Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8095417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski.
Score Only. Composed
2008. Beriato Music
#BMP8095417. Published by
Beriato Music
(BT.BMP8095417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8091417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski. Set
(Score & Parts). Composed
2008. Beriato Music
#BMP8091417. Published by
Beriato Music
(BT.BMP8091417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
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
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2013.
Anglo Music Press
#AMP358140. Published by
Anglo Music Press
(HL.44012271).
UPC:
888680057664.
English-German-French-Dut
ch.
Looking Up,
Moving On was
commissioned by the Tokyo
Kosei Wind Orchestra and
was part of a tour
programme they gave in
May 2012, a tour which
included many areas that
had been devastated by
the 2011 earthquake and
tsunami.The theme of the
piece is the powerful
ability of mankind to
overcome such disasters
and look forward to a
positive future; it opens
in an appropriately
optimistic mood,
featuring bright
orchestral colours and
extensive syncopation. A
chorale-like fanfare is
soon introduced on horns
and euphonium, answered
by chirpy woodwinds. The
mood subsides until an
alto saxophone introduces
a brief quotation from
the composer's The Sun
Will RiseAgain, which
was written to raise
funds for victims of the
2011 disaster. The mood
soon changes and the
horns introduce a noble
theme under woodwind
flourishes. This leads to
the main Vivo
section of the piece
which is characterised
again by strong
syncopations as part of a
florid theme in the low
woodwinds. This melody
undergoes varied
development by all
sections of the band
until the horn fanfare
returns triumphally on
the brass. This is
extended and leads to a
faster coda which brings
together previous
material in counterpoint
to close the work in
optimistic mood.
Looking Up,
Moving On is
gecomponeerd in opdracht
van het Tokyo Kosei Wind
Orchestra. Het werk
maakte deel uit van een
programma uit mei 2012,
dat werd uitgevoerd
tijdens een tournee
waarbij veel regio's
werden bezocht die waren
verwoest door de
aardbeving en tsunami van
2011.Het thema van het
werk is het buitengewone
vermogen van de mens om
dergelijke rampen te
boven te komen en vooruit
te kijken naar een
positieve toekomst. De
opening is dan ook
optimistisch van
karakter, met heldere
orkestrale kleuren en een
rijkelijke syncopering.
Al snel wordt er een
koraalachtige fanfare
geintroduceerd door de
hoorns en het euphonium,
waarop een levendig
antwoord volgt in
dehoutblazerssectie. De
sfeer wordt dan steeds
kalmer totdat een
altsaxofoon een kort
citaat laat horen uit een
eerder werk van de
componist, The Sun
Will Rise Again, dat
werd geschreven om geld
in te zamelen voor de
slachtoffers van de ramp
uit 2011. De stemming
slaat vlug weer om: de
hoorns introduceren een
nobel thema, dat
weerklinkt onder
versieringen in het hout.
Dit leidt naar het Vivo,
het hoofdgedeelte, dat
eveneens wordt gekenmerkt
door sterke
syncoperingen, als
onderdeel van een
sierlijk thema in het
lage hout. De melodie
ondergaat een gevarieerde
ontwikkeling binnen alle
secties van het orkest,
totdat de hoornfanfare op
triomfantelijke wijze
terugkeert in het koper.
De fanfare wordt
vervolgens verder
uitgewerkt en voert ons
mee naar een snellere
coda, die voorafgaand
materiaal in contrapunt
samenbrengt en de
compositie in
optimistische stemming
afsluit.
Looking Up,
Moving Down wurde vom
Tokyo Kosei Wind
Orchestra in Auftrag
gegeben und war Teil des
Konzertprogramms einer
Tour im Mai 2012, welche
viele Gebiete einschloss,
die vom Erdbeben und
Tsunami im Jahr 2011
zerstort worden waren.
Thema dieses Stuckes ist
die gewaltige Fahigkeit
der Menschheit, uber
solche Katastrophen
hinwegzukommen und voll
Optimismus in die Zukunft
zu blicken; es beginnt
dementsprechend in einer
positiven Stimmung mit
strahlenden
Orchesterfarben und einer
ausgepragten
Synkopierung. Schon bald
wird eine choralartige
Fanfare auf den Hornern
und im Euphonium
vorgestellt, die von
munteren Holzblasern
beantwortet wird. Die
Stimmung flaut ab, bis
einAltsaxophon ein kurzes
Zitat aus The Sun Will
Rise Again anspielt,
das der Komponist zur
Spendenbeschaffung fur
die Opfer des Unglucks
2011 geschrieben hatte.
Kurz darauf folgt ein
Stimmungswechsel und die
Horner prasentieren ein
stattliches Thema,
begleitet von Fanfaren in
den Holzblasern. Dies
fuhrt zum mit Vivo
uberschriebenen Hauptteil
des Stuckes, der wiederum
von starken
Synkopierungen gepragt
ist, die Teil eines
bluhenden Themas in den
tiefen Holzblasern sind.
Diese Melodie durchlauft
eine vielgestaltige
Entwicklung durch alle
Instrumentengruppen des
Blasorchesters, bis das
Blech mit der Hornfanfare
triumphal zuruckkehrt.
Dies wird erweitert und
fuhrt zu einer
schnelleren Coda, in dem
verschiedenes zuvor
gehortes Material
kontrapunktisch
zusammenkommt, um das
Werk in einer
optimistischen Stimmung
zu beenden.
Looking Up,
Moving On est une
commande du Tokyo Kosei
Wind Orchestra. Cette
piece faisait partie du
programme de la tournee
effectuee par l'orchestre
en mai 2012, qui s'est
produit dans de
nombreuses regions
devastees par le
tremblement de terre et
le tsunami de 2011.La
composition a pour theme
l'immense capacite
humaine a surmonter de
telles catastrophes et
envisager l'avenir de
facon positive. Elle
debute justement dans un
climat optimiste
comportant de vives
couleurs orchestrales et
des passages syncopes.
Les cors et les euphonium
introduisent bientot une
fanfare en forme de
choral a laquelle
repondent des bois
petillants. L'ambiance
s'apaise jusqu'a ce
qu'unsaxophone alto
introduise un court
extrait de The Sun
Will Rise Again, du
meme compositeur, une
piece ecrite pour
collecter des fonds en
faveur des victimes du
desastre de 2011. Le
climat change hativement
lorsque les cors
introduisent un theme
noble par-dessus des
fioritures executees par
les bois. Vient ensuite
la principale section
vivo de la piece, qui se
caracterise, encore une
fois, par des syncopes
tres marquees dans le
cadre d'un theme fleuri
assure dans le registre
grave des bois. Cette
melodie fait l'objet de
divers developpements par
tous les pupitres de
l'orchestre jusqu'au
retour triomphant de la
fanfare soutenue par les
cuivres. Celle-ci se
prolonge pour mener a une
coda plus rapide qui
rassemble les elements
precedents en contrepoint
pour clore la piece dans
un climat optimiste.
Composed by John Ireland.
Band Music. Score and
parts. Duration 10:30.
Published by G & M Brand
Music Publishers
(CN.R10004).
A
slow introduction gives
way to the chirpy theme
which is developed,
inverted, and accents
displaced across the bar
line to give a 3/2 feel
against the written
meter. Restlessness leads
to a tranquillo presented
by the flute and
clarinet, weaving a
flowing counterpoint
around the melody until
the original slow
introduction returns. A
triumphant recapitulation
of the main theme brings
this wonderful piece to
an end.
Originally
composed for Brass Band
in 1934 Comedy Overture
is, despite its name, a
serious piece of writing.
