which the two previous
themes are once again
apparent. Due to its very
colourful scoring and the
enormous diversity of
musical thoughts and
ideas, this composition
is a fascinating and
memorable piece, worthy a
jubilee overture!
Olympica
is gebaseerd op drie
hoofdthema’s. Het
eerste thema wordt
gekenmerkt door een
stralende thematiek in
het koper, omspeeld door
het hout en feestelijk
slagwerk. Dan volgt een
pittig en virtuoos
allegro, waarin met
namede houtblazers
uitgebreid aan bod komen.
Het derde thema is
koraalmatig van karakter.
Na een kamermuziekpassage
komt het allegro terug,
dat uitmondt in een
grootse finale. De
kleurrijke instrumentatie
en veelzijdigheid van
dezecompositie maken een
sprankelend optreden
mogelijk.
Die
olympischen Winterspiele
1998, die nach 26 Jahren
wieder einmal in Japan
stattfanden, sind
unvergessen: Mit 2302
Teilnehmer war eine
Rekordteilnehmerzahl
erreicht und die
deutschen Sportler
kehrten mit einer
Rekordanzahl von 29
Medaillen nach Hause. Das
Blasorchester der
Austragungsstadt Nagano
gab im Hinblick auf
dieses große Ereignis
Olympica in
Auftrag - ein farbig
instrumentiertes Werk mit
abwechslungsreichen
musikalischen Ideen, das
fasziniert!
Celtic Dance Orchestre d'harmonie - Facile Curnow Music
Concert Band - Grade 2 SKU: BT.CMP-0423-00-040 Composed by Douglas Court....(+)
Concert Band - Grade 2
SKU:
BT.CMP-0423-00-040
Composed by Douglas
Court. Passport Series.
Original Light Music. Set
(Score and Parts).
Composed 2000. Curnow
Music #CMP 0423-00-040.
Published by Curnow Music
(BT.CMP-0423-00-040).
You'll be
a-wearin' the green with
CELTIC DANCE by Douglas
Court. The unmistakable
Galway Piper opens the
piece, and through artful
variation, playfully
comes a-visitin' now and
again, while original
thematic material leads
us on a tour of a lovely
emerald musical
countryside. The
energetic joy of Irish
dance and the
internationally appealing
flavor of Irish folk
music come together in
CELTIC DANCE to form a
jewel of young band
literature. Court's
unerring sense of young
player's abilities makes
this one a pot o'
gold!
Celtic
Dance is een fris,
jeugdig stuk dat de
levendigheid van de dans
verbindt met de sfeer van
de Ierse volksmuziek. De
compositie begint met de
volksliedklanken van de
Galway Piper, die
vervolgens worden
gecombineerdmet origineel
muzikaal materiaal. Met
dit stuk worden beelden
van het groene Ierse
landschap
opgeroepen.
Ein
frisches, jugendliches
Stück für junge
Musiker! Celtic
Dance verbindet die
kraftvolle
Ausgelassenheit des
Tanzes mit dem
unverwechselbaren Flair
irischer Volksmusik. Der
berühmte 'Galway
Piper' - Klang
eröffnet die
Komposition und wird in
deren Verlauf mit
originalem musikalischen
Material kombiniert. Die
grüne irische
Landschaft und ihr Zauber
sind förmlich zu
spüren!
Fulnaho. Brilliant
Marches. March. Set
(Score & Parts). Composed
2005. De Haske
Publications #DHP
1053854-010. Published by
De Haske Publications
(BT.DHP-1053854-010).
9x12 inches.
English-German-French-Dut
ch.
Artemis is the
Greek goddess of hunting
and forests. In western
art she is often pictured
with deer, lions or bears
with a bow in her hand.
The tempo of this march
is stately and the themes
are
“concertanteâ€
in character making
Artemis best suited as a
concert march rather than
a street march.
Technically this march is
not too difficult
although at times some
dexterous fingering is
necessary. The trio
melody is especially
lyrical and offers
various sections within
the band the possibility
to show off their skill
in playing the expressive
melody. This excellent
new concert march is sure
to become a classic and
be performed time and
time again.
