By Mark Williams. Concert Band. Concert Band. Accent on Achievement. Contemporary; TV. Grade 1. Conductor Score and Parts. 128 pages. Duration 2:00:00

(Way Back Home Again in). For concert band. Carl Fischer Symphonic Performance Series. Grade 4 and up. Score and parts. Duration 3:21. Published by Carl Fischer

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1125265-140

Composed by Michael Jackson. Arranged by Takashi Hoshide. Pop & Rock. Score Only. Composed 2012. 32 pages. De Haske Publications #DHP 1125265-140. Published by De Haske Publications (BT.DHP-1125265-140).

9x12 inches. English-German-French-Dut ch.

Jackson 5 Medley features the catchiest hits from one of the most successful family pop groups of all time, arranged for concert band by Takashi Hoshide. Includes the songs I’ll Be There, I Want You Back, ABC and Never Can Say Goodbye.

Met zijn zonen Jackie, Tito en Jermaine richtte vader Joe Jackson al in 1964 de popgroep Jacksons op. Toen ook Marlon en de bijzonder getalenteerde Michael er in 1966 bij kwamen, boekten The Jackson 5 hun grootste successen.De Japanse arrangeur Takashi Hoshide koos voor zijn Jackson 5 Medley de evergreens I’ll Be There, I Want You Back, ABC en Never Can Say Goodbye.

Die Familien-Band The Jacksons wurde bereits 1964 vom Vater Joe Jackson gegründet, doch erst als zu den Brüdern Jackie, Tito und Jermaine auch Marlon und das Ausnahmetalent Michael im Jahr 1966 dazu stießen, feierte die Gruppe unter dem Namen The Jackson 5 ihre größten Erfolge. Der japanische Arrangeur Takashi Hoshide wählte für sein Jackson 5 Medley die eingängigen Songs I’ll Be There, I Want You Back, ABC und Never Can Say Goodbye.

Fond� �© en 1964 l’initiative de leur père Joe Jackson, le groupe The Jackson Brothers ne comptait alors que 3 frères de la famille : Jackie, Tito et Jermaine. Plus tard, se rajouteront les cadets Marlon et Michael et le groupe optera pour son nom définitif The Jackson Five. L’arrangeur japonais Takashi Hoshide a choisi quatre grands succès du groupe soul : I’ll Be There, I Want You Back, ABC et Never Can Say Goodbye.

Fondata nel 1964 da Joe Jackson, il gruppo The Jackson Brothers comprendeva solo 3 fratelli: Jackie, Tito e Jermaine. Solo più tardi si sarebbero aggiunti Marlon e Michael, e con loro il nome definitivo sarebbe diventato The Jackson Five. Takashi Hoshide ha scelto di arrangiare per banda quattro grandi successi dei