The term Overture does
not imply that there is
anything else to follow;
it is used in the 19th
century sense of Concert
Overture (like
Mendelssohn's Fingal's
Cave - in other words, a
miniature Tone Poem). The
1930's was a period of
Ireland's mature writing
- yielding the Piano
Concerto (1930), the
Legend for piano and
orchestra (1933), and the
choral work These Things
Shall Be (1936-1937). We
are fortunate therefore
to have both Comedy
Overture and A Downland
Suite (1932) written for
band medium at this time.
As with Maritime Overture
(written in 1944 for
military band) Ireland
approaches his material
symphonically. The
opening three notes state
immediately the two
seminal intervals of a
semitone and a third.
These are brooding and
dark in Bb minor. It is
these intervals which
make up much of the
thematic content of
Comedy, sometimes
appearing in inverted
form, and sometimes in
major forms as well. The
concept that some musical
intervals are consonant ,
some dissonant, and some
perfect is perhaps useful
in understanding the
nature of the tension and
resolution of this work.
The third is inherently
unstable, and by bar 4,
the interval is expanded
to a fourth - with an
ascending sem-quaver
triplet - and then
expanded to a fifth. The
instability of the third
pushes it towards a
perfect resolution in the
fourth or the fifth. The
slow introduction is
built entirely around
these intervals in Bb
minor and leads through
an oboe cadenza, to an
Allegro moderato
brillante in Bb major.
Once again, the semi-tone
(inverted) and a third
(major) comprise the
main, chirpy,
theme-inspired by a
London bus-conductor's
cry of Piccadilly. (Much
of the material in Comedy
was re-conceived by
Ireland for orchestra and
published two years later
under the title A London
Overture.) The expansion
of the interval of a
third through a fourth,
fifth, sixth, and seventh
now takes place quickly
before our very ears at
the outset of this
quicker section.
Immediately the theme is
developed, inverted, and
accents displaced across
the bar line to give a
3/2 feel against the
written meter. But this
restlessness leads to a
tranquillo built around
an arpeggio figure and
presented by flute and
clarinet. Ireland weaves
his flowing counterpoint
around this melody until
the original slow
introduction returns
leading to a stretto
effect as the rising bass
motifs become more
urgent, requesting a
resolution of the tension
of that original semitone
and minor third. Yet
resolution is withheld at
this point as the music
becomes almost becalmed
in a further, unrelated
tranquillo section marked
pianissimo. It is almost
as if another side of
Ireland's nature is
briefly allowed to shine
through the stern
counterpoint and
disciplined structure.
This leads to virtually a
full recapitulation of
the chirpy brilliante,
with small additional
touches of counterpoint,
followed by the first
tranquillo section-this
time in the tonic of Bb
major. But the
instability of the third
re-asserts itself, this
time demanding a
resolution. And a
triumphant resolution it
receives, for it finally
becomes fully fledged and
reiterates the octave in
a closing vivace. The
opening tension has at
last resolved itself into
the most perfect interval
of all.
Bread and Games Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000756-140 Composed by Willia...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000756-140
Composed by William Vean.
Score Only. 36 pages.
Gobelin Music
Publications #GOB
000756-140. Published by
Gobelin Music
Publications
(BT.GOB-000756-140).
‘Panem et
Circenses’, Bread and
Games were essential for
keeping the citizens of
ancient Rome in check.
While the bread was
meant for the poorest
among the Romans, the
Games were Popular
Pastime Number One for
everybody. There were
different kinds of games,
such as chariot races
(especially popular with
female spectators), or
wild-beast fights, where
lions, tigers, bulls or
bears were set on one
another or even on human
beings. Most popular,
however, were the
Gladiator fights.
In ‘Bread and Games’
William Vean depicts one
of the many fights in the
antique Colosseum. 1.
Entrance of the
Gladiators: By powerful
bugle-calls the attention
of the peoplewas asked
for, after which the
Gladiators entered the
Arena at the sound of
heroic
marching-music. 2.Swor
dfight: We can hear that
the fights were not mere
child’s play in this
part.On the contrary,
they were a matter of
life and death and were
fought
accordingly. 3.Mercy
of the Emperor: Sometimes
a wounded gladiator could
be fortunate, depending
on the mercy of the
audience. Waving one’s
handkerchief meant mercy,
a turned-down thumb meant
no pardon. The Emperor
had the right to take the
final decision, but he
usually complied with the
wish of the majority of
the public. 4.Lap of
Honour: Gladiators were
mainly selected among
slaves, convicted
criminals, or prisoners
of war. Consequently,
winning was very
important, as it would
mean fame, honour and
sometimes even wealth. A
lap of honour, therefore,
was the winner’s due
reward.
‘Panem
et Circenses’, brood en
(circus)spelen,
essentieel in het
Romeinse leven om de
burgers in het gareel te
houden. Het brood was
vooral voor de
allerarmsten bedoeld,
maar de spelen, dat was
volksvermaak nummer
één. Erwaren
verschillende soorten
spelen, de Strijdwagen
racen, vooral in trek bij
de vrouwen, de
dierengevechten of
jachtpartijen, waar
leeuwen, tijgers, buffels
of beren tegen elkaar of
tegen mensen opgehitst
werden. Maar favoriet
warentoch wel de
gevechten der
Gladiatoren.
William Vean
beschrijft in ‘Bread
and Games’ één van de
vele gevechten in het
aloude Colosseum. 1.
Entrance of the
Gladiators: Met krachtige
(hoorn)signalen wordt de
aandachtvan het volk
gevraagd waarna de
Gladiatoren op
heldhaftige marsmuziek de
Arena binnentreden.
2. Swordfight: Dat de
gevechten geen kinderspel
waren horen we in dit
deel. Het gaat er hard
aan toe, en de gevechten
waren vaak op levenen
dood. 3. Mercy of the
Emperor: In enkele
gevallen had een gewonde
Gladiator geluk. Dit hing
af van de stemming van
het publiek. Wapperende
zakdoeken betekende
geluk, met de duim naar
beneden wijzen betekende
geen pardon.De Keizer had
het laatste woord maar
volgde meestal de
stemming van het publiek.
4. Lap of Honour:
Gladiatoren werden
meestal uit slaven,
veroordeelde misdadigers
of krijgsgevangen
geselecteerd. Winnen was
daarom erg belangrijk.Dit
betekende roem, eer en
soms zelfs rijkdom.
(vergelijkbaar met onze
sporthelden) Een ereronde
was dus wel op zijn
plaats.
Bread and Games Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000756-010 Composed by Willia...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.GOB-000756-010
Composed by William Vean.
Set (Score & Parts). 116
pages. Gobelin Music
Publications #GOB
000756-010. Published by
Gobelin Music
Publications
(BT.GOB-000756-010).
‘Panem et
Circenses’, Bread and
Games were essential for
keeping the citizens of
ancient Rome in check.
While the bread was
meant for the poorest
among the Romans, the
Games were Popular
Pastime Number One for
everybody. There were
different kinds of games,
such as chariot races
(especially popular with
female spectators), or
wild-beast fights, where
lions, tigers, bulls or
bears were set on one
another or even on human
beings. Most popular,
however, were the
Gladiator fights.
In ‘Bread and Games’
William Vean depicts one
of the many fights in the
antique Colosseum. 1.
Entrance of the
Gladiators: By powerful
bugle-calls the attention
of the peoplewas asked
for, after which the
Gladiators entered the
Arena at the sound of
heroic
marching-music. 2.Swor
dfight: We can hear that
the fights were not mere
child’s play in this
part.On the contrary,
they were a matter of
life and death and were
fought
accordingly. 3.Mercy
of the Emperor: Sometimes
a wounded gladiator could
be fortunate, depending
on the mercy of the
audience. Waving one’s
handkerchief meant mercy,
a turned-down thumb meant
no pardon. The Emperor
had the right to take the
final decision, but he
usually complied with the
wish of the majority of
the public. 4.Lap of
Honour: Gladiators were
mainly selected among
slaves, convicted
criminals, or prisoners
of war. Consequently,
winning was very
important, as it would
mean fame, honour and
sometimes even wealth. A
lap of honour, therefore,
was the winner’s due
reward.