Het
tempo van deze mars is
statig en de
thema’s zijn
concertant van karakter:
Artemis is dus
eerder geschikt als
concertmars dan als
loopmars. Technisch is
dit werk niet erg lastig
om spelen, al wordt af en
toe wel wat
vingervaardigheidvereist.
De triomelodie is echter
uitgesproken lyrisch en
biedt diverse secties
binnen het orkest de
mogelijkheid om zich
melodisch en expressief
te etaleren. Een
aangenaam klinkende en
prima speelbare
concertmars!
Artem
is ist die griechische
Göttin der Jagd und
der Wälder. Jan Van
der Roost ließ sich
zum wiederholten Male von
der griechischen
Mythologie inspirieren
und komponierte diesen
Marsch mit
gemäßigtem Tempo
und konzertanten Themen.
Obwohl technisch nicht
sehr schwer, erfordert er
doch stellenweise etwas
Fingerfertigkeit. Der
Trio-Teil ist jedoch
besonders lyrisch und
bietet verschiedenen
Registern des
Blasorchesters die
Möglichkeit, sich in
Melodie und Ausdruck zu
beweisen. Kurz gesagt ist
Artemis ein
ausgezeichneter und gut
spielbarer Konzertmarsch,
der viele Blasorchester
anspricht.
Artemis è la Dea
greca della natura
selvatica e della caccia.
Nella cultura
occidentale, è spesso
rappresentata armata di
arco e frecce e
circondata da cervi,
leoni e orsi. Evolvendosi
su un tempo maestoso e
sviluppando temi centrali
dal carattere
concertante, Artemis
rientra nella linea delle
grandi marce da concerto.
Ad eccezione di qualche
passaggio che necessita
una maggiore scioltezza
delle dita, il brano
contiene solo poche
difficolt tecniche.
Artemis è un pezzo
brillante adatto alla
maggior parte delle
bande.
Fulnaho. Brilliant
Marches. March. Score
Only. Composed 2005. 32
pages. De Haske
Publications #DHP
1053854-140. Published by
De Haske Publications
(BT.DHP-1053854-140).
9x12 inches.
English-German-French-Dut
ch.
Artemis is the
Greek goddess of hunting
and forests. In western
art she is often pictured
with deer, lions or bears
with a bow in her hand.
The tempo of this march
is stately and the themes
are
“concertanteâ€
in character making
Artemis best suited as a
concert march rather than
a street march.
Technically this march is
not too difficult
although at times some
dexterous fingering is
necessary. The trio
melody is especially
lyrical and offers
various sections within
the band the possibility
to show off their skill
in playing the expressive
melody. This excellent
new concert march is sure
to become a classic and
be performed time and
time again.
Het
tempo van deze mars is
statig en de
thema’s zijn
concertant van karakter:
Artemis is dus
eerder geschikt als
concertmars dan als
loopmars. Technisch is
dit werk niet erg lastig
om spelen, al wordt af en
toe wel wat
vingervaardigheidvereist.
De triomelodie is echter
uitgesproken lyrisch en
biedt diverse secties
binnen het orkest de
mogelijkheid om zich
melodisch en expressief
te etaleren. Een
aangenaam klinkende en
prima speelbare
concertmars!
Artem
is ist die griechische
Göttin der Jagd und
der Wälder. Jan Van
der Roost ließ sich
zum wiederholten Male von
der griechischen
Mythologie inspirieren
und komponierte diesen
Marsch mit
gemäßigtem Tempo
und konzertanten Themen.
Obwohl technisch nicht
sehr schwer, erfordert er
doch stellenweise etwas
Fingerfertigkeit. Der
Trio-Teil ist jedoch
besonders lyrisch und
bietet verschiedenen
Registern des
Blasorchesters die
Möglichkeit, sich in
Melodie und Ausdruck zu
beweisen. Kurz gesagt ist
Artemis ein
ausgezeichneter und gut
spielbarer Konzertmarsch,
der viele Blasorchester
anspricht.
Artemis è la Dea
greca della natura
selvatica e della caccia.
Nella cultura
occidentale, è spesso
rappresentata armata di
arco e frecce e
circondata da cervi,
leoni e orsi. Evolvendosi
su un tempo maestoso e
sviluppando temi centrali
dal carattere
concertante, Artemis
rientra nella linea delle
grandi marce da concerto.