‘Panem
et Circenses’, brood en
(circus)spelen,
essentieel in het
Romeinse leven om de
burgers in het gareel te
houden. Het brood was
vooral voor de
allerarmsten bedoeld,
maar de spelen, dat was
volksvermaak nummer
één. Erwaren
verschillende soorten
spelen, de Strijdwagen
racen, vooral in trek bij
de vrouwen, de
dierengevechten of
jachtpartijen, waar
leeuwen, tijgers, buffels
of beren tegen elkaar of
tegen mensen opgehitst
werden. Maar favoriet
warentoch wel de
gevechten der
Gladiatoren.
William Vean
beschrijft in ‘Bread
and Games’ één van de
vele gevechten in het
aloude Colosseum. 1.
Entrance of the
Gladiators: Met krachtige
(hoorn)signalen wordt de
aandachtvan het volk
gevraagd waarna de
Gladiatoren op
heldhaftige marsmuziek de
Arena binnentreden.
2. Swordfight: Dat de
gevechten geen kinderspel
waren horen we in dit
deel. Het gaat er hard
aan toe, en de gevechten
waren vaak op levenen
dood. 3. Mercy of the
Emperor: In enkele
gevallen had een gewonde
Gladiator geluk. Dit hing
af van de stemming van
het publiek. Wapperende
zakdoeken betekende
geluk, met de duim naar
beneden wijzen betekende
geen pardon.De Keizer had
het laatste woord maar
volgde meestal de
stemming van het publiek.
4. Lap of Honour:
Gladiatoren werden
meestal uit slaven,
veroordeelde misdadigers
of krijgsgevangen
geselecteerd. Winnen was
daarom erg belangrijk.Dit
betekende roem, eer en
soms zelfs rijkdom.
(vergelijkbaar met onze
sporthelden) Een ereronde
was dus wel op zijn
plaats.
The Ecstasy of Gold Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1114972-140 From The Good,...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1114972-140
From The Good, The Bad
and The Ugly.
Composed by Ennio
Morricone. Arranged by
Lorenzo Bocci. DHP Pop,
Film and Show.
TV-Film-Musical-Show.
Score Only. Composed
2011. 16 pages. De Haske
Publications #DHP
1114972-140. Published by
De Haske Publications
(BT.DHP-1114972-140).
9x12 inches.
The
Ecstasy of Gold is the
famous theme from the
movie The Good, The Bad
and The Ugly that leads
up to and is heard during
the movieâ??s climax,
the showdown! The
complete soundtrack to
The Good, the Bad and the
Ugly was released in 1966
and sold millions of
copies. Since 1983,
heavy-metal band
Metallica have been
opening concerts with
Morriconeâ??s dramatic
and exciting song, The
Ecstasy of Gold. Lorenzo
Bocci has created an
equally exciting
arrangement for concert
band.
The Ecstasy
of Gold is het beroemde
lied uit de muziek van de
film The Good, The Bad
and The Ugly en leidt
naar het hoogtepunt van
de film. Ennio Morricone
componeerde de soundtrack
voor deze
spaghettiwestern van
Sergio Leone. Ookde
eerste twee delen van de
filmtrilogie, A Fistfull
of Dollars en For a Few
Dollars More, voorzag hij
van filmmuziek. De
hardrockband Metallica
opent sinds 1983 haar
rockconcerten met dit
dramatische en pakkende
lied. Lorenzo Boccimaakte
er een versie voor
blaasorkest van. Spannend
en
meeslepend..!
The
Ecstasy of Gold ist das
berühmte Lied aus der
Filmmusik zu The Good,
The Bad and The Ugly
(Zwei glorreiche
Halunken), welches den
Showdown und zugleich
Höhepunkt des Films
einleitet. Komponiert
wurde der Soundtrack zu
Sergio Leones klassischem
Italo-Wester von Ennio
Morricone, der auch schon
die beiden ersten Filme
der Trilogie - Für
eine Handvoll Dollar und
Für ein paar Doller
mehr - vertont hatte. Die
Metal-Band Metallica
eröffnet seit 1983
ihre Konzerte stets mit
diesem dramatischen und
packenden Lied, das
Lorenzo Bocci für
Blasorchester
arrangierte.
Fil
m del 1966 diretto da
Sergio Leone, Il Buono,
Il Brutto, Il Cattivo
è uno tra i più
celebri western della
storia del cinema.
Lâ??Estasi dellâ??Oro
(The Ecstasy of Gold)
è una canzone composta
da Ennio Morricone per il
film, ricordata in
particolare per essere il
sottofondo musicale della
scena in cui Tuco cerca
freneticamente il
cimitero con la tomba
dove si trovano 200.000
dollari in oro.
Score. Composed by
Ennio Morricone. Arranged
by Lorenzo Bocci. De
Haske Concert Band.
TV-Film-Musical-Show.
Softcover. Composed 2011.
16 pages. De Haske
Publications
#1114972-140. Published
by De Haske Publications
(HL.44012426).
9x12
inches.
The Ecstasy
of Gold is the famous
theme from the movie The
Good, The Bad and The
Ugly that leads up to and
is heard during the
movie's climax, the
showdown! The complete
soundtrack to The Good,
the Bad and the Ugly was
released in 1966 and sold
millions of copies. Since
1983, heavy-metal band
Metallica have been
opening concerts with
Morricone's dramatic and
exciting song, The
Ecstasy of Gold. Lorenzo
Bocci has created an
equally exciting
arrangement for concert
band.
The Ecstasy
of Gold is het beroemde
lied uit de muziek van de
film The Good, The Bad
and The Ugly en leidt
naar het hoogtepunt van
de film. Ennio Morricone
componeerde de soundtrack
voor deze
spaghettiwestern van
Sergio Leone. Ookde
eerste twee delen van de
filmtrilogie, A Fistfull
of Dollars en For a Few
Dollars More, voorzag hij
van filmmuziek. De
hardrockband Metallica
opent sinds 1983 haar
rockconcerten met dit
dramatische en pakkende
lied. Lorenzo Boccimaakte
er een versie voor
blaasorkest van. Spannend
en
meeslepend..!
The
Ecstasy of Gold ist das
beruhmte Lied aus der
Filmmusik zu The Good,
The Bad and The Ugly
(Zwei glorreiche
Halunken), welches den
Showdown und zugleich
Hohepunkt des Films
einleitet. Komponiert
wurde der Soundtrack zu
Sergio Leones klassischem
Italo-Wester von Ennio
Morricone, der auch schon
die beiden ersten Filme
der Trilogie - Fur eine
Handvoll Dollar und Fur
ein paar Doller mehr -
vertont hatte. Die
Metal-Band Metallica
eroffnet seit 1983 ihre
Konzerte stets mit diesem
dramatischen und
packenden Lied, das
Lorenzo Bocci fur
Blasorchester
arrangierte.
La
legendaire melodie The
Ecstasy of Gold vient
aureoler le point
culminant du film Le Bon,
la brute et le truand. Ce
film cloture la celebre
Trilogie de l'homme sans
nom dont les precedents
films sont Pour une
poignee de dollars, Et
pour quelques dollars de
plus. A la demande du
realisateur Sergio Leone,
Ennio Morricone composa
la bande originale des
trois films. Depuis 1983,
le groupe Metallica ouvre
ses concerts avec ce
theme dont Lorenzo Bocci
a realise un
epoustouflant arrangement
pour orchestre
d'harmonie.
Film
del 1966 diretto da
Sergio Leone, Il Buono,
Il Brutto, Il Cattivo e
uno tra i piu celebri
western della storia del
cinema. L'Estasi dell'Oro
(The Ecstasy of Gold) e
una canzone composta da
Ennio Morricone per il
film, ricordata in
particolare per essere il
sottofondo musicale della
scena in cui Tuco cerca
freneticamente il
cimitero con la tomba
dove si trovano 200.000
dollari in oro.
Composed by Ed Kiefer.
Symphonic Band (SPS). Set
of Score and Parts. With
Standard notation.
4+4+2+4+8+8+2+1+2+2+2+2+2
+2+3+6+6+9+2+2+3+3+3+3+4+
1+1+1+1+1+16+2 pages.
Duration 2 minutes, 58
seconds. Carl Fischer
Music #SPS82. Published
by Carl Fischer Music
(CF.SPS82).
ISBN
9781491152591. UPC:
680160910090. Key: Bb
major.
Resignation
was composed in
memory of one of Ed
Kiefer's best friends.
Evoking the struggle of
coming to grips with the
loss of a dear friend,
the piece is based on the
hymn, My Shepherd Will
Supply My Need. It is
dramatic, heartfelt, and
overwhelmingly beautiful.
As Hans Christian
Andersen once said, When
words fail, music
speaks.. Dr. David S.
Kirby Commission
Consortium Phillip Riggs,
Commission
CoordinatorNorthwest
District Bandmasters
AssociationRodney
Workman, Past-Chair
Andrew Jimeson,
ChairWestern North
Carolina Bandmasters
AssociationAllen Klaes,
ChairNorth Carolina
School of Science and
MathPhillip Riggs,
DirectorA.C. Reynolds
High School BandSean
Smith, DirectorSouth
Caldwell High School
BandJason Childers,
DirectorJay M. Robinson
Symphonic BandAndrew
Carter, DirectorApex High
School BandDaniel Jarvis,
DirectorPanther Creek
High School BandDavid
Robinson, DirectorEastern
Randolph High School
BandCarolina Perez,
DirectorStanley County
Concert Band/Pfeiffer
University Concert
BandCarmella Hedrick, Tim
Hedrick and Frank Poolos,
DirectorsLenoir Rhyne
University Wind
SymphonyDr. Daniel Kiser,
ConductorDr. Christopher
NegrelliNumerous
colleagues, fellow
teachers, and former
studentsProgram
NotesThere is no possible
way I could compose a
piece of music worthy of
the memory of my close
friend, Dr. David Kirby,
who died very suddenly at
an early age. Neither
could I write a piece
that could come close to
reflecting his kind
spirit, wit, personality
or talent. In fact, it
was almost impossible for
me to write anything at
all. My own grief and the
stages of my
grief kept getting in
the way. I ended up with
a setting of the
hymn-tune, Resignation.
Resigned. To the fact
that he is no longer
with us. I know he is
in a better place, but we
are not. We miss him very
much. And so, My Shepherd
Will Supply My Need seems
to speak to those of us
he left behind. I
apologize if this piece
does not reflect your
special feelings for him
or help you celebrate his
moving on. Unfortunately,
I could only put down
what I have come to
accept and hope in some
way it may speak to any
of you that knew him or
to others of you who have
also lost a close friend.
My Shepherd Will Supply
My Need. That is my
hope and my hope for
you.Although technically
very easy, this
composition requires a
maturity of musicianship
to be performed properly.
The Bb contrabass
clarinet part is integral
to the composition, but
there are cues in the
tuba part if you need
them. Â Make sure you
bring horns to the fore
at m. 53 and the low
brass at m. 59 so the
melody can be heard
without effort.
Exaggerate dynamics to
bring more emotion to the
piece. Be careful not to
diminuendo too soon near
the end or it will be
difficult to diminish
even further at the very
end, where the lone
clarinetist holds over a
couple of measures,
fading into nothing. I
hope your students will
enjoy this piece and take
from it a greater
appreciation for the way
making music can express
feelings.
Composed by Ed Kiefer.
Symphonic Band (SPS).
Full score. With Standard
notation. 16 pages. Carl
Fischer Music #SPS82F.
Published by Carl Fischer
Music (CF.SPS82F).
ISBN 9781491153277.
UPC:
680160910779.
Resig
nation was
composed in memory of
one of Ed Kiefer's best
friends. Evoking the
struggle of coming to
grips with the loss of a
dear friend, the piece is
based on the hymn, My
Shepherd Will Supply My
Need. It is dramatic,
heartfelt, and
overwhelmingly beautiful.
As Hans Christian
Andersen once said, When
words fail, music
speaks.. Dr. David S.
Kirby Commission
Consortium Phillip Riggs,
Commission
CoordinatorNorthwest
District Bandmasters
AssociationRodney
Workman, Past-Chair
Andrew Jimeson,
ChairWestern North
Carolina Bandmasters
AssociationAllen Klaes,
ChairNorth Carolina
School of Science and
MathPhillip Riggs,
DirectorA.C. Reynolds
High School BandSean
Smith, DirectorSouth
Caldwell High School
BandJason Childers,
DirectorJay M. Robinson
Symphonic BandAndrew
Carter, DirectorApex High
School BandDaniel Jarvis,
DirectorPanther Creek
High School BandDavid
Robinson, DirectorEastern
Randolph High School
BandCarolina Perez,
DirectorStanley County
Concert Band/Pfeiffer
University Concert
BandCarmella Hedrick, Tim
Hedrick and Frank Poolos,
DirectorsLenoir Rhyne
University Wind
SymphonyDr. Daniel Kiser,
ConductorDr. Christopher
NegrelliNumerous
colleagues, fellow
teachers, and former
studentsProgram
NotesThere is no possible
way I could compose a
piece of music worthy of
the memory of my close
friend, Dr. David Kirby,
who died very suddenly at
an early age. Neither
could I write a piece
that could come close to
reflecting his kind
spirit, wit, personality
or talent. In fact, it
was almost impossible for
me to write anything at
all. My own grief and the
stages of my
grief kept getting in
the way. I ended up with
a setting of the
hymn-tune, Resignation.
Resigned. To the fact
that he is no longer
with us. I know he is
in a better place, but we
are not. We miss him very
much. And so, My Shepherd
Will Supply My Need seems
to speak to those of us
he left behind. I
apologize if this piece
does not reflect your
special feelings for him
or help you celebrate his
moving on. Unfortunately,
I could only put down
what I have come to
accept and hope in some
way it may speak to any
of you that knew him or
to others of you who have
also lost a close friend.
My Shepherd Will Supply
My Need. That is my
hope and my hope for
you.Although technically
very easy, this
composition requires a
maturity of musicianship
to be performed properly.
The Bb contrabass
clarinet part is integral
to the composition, but
there are cues in the
tuba part if you need
them. Â Make sure you
bring horns to the fore
at m. 53 and the low
brass at m. 59 so the
melody can be heard
without effort.
Exaggerate dynamics to
bring more emotion to the
piece. Be careful not to
diminuendo too soon near
the end or it will be
difficult to diminish
even further at the very
end, where the lone
clarinetist holds over a
couple of measures,
fading into nothing. I
hope your students will
enjoy this piece and take
from it a greater
appreciation for the way
making music can express
feelings.
Rio Grande Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
For Symphonic Band. Composed by Michael Daugherty (1954-). Michael Daughe...(+)
For Symphonic
Band. Composed by
Michael Daugherty
(1954-). Michael
Daugherty Music.
Contemporary. Softcover.
96 pages. Published by
Hal Leonard (HL.4004651).
Wind Band; Concert Band SKU: YM.GTW01101388 New Sounds in Brass. C...(+)
Wind Band; Concert Band
SKU:
YM.GTW01101388
New
Sounds in Brass.
Composed by Joe Hisaishi.
Arranged by Takashi
Hoshide. Studio Ghibli.
New Sounds in Brass. Set
of Score & Part. Yamaha
Music Media #GTW01101388.