Ad eccezione di qualche
passaggio che necessita
una maggiore scioltezza
delle dita, il brano
contiene solo poche
difficolt tecniche.
Artemis è un pezzo
brillante adatto alla
maggior parte delle
bande.
Artemis Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band - Grade 3 SKU: BT.DHP-1053854-040 Fulnaho. Brilliant ...(+)
Concert Band - Grade 3
SKU:
BT.DHP-1053854-040
Fulnaho. Brilliant
Marches. March. Set
(Score & Parts). Composed
2005. De Haske
Publications #DHP
1053854-040. Published by
De Haske Publications
(BT.DHP-1053854-040).
9x12 inches.
English-German-French-Dut
ch.
Artemis is the
Greek goddess of hunting
and forests. In western
art she is often pictured
with deer, lions or bears
with a bow in her hand.
The tempo of this march
is stately and the themes
are
“concertanteâ€
in character making
Artemis best suited as a
concert march rather than
a street march.
Technically this march is
not too difficult
although at times some
dexterous fingering is
necessary. The trio
melody is especially
lyrical and offers
various sections within
the band the possibility
to show off their skill
in playing the expressive
melody. This excellent
new concert march is sure
to become a classic and
be performed time and
time again.
Het
tempo van deze mars is
statig en de
thema’s zijn
concertant van karakter:
Artemis is dus
eerder geschikt als
concertmars dan als
loopmars. Technisch is
dit werk niet erg lastig
om spelen, al wordt af en
toe wel wat
vingervaardigheidvereist.
De triomelodie is echter
uitgesproken lyrisch en
biedt diverse secties
binnen het orkest de
mogelijkheid om zich
melodisch en expressief
te etaleren. Een
aangenaam klinkende en
prima speelbare
concertmars!
Artem
is ist die griechische
Göttin der Jagd und
der Wälder. Jan Van
der Roost ließ sich
zum wiederholten Male von
der griechischen
Mythologie inspirieren
und komponierte diesen
Marsch mit
gemäßigtem Tempo
und konzertanten Themen.
Obwohl technisch nicht
sehr schwer, erfordert er
doch stellenweise etwas
Fingerfertigkeit. Der
Trio-Teil ist jedoch
besonders lyrisch und
bietet verschiedenen
Registern des
Blasorchesters die
Möglichkeit, sich in
Melodie und Ausdruck zu
beweisen. Kurz gesagt ist
Artemis ein
ausgezeichneter und gut
spielbarer Konzertmarsch,
der viele Blasorchester
anspricht.
Artemis è la Dea
greca della natura
selvatica e della caccia.
Nella cultura
occidentale, è spesso
rappresentata armata di
arco e frecce e
circondata da cervi,
leoni e orsi. Evolvendosi
su un tempo maestoso e
sviluppando temi centrali
dal carattere
concertante, Artemis
rientra nella linea delle
grandi marce da concerto.
Ad eccezione di qualche
passaggio che necessita
una maggiore scioltezza
delle dita, il brano
contiene solo poche
difficolt tecniche.
Artemis è un pezzo
brillante adatto alla
maggior parte delle
bande.
Concert Band - Grade 3 SKU: AP.37824S Composed by Robert Sheldon. Concert...(+)
Concert Band - Grade 3
SKU: AP.37824S
Composed by Robert
Sheldon. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Alfred Concert Band.
Programmatic. Score. 16
pages. Alfred Music
#00-37824S. Published by
Alfred Music (AP.37824S).
UPC: 038081429755.
English.
As summer
ends, the chill of the
autumn air awakens
feelings within us. The
shadows are longer in
late afternoon and
darkness comes early. The
trees are losing their
leaves and their gnarled
trunks and branches take
on sinister profiles
against the looming
twilight. We shudder at
the cold wind. Our pulse
quickens and we suddenly
want to return to the
safety and warmth of
home. Night falls and we
are once again at peace.
We say a final farewell
to the carefree days of
summer and accept the
relentless march of the
seasons. Winter will soon
be here.