Published by Yamaha Music
Media (YM.GTW01101388).
ISBN 9784636110005.
8.75 x 12
inches.
The
ultimate full score
medley of beautiful
melodies from the Studio
Ghibli film Princess
Mononoke (1997, dir.
Hayao Miyazaki), arranged
for concert band in the
series: New Sounds in
Brass (NSB). Grade 3;
Duration: approx.8'50;
Composed by Joe Hisaishi;
Arranged by Takashi
Hoshide. Arranger Takashi
Hoshide says, I have
selected beautiful
melodies from the
soundtrack of 'Princess
Mononoke' (1997, directed
by Hayao Miyazaki) and
arranged them into a
medley. What can be said
about these songs as a
whole is that they
combine a grand
continental scale with
the delicacy that
reflects Japanese
emotions. Since there are
no upbeat songs in this
selection, I had to work
hard on the arrangement,
but this allowed for
creating contrasts and
transitions between each
scene in the performance.
'Ashitaka Sekki (English
title: The Legend of
Ashitaka)' - 'Sekki'
means a story that is not
recorded but passed down
orally. In this anime,
this can be considered a
sub-main theme. The song
starts with a feeling
that the story is about
to begin and, once the
theme kicks in, aim for a
grand performance to
convey its scale.
'Encounter' - This is the
music that plays during
the scene where the
protagonist Ashitaka
meets San. Interestingly,
the motif of the main
theme 'Princess Mononoke'
is used in this melody.
Here, let's pursue the
shifts in the timbre of
individual phrases,
creating a beautiful and
aesthetic soundscape.
'Princess Mononoke' -
This is the main title of
the anime. The melody
line is carried by horns
and trumpets.
Shenandoah Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:30. Published
by Manhattan Beach Music.
Shenandoah Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:30.
Published by Manhattan
Beach Music.
Songs Of The Wizz. Composed by Charlie Smalls. Arranged by Peter Kleine S...(+)
Songs Of The Wizz.
Composed by Charlie
Smalls. Arranged by Peter
Kleine Schaars. Catalogue
Movie and Musical. Movie
and Musical. Recorded on
The Magnificent Seven
(ML.311058720). Full set.
Duration 9 minutes, 41
seconds. Molenaar Edition
#012507060. Published by
Molenaar Edition
(ML.012507060).
Composed by Wilco
Moerman. Score Only.
Gobelin Music
Publications #GOB
001140-140. Published by
Gobelin Music
Publications
(BT.GOB-001140-140).
In Theme Park
Fun! your orchestra pays
a visit to an amusement
park. During your visit,
you will experience some
spectacular rides and
attractions this theme
park offers. The
uniqueness of Theme Park
Fun! is the interplay
between music and(moving)
images. Animations and
illustrations support the
visual
composition.
Pa
rt 1: The Entrance &
Parade [with
animation] The
opening of the park is a
fact. A day full of fun
and pleasure awaits! You
and the other visitors
willbe confronted with
all the rides,
attractions and
adventures the theme park
has to offer. Which ride
shall we do first?! There
is so much to do and
experience on this day in
the park! A parade of
colorful floats and park
figures is passing
by. Letthe fun
begin!
Part 2:
The Haunted House [with
animation] The
only ride in the park
that is not related to
fun, is the Haunted
House. Here visitors will
be challenged to visit a
house full of ghosts,
creepy figures and
otherominous things. The
clock strikes twelve,
there is no turning back.
Ghosts are whispering,
yelling, screaming...
Fortunately it is almost
one oclock, so we can
leave this creepy place
quickly.
Part
3: The Swinging Galleon
[withillustrations]What a huge pirate
ship! Each time you swing
back and forth, you will
feel that weird feeling
in your stomach. When you
are thrown completely
into the top you will
have a fantastic view
over the park, but you
can not enjoy itfor long.
Before you know the ship
swings back the other
way.
Part 4:
The Fairy Tale Ride [with
illustrations] Aft
er all those exciting and
spectacular rides and
attractions, it is time
for a peaceful tour in
The Fairy Tale
Ride.Surrounded by a
fairytale setting, you
will discover fable
figures, talking animals
and colorful designs.
Such a beauty and
tranquility. Having had
this experience, we are
ready again for the big
rides in the
park!
Part 5:
The Bumper Cars[with
illustrations] Now
its time to crawl behind
the wheel of the Bumper
Cars! Shall we all chase
the conductor?! Before
you know you are hit by
another visitor or you
will bump against someone
else. In this tough ride
you can prove yourselfas
a real driver, or perhaps
as a really bad
one.
Part 6:
The Roller Coaster [with
illustrations] The
largest, fastest and
scariest ride in the park
... we should definitely
do the Roller Coaster!
All together in the
train,
theover-the-shoulder
restraints are
lowering... be ready to
ride. The train leaves
the station and is
heading for the big lift
hill. It will be very
scary when the train
reaches the top and the
train will be plunged
down the first drop!
Loops,corkscrews and
other spectacular coaster
elements will follow...
Before you know it, the
ride of your life is
over. Shall we ride it
again?!
Part 7:
Leaving the Park [with
animation] Unfortu
nately everything comes
to an end. Thisday in the
theme park is over, but
we have a lot new
experiences to talk
about! The memories of
all the funny and
spectacular rides will
come up when we walk
through the park to the
exit. Just one look over
the shoulder, the
amusement park figuresare
waving at us. Hopefully
we will come back again
soon!
In
'Theme Park Fun!' bezoek
je met de hele
muziekvereniging een
pretpark. Tijdens het
bezoek word je op
muzikale wijze
geconfronteerd met een
aantal spectaculaire
attracties die het
pretpark rijk is. Het
unieke van 'Theme Park
Fun!'is het samenspel
tussen muziek en beeld.
Deel 1: 'The
Entrance & Parade' [met
animatiefilm] De
opening van het pretpark
is een feit. De dag vol
plezier kan beginnen en
de bezoekers worden hier
geconfronteerdmet alle
attracties en avonturen
die ze in het pretpark
staan te wachten. In
welke attractie zullen we
als eerst stappen?! Er is
zoveel te doen en te
beleven deze dag in het
pretpark! Een parade met
parkfiguren en kleurrijke
praalwagenskomt voorbij,
de pret kan
beginnen!
Deel
2: 'The Haunted House'
[met
animatiefilm] De
enige attractie in het
pretpark die geen 'pret'
uitstraalt, is het
spookhuis. Hier worden de
bezoekers uitgedaagd om
zichte begeven in een
huis vol spoken, geesten
en andere onheilspellende
dingen. De klok slaat 12
keer, er is geen weg meer
terug. Gefluister...,
geschreeuw... Gelukkig
slaat de klok bijna 1 uur
en kunnen we deze ongure
plek snel
verlaten.
Deel3
: 'The Swinging Galleon'
[met
illustraties] Wat
een groot piratenschip!
Elke keer wanneer je heen
en weer schommelt, voel
je dat rare gevoel in je
buik. Wanneer je helemaal
in de top geslingerd
bentheb je een
fantastisch uitzicht over
het pretpark, maar je
kunt er niet lang van
genieten. Voor je het
weet zwaait het schip
weer de andere kant
op.
Deel 4:
'The Fairy Tale Ride'
[met
illustraties] Na
al die spannendeen
spectaculaire attracties
is het tijd voor een
rustig ritje in 'The
Fairy Tale Ride'. Omgeven
door een sprookjesachtige
omgeving waan je je
tussen elfjes, pratende
dieren en kleurrijke
decors. Wat een
schoonheid en rust,
hierna.
Composed by Wilco
Moerman. Set (Score &
Parts). 48 pages. Gobelin
Music Publications #GOB
001140-010. Published by
Gobelin Music
Publications
(BT.GOB-001140-010).
In Theme Park
Fun! your orchestra pays
a visit to an amusement
park. During your visit,
you will experience some
spectacular rides and
attractions this theme
park offers. The
uniqueness of Theme Park
Fun! is the interplay
between music and(moving)
images. Animations and
illustrations support the
visual
composition.
Pa
rt 1: The Entrance &
Parade [with
animation] The
opening of the park is a
fact. A day full of fun
and pleasure awaits! You
and the other visitors
willbe confronted with
all the rides,
attractions and
adventures the theme park
has to offer. Which ride
shall we do first?! There
is so much to do and
experience on this day in
the park! A parade of
colorful floats and park
figures is passing
by. Letthe fun
begin!
Part 2:
The Haunted House [with
animation] The
only ride in the park
that is not related to
fun, is the Haunted
House. Here visitors will
be challenged to visit a
house full of ghosts,
creepy figures and
otherominous things. The
clock strikes twelve,
there is no turning back.
Ghosts are whispering,
yelling, screaming...
Fortunately it is almost
one oclock, so we can
leave this creepy place
quickly.
Part
3: The Swinging Galleon
[withillustrations]What a huge pirate
ship! Each time you swing
back and forth, you will
feel that weird feeling
in your stomach. When you
are thrown completely
into the top you will
have a fantastic view
over the park, but you
can not enjoy itfor long.
Before you know the ship
swings back the other
way.
Part 4:
The Fairy Tale Ride [with
illustrations] Aft
er all those exciting and
spectacular rides and
attractions, it is time
for a peaceful tour in
The Fairy Tale
Ride.Surrounded by a
fairytale setting, you
will discover fable
figures, talking animals
and colorful designs.
Such a beauty and
tranquility. Having had
this experience, we are
ready again for the big
rides in the
park!
Part 5:
The Bumper Cars[with
illustrations] Now
its time to crawl behind
the wheel of the Bumper
Cars! Shall we all chase
the conductor?! Before
you know you are hit by
another visitor or you
will bump against someone
else. In this tough ride
you can prove yourselfas
a real driver, or perhaps
as a really bad
one.
Part 6:
The Roller Coaster [with
illustrations] The
largest, fastest and
scariest ride in the park
... we should definitely
do the Roller Coaster!
All together in the
train,
theover-the-shoulder
restraints are
lowering... be ready to
ride. The train leaves
the station and is
heading for the big lift
hill. It will be very
scary when the train
reaches the top and the
train will be plunged
down the first drop!
Loops,corkscrews and
other spectacular coaster
elements will follow...
Before you know it, the
ride of your life is
over. Shall we ride it
again?!
Part 7:
Leaving the Park [with
animation] Unfortu
nately everything comes
to an end. Thisday in the
theme park is over, but
we have a lot new
experiences to talk
about! The memories of
all the funny and
spectacular rides will
come up when we walk
through the park to the
exit. Just one look over
the shoulder, the
amusement park figuresare
waving at us. Hopefully
we will come back again
soon!
In
'Theme Park Fun!' bezoek
je met de hele
muziekvereniging een
pretpark. Tijdens het
bezoek word je op
muzikale wijze
geconfronteerd met een
aantal spectaculaire
attracties die het
pretpark rijk is. Het
unieke van 'Theme Park
Fun!'is het samenspel
tussen muziek en
beeld.
Deel 1:
'The Entrance & Parade'
[met
animatiefilm] De
opening van het pretpark
is een feit. De dag vol
plezier kan beginnen en
de bezoekers worden hier
geconfronteerdmet alle
attracties en avonturen
die ze in het pretpark
staan te wachten. In
welke attractie zullen we
als eerst stappen?! Er is
zoveel te doen en te
beleven deze dag in het
pretpark! Een parade met
parkfiguren en kleurrijke
praalwagenskomt voorbij,
de pret kan
beginnen!
Deel
2: 'The Haunted House'
[met
animatiefilm] De
enige attractie in het
pretpark die geen 'pret'
uitstraalt, is het
spookhuis. Hier worden de
bezoekers uitgedaagd om
zichte begeven in een
huis vol spoken, geesten
en andere onheilspellende
dingen. De klok slaat 12
keer, er is geen weg meer
terug. Gefluister...,
geschreeuw... Gelukkig
slaat de klok bijna 1 uur
en kunnen we deze ongure
plek snel
verlaten.
Deel3
: 'The Swinging Galleon'
[met
illustraties] Wat
een groot piratenschip!
Elke keer wanneer je heen
en weer schommelt, voel
je dat rare gevoel in je
buik. Wanneer je helemaal
in de top geslingerd
bentheb je een
fantastisch uitzicht over
het pretpark, maar je
kunt er niet lang van
genieten. Voor je het
weet zwaait het schip
weer de andere kant
op.
Deel 4:
'The Fairy Tale Ride'
[met
illustraties] Na
al die spannendeen
spectaculaire attracties
is het tijd voor een
rustig ritje in 'The
Fairy Tale Ride'. Omgeven
door een sprookjesachtige
omgeving waan je je
tussen elfjes, pratende
dieren en kleurrijke
decors. Wat een
schoonheid en rust,
hierna.
New Sounds in Disco! Orchestre d'harmonie [Conducteur] - Intermédiaire Music Sales
Concert Band/Harmonie - Grade 4 SKU: BT.1750-10-140-MS Arranged by Naohir...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1750-10-140-MS
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Pop & Rock. Score
Only. Composed 2010. 44
pages. Music Sales
#1750-10-140 MS.
Published by Music Sales
(BT.1750-10-140-MS).
9x12 inches.
English-German-French-Dut
ch.
Four
unforgettable disco songs
come together in one
stunning medley. Up fi
rst is the 1979 dance
floor hit I’m in
the Mood for Dancing by
The Nolans. Next the
medley quiets down with a
charming love song,
Lovin’ You, a song
Minnie Riperton dedicated
to her daughter. You
Can’t Hurry Love
was a huge success for
The Supremes in 1966 and
Phil Collins repeated
their success in 1983
making the song immortal.
This exciting medley ends
with Olivia
Newton-John’s
hit-song Xanadu, from her
1980 musical of the same
name.
Vier
Evergreens aus der
Disco-Ära in einem
Blasorchester-Medley: Den
Anfang macht
I’m in the Mood
for Dancing, mit dem
die Geschwister- Combo
The Nolans 1979 auf vier
Kontinenten die Menschen
auf die Tanzflächen
jagte. Danach folgt als
Ruhepunkt das bezaubernde
Liebeslied
Lovin’ You,
das Minnie Riperton 1975
ihrer kleinen Tochter
widmete. You
Can’t Hurry
Love war in der
Originalversion von 1966
für die Supremes
ein Riesenhit - Phil
Collins wiederholte
diesen Erfolg 1983 und
machte den Song
unsterblich. Den
Abschluss von Naohiro
Iwais mitreißendem
Medley bildet Olivia
Newton-Johns Hit
Xanadu aus dem
gleichnamigen Musical von
1980.
Questo medley
racchiude quattro
standard degli anni della
musica disco: I’m
in the Mood for Dancing
delle Nolan Sisters
anticipa le deliziose
note della ballata
Lovin’ You di
Minnie Ripperton. Nel
1966, The Supremes
conoscono la gloria con
la versione originale di
Can’t Hurry Love.
Nel 1983, Phil Collins
replica il successo dei
Supremes e rende la
canzone immortale. Per
concludere il suo medley,
Naohiro Iwai ha scelto
Xanadu (1980) la canzone
della commedia musicale
interpretata da Olivia
Newton John.
The Ecstasy of Gold Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1114972-010 From The Good,...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1114972-010
From The Good, The Bad
and The Ugly.
Composed by Ennio
Morricone. Arranged by
Lorenzo Bocci. DHP Pop,
Film and Show.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2011. De Haske
Publications #DHP
1114972-010. Published by
De Haske Publications
(BT.DHP-1114972-010).