Shadows
of the Equinox is a
dramatic and lyrical
piece inspired by a late
Midwest autumn. It was
commissioned by the 2010
Festival of Bands,
Vincennes, Indiana,
including the bands from
Barr-Reeve, Loogootee,
Mitchell, North Daviess,
North Knox, and South
Knox High Schools. This
title is available in
MakeMusic Cloud.
Band Concert Band - Grade 2 SKU: CF.YPS215F Composed by Sean O'Loughlin. ...(+)
Band Concert Band - Grade
2
SKU: CF.YPS215F
Composed by Sean
O'Loughlin. Young Band
(YPS). Full score. With
Standard notation. 20
pages. Carl Fischer Music
#YPS215F. Published by
Carl Fischer Music
(CF.YPS215F).
ISBN
9781491153024. UPC:
680160910526.
Beyon
d the Crest is an
exciting piece that
captures the essence of
Sean O'Loughlin's popular
style. The piece opens
with a slow, soaring
melody that develops
throughout the
composition. Pulsating
eighth notes build the
tension and intense
harmonies drive the piece
to a satisfying and
dynamic ending. Beyond
the Crest was
commissioned by the
Lakeshore Bands of
Stevensville, Michigan,
and dedicated to Philip
and Cindy Huff, Directors
of Bands, in honor of
their retirement. The
piece captures the
excitement and
achievement that defined
Philip and Cindy Huff's
illustrious careers. The
piece opens with a slow,
soaring melody that will
become the basis of the
entire composition. It
builds to an intense
chord at m. 13 that sets
off into the fast section
at m. 14. This section
begins with some
eighth-note pulses. The
woodwinds have more
eighth notes than the
rest of the ensemble to
create an echo effect.
Bring out the dynamics to
highlight this. The main
melody comes in at m. 33,
which is a faster version
of the opening melody. It
is complimented by some
eighth-note punches and
lush chords. The
woodwinds take over at m.
43 with a much broader
accompaniment in the
lower voices. The lower
voices get their chance
at the melody at m. 54.
The echo effect returns
at m. 68 to start the
cycle over again but this
time with some new
wrinkles. Measure 77
transports to a new tonal
center and then brings it
back to a broad
presentation at m. 85.
The eighth notes
return to bring the piece
to an exciting end.
Band Concert Band - Grade 2 SKU: CF.YPS215 Composed by Sean O'Loughlin. Y...(+)
Band Concert Band - Grade
2
SKU: CF.YPS215
Composed by Sean
O'Loughlin. 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+12+20+4
pages. Duration 3:15.
Carl Fischer Music
#YPS215. Published by
Carl Fischer Music
(CF.YPS215).
ISBN
9781491152348. UPC:
680160909841. Key: Bb
major.
Beyond the
Crest is an exciting
piece that captures the
essence of Sean
O'Loughlin's popular
style. The piece opens
with a slow, soaring
melody that develops
throughout the
composition. Pulsating
eighth notes build the
tension and intense
harmonies drive the piece
to a satisfying and
dynamic ending. Beyond
the Crest was
commissioned by the
Lakeshore Bands of
Stevensville, Michigan,
and dedicated to Philip
and Cindy Huff, Directors
of Bands, in honor of
their retirement. The
piece captures the
excitement and
achievement that defined
Philip and Cindy Huff's
illustrious careers. The
piece opens with a slow,
soaring melody that will
become the basis of the
entire composition. It
builds to an intense
chord at m. 13 that sets
off into the fast section
at m. 14. This section
begins with some
eighth-note pulses. The
woodwinds have more
eighth notes than the
rest of the ensemble to
create an echo effect.
Bring out the dynamics to
highlight this. The main
melody comes in at m. 33,
which is a faster version
of the opening melody. It
is complimented by some
eighth-note punches and
lush chords. The
woodwinds take over at m.
43 with a much broader
accompaniment in the
lower voices. The lower
voices get their chance
at the melody at m. 54.
The echo effect returns
at m. 68 to start the
cycle over again but this
time with some new
wrinkles. Measure 77
transports to a new tonal
center and then brings it
back to a broad
presentation at m. 85.
The eighth notes
return to bring the piece
to an exciting end.