9x12 inches.
The
Ecstasy of Gold is the
famous theme from the
movie The Good, The Bad
and The Ugly that leads
up to and is heard during
the movie’s
climax, the showdown! The
complete soundtrack to
The Good, the Bad and the
Ugly was released in 1966
and sold millions of
copies. Since 1983,
heavy-metal band
Metallica have been
opening concerts with
Morricone’s
dramatic and exciting
song, The Ecstasy of
Gold. Lorenzo Bocci has
created an equally
exciting arrangement for
concert band.
The
Ecstasy of Gold is het
beroemde lied uit de
muziek van de film The
Good, The Bad and The
Ugly en leidt naar het
hoogtepunt van de film.
Ennio Morricone
componeerde de soundtrack
voor deze
spaghettiwestern van
Sergio Leone. Ookde
eerste twee delen van de
filmtrilogie, A Fistfull
of Dollars en For a Few
Dollars More, voorzag hij
van filmmuziek. De
hardrockband Metallica
opent sinds 1983 haar
rockconcerten met dit
dramatische en pakkende
lied. Lorenzo Boccimaakte
er een versie voor
blaasorkest van. Spannend
en
meeslepend..!
The
Ecstasy of Gold ist das
berühmte Lied aus der
Filmmusik zu The Good,
The Bad and The Ugly
(Zwei glorreiche
Halunken), welches den
Showdown und zugleich
Höhepunkt des Films
einleitet. Komponiert
wurde der Soundtrack zu
Sergio Leones klassischem
Italo-Wester von Ennio
Morricone, der auch schon
die beiden ersten Filme
der Trilogie - Für
eine Handvoll Dollar und
Für ein paar Doller
mehr - vertont hatte. Die
Metal-Band Metallica
eröffnet seit 1983
ihre Konzerte stets mit
diesem dramatischen und
packenden Lied, das
Lorenzo Bocci für
Blasorchester
arrangierte.
Film del 1966 diretto da
Sergio Leone, Il Buono,
Il Brutto, Il Cattivo
è uno tra i più
celebri western della
storia del cinema.
L’Estasi
dell’Oro (The
Ecstasy of Gold) è una
canzone composta da Ennio
Morricone per il film,
ricordata in particolare
per essere il sottofondo
musicale della scena in
cui Tuco cerca
freneticamente il
cimitero con la tomba
dove si trovano 200.000
dollari in oro.
Concert Band (SCORE+PARTS) - Grade 3 SKU: HL.44012425 Concert Band Sco...(+)
Concert Band
(SCORE+PARTS) - Grade 3
SKU: HL.44012425
Concert Band Score and
Parts. Composed by
Ennio Morricone. Arranged
by Lorenzo Bocci. De
Haske Concert Band.
TV-Film-Musical-Show.
Softcover. Composed 2011.
De Haske Publications
#1114972-010. Published
by De Haske Publications
(HL.44012425).
UPC:
196288024705.
9.0x12.0x0.443
inches.
The Ecstasy
of Gold is the famous
theme from the movie The
Good, The Bad and The
Ugly that leads up to and
is heard during the
movie's climax, the
showdown! The complete
soundtrack to The Good,
the Bad and the Ugly was
released in 1966 and sold
millions of copies. Since
1983, heavy-metal band
Metallica have been
opening concerts with
Morricone's dramatic and
exciting song, The
Ecstasy of Gold. Lorenzo
Bocci has created an
equally exciting
arrangement for concert
band.
The Ecstasy
of Gold is het beroemde
lied uit de muziek van de
film The Good, The Bad
and The Ugly en leidt
naar het hoogtepunt van
de film. Ennio Morricone
componeerde de soundtrack
voor deze
spaghettiwestern van
Sergio Leone. Ookde
eerste twee delen van de
filmtrilogie, A Fistfull
of Dollars en For a Few
Dollars More, voorzag hij
van filmmuziek. De
hardrockband Metallica
opent sinds 1983 haar
rockconcerten met dit
dramatische en pakkende
lied. Lorenzo Boccimaakte
er een versie voor
blaasorkest van. Spannend
en
meeslepend..!
The
Ecstasy of Gold ist das
beruhmte Lied aus der
Filmmusik zu The Good,
The Bad and The Ugly
(Zwei glorreiche
Halunken), welches den
Showdown und zugleich
Hohepunkt des Films
einleitet. Komponiert
wurde der Soundtrack zu
Sergio Leones klassischem
Italo-Wester von Ennio
Morricone, der auch schon
die beiden ersten Filme
der Trilogie - Fur eine
Handvoll Dollar und Fur
ein paar Doller mehr -
vertont hatte. Die
Metal-Band Metallica
eroffnet seit 1983 ihre
Konzerte stets mit diesem
dramatischen und
packenden Lied, das
Lorenzo Bocci fur
Blasorchester
arrangierte.
La
legendaire melodie The
Ecstasy of Gold vient
aureoler le point
culminant du film Le Bon,
la brute et le truand. Ce
film cloture la celebre
Trilogie de l'homme sans
nom dont les precedents
films sont Pour une
poignee de dollars, Et
pour quelques dollars de
plus. A la demande du
realisateur Sergio Leone,
Ennio Morricone composa
la bande originale des
trois films. Depuis 1983,
le groupe Metallica ouvre
ses concerts avec ce
theme dont Lorenzo Bocci
a realise un
epoustouflant arrangement
pour orchestre
d'harmonie.
Film
del 1966 diretto da
Sergio Leone, Il Buono,
Il Brutto, Il Cattivo e
uno tra i piu celebri
western della storia del
cinema. L'Estasi dell'Oro
(The Ecstasy of Gold) e
una canzone composta da
Ennio Morricone per il
film, ricordata in
particolare per essere il
sottofondo musicale della
scena in cui Tuco cerca
freneticamente il
cimitero con la tomba
dove si trovano 200.000
dollari in oro.
New Sounds in Disco! Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Music Sales
Concert Band/Harmonie - Grade 4 SKU: BT.1750-10-010-MS Arranged by Naohir...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.1750-10-010-MS
Arranged by Naohiro Iwai.
New Sounds for Concert
Band. Pop & Rock. Set
(Score & Parts). Composed
2010. Music Sales
#1750-10-010 MS.
Published by Music Sales
(BT.1750-10-010-MS).
9x12 inches.
English-German-French-Dut
ch.
Four
unforgettable disco songs
come together in one
stunning medley. Up fi
rst is the 1979 dance
floor hit I’m in
the Mood for Dancing by
The Nolans. Next the
medley quiets down with a
charming love song,
Lovin’ You, a song
Minnie Riperton dedicated
to her daughter. You
Can’t Hurry Love
was a huge success for
The Supremes in 1966 and
Phil Collins repeated
their success in 1983
making the song immortal.
This exciting medley ends
with Olivia
Newton-John’s
hit-song Xanadu, from her
1980 musical of the same
name.
Vier
Evergreens aus der
Disco-Ära in einem
Blasorchester-Medley: Den
Anfang macht
I’m in the Mood
for Dancing, mit dem
die Geschwister- Combo
The Nolans 1979 auf vier
Kontinenten die Menschen
auf die Tanzflächen
jagte. Danach folgt als
Ruhepunkt das bezaubernde
Liebeslied
Lovin’ You,
das Minnie Riperton 1975
ihrer kleinen Tochter
widmete. You
Can’t Hurry
Love war in der
Originalversion von 1966
für die Supremes
ein Riesenhit - Phil
Collins wiederholte
diesen Erfolg 1983 und
machte den Song
unsterblich. Den
Abschluss von Naohiro
Iwais mitreißendem
Medley bildet Olivia
Newton-Johns Hit
Xanadu aus dem
gleichnamigen Musical von
1980.
Questo medley
racchiude quattro
standard degli anni della
musica disco: I’m
in the Mood for Dancing
delle Nolan Sisters
anticipa le deliziose
note della ballata
Lovin’ You di
Minnie Ripperton. Nel
1966, The Supremes
conoscono la gloria con
la versione originale di
Can’t Hurry Love.
Nel 1983, Phil Collins
replica il successo dei
Supremes e rende la
canzone immortale. Per
concludere il suo medley,
Naohiro Iwai ha scelto
Xanadu (1980) la canzone
della commedia musicale
interpretata da Olivia
Newton John.
Composed by Freddie
Mercury. Arranged by
Philip Sparke. Anglo
Music Midway Series.
Score Only. Composed
2011. 28 pages. Anglo
Music Press #AMP 316-140.
Published by Anglo Music
Press (BT.AMP-316-140).
9x12 inches.
English-German-French-Dut
ch.
Bohemian
Rhapsody is undoubtedly
one of the most important
songs in the history of
rock ‘n’
roll. The song defied all
convention in terms of
form. It has no chorus.
Instead, it comprised of
an introduction, ballad,
guitar solo, operatic
interlude, hard rock
section and coda. Perhaps
the most mystifying
aspect of the song is the
lyrics, which are
commonly thought to be
autobiographical,
although members of the
band have never fully
explained them. Bring the
house down with Philip
Sparke’s authentic
arrangement!
Bohem
ian Rhapsody wordt vaak
gezien als het
belangrijkste nummer uit
de geschiedenis van de
rockmuziek. Naast de
nooit verklaarde
raadselachtige tekst, was
het vooral de ongewone
vorm die tot op de dag
van vandaag voor het
grote succeszorgde. Het
nummer kent geen refrein,
maar bestaat uit vijf
afzonderlijke delen:
inleiding, ballad,
gitaarsolo, hardrock en
slot. Philip Sparke is
met zijn arrangement zo
dicht mogelijk bij het
origineel gebleven.
Grotesk!
Bohemi
an Rhapsody wird oft
als der bedeutendste Song
in der Geschichte des
Rock bezeichnet. Neben
dem nie erklärten
rätselhaften Text trug
vor allem die
ungewöhnliche Form zum
heute noch andauernden
Erfolg des Liedes bei: Es
hat keinen Refrain,
sondern besteht aus den
Abschnitten Einleitung,
Ballade, Gitarrensolo,
Hardrock und Schluss.
Philip Sparke versuchte,
in seiner Version von
Bohemian Rhapsody
so nahe wie möglich am
Original zu
bleiben.
Bohemian
Rhapsody è spesso
menzionato come il titolo
più importante nella
storia della musica rock.
Scritta da Freddie
Mercury, questa canzone
sfida tutti i canoni fino
a allora rispettati. Si
compone di sei sezioni
ben distinte:
introduzione, ballata,
assolo di chitarra, parti
classiche e rock ed un
finale.
L’arrangiamento
per banda di Philip
Sparke è fedele
all’originale.
Bohemian Rhapsody Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band (Score) - Grade 4 SKU: HL.44010995 Composed by Freddie Mercu...(+)
Concert Band (Score) -
Grade 4
SKU:
HL.44010995
Composed
by Freddie Mercury.
Arranged by Philip
Sparke. Anglo Music
Concert Band. Pop. Score
Only. Composed 2011.
Anglo Music Press
#AMP316140. Published by
Anglo Music Press
(HL.44010995).
Bohemian
Rhapsody is undoubtedly
one of the most important
songs in the history of
rock 'n' roll. The song
defied all convention in
terms of form. It has no
chorus. Instead, it
comprised of an
introduction, ballad,
guitar solo, operatic
interlude, hard rock
section and coda. Perhaps
the most mystifying
aspect of the song is the
lyrics, which are
commonly thought to be
autobiographical,
although members of the
band have never fully
explained them. Bring the
house down with Philip
Sparke's authentic
arrangement!
Bohem
ian Rhapsody wordt vaak
gezien als het
belangrijkste nummer uit
de geschiedenis van de
rockmuziek. Naast de
nooit verklaarde
raadselachtige tekst, was
het vooral de ongewone
vorm die tot op de dag
van vandaag voor het
grote succeszorgde. Het
nummer kent geen refrein,
maar bestaat uit vijf
afzonderlijke delen:
inleiding, ballad,
gitaarsolo, hardrock en
slot. Philip Sparke is
met zijn arrangement zo
dicht mogelijk bij het
origineel gebleven.
Grotesk!
Bohemi
an Rhapsody wird oft
als der bedeutendste Song
in der Geschichte des
Rock bezeichnet. Neben
dem nie erklarten
ratselhaften Text trug
vor allem die
ungewohnliche Form zum
heute noch andauernden
Erfolg des Liedes bei: Es
hat keinen Refrain,
sondern besteht aus den
Abschnitten Einleitung,
Ballade, Gitarrensolo,
Hardrock und Schluss.
Philip Sparke versuchte,
in seiner Version von
Bohemian Rhapsody
so nahe wie moglich am
Original zu
bleiben.
Bohemian
Rhapsody est souvent
mentionne comme le titre
le plus important dans
l'histoire du Rock.
Ecrite par Freddie
Mercury, cette chanson
defie toutes les normes
jusque-la respectees.
Elle se compose de six
sections bien distinctes:
introduction, ballade,
solo de guitare, parties
opera et hard rock ainsi
qu'un finale.
L'arrangement pour
orchestre d'harmonie de
Philip Sparke reste
conforme a la version
originale. Succes
garanti!
Bohemian
Rhapsody e spesso
menzionato come il titolo
piu importante nella
storia della musica rock.
Scritta da Freddie
Mercury, questa canzone
sfida tutti i canoni fino
a allora rispettati. Si
compone di sei sezioni
ben distinte:
introduzione, ballata,
assolo di chitarra, parti
classiche e rock ed un
finale. L'arrangiamento
per banda di Philip
Sparke e fedele
all'originale.
Composed by
John Pasternak. 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+6+2+4+2+20+4
pages. Duration 3
minutes, 57 seconds. Carl
Fischer Music #YPS197.
Published by Carl Fischer
Music (CF.YPS197).
ISBN 9781491152171.
UPC: 680160909674. Key:
Eb major.
Chase the
Horizon is a musical
journey depicting a
lonesome cowboy riding on
his horse, chasing the
horizon. Composer John
Pasternak has delivered a
strong and musically
rewarding piece for the
young band. It begins
with a nice legato
section before setting
off on the journey with a
tuneful theme. The piece
develops through several
contrasting sections
finishing in a dramatic
conclusion. This piece
is a story of new
beginnings. While writing
this piece I pictured a
lonely cowboy riding on
his horse, chasing the
horizon. The beginning
for this piece should
have a very legato feel
except for the Xylophone
part, which should use a
very abrupt, staccato
articulation. Measure 9
should take on a staccato
and light feel. The
feeling should remain
light except for the
instruments with the
melody, who should play
their parts with a more
legato feel. Dynamics
throughout this first
section are crucial. All
parts at m. 22 should
play with a legato style
with focus on the
dynamics. The trumpet
interjection at m. 25
should be played very
light. At m. 32 there
should be contrast with
all the different styles
of articulation. Measure
42 should not slow down
too quickly as the group
should not ever get
slower than the tempo
marking at m. 49.The slow
section at m. 49 should
be played soft with a
legato style growing
gradually through m. 61.
The articulation at m. 61
should be short and
staccato, and be careful
not to rush. The sections
with the melody here
should contrast the
staccato of the ensemble
with a legato style. When
the ensemble arrives at
m. 78 the piece should
have a maestoso-style
feel. The rit. at m. 88
should not become slower
than the tempo at m. 92.
At m. 92, let the
horns and saxophones
really shine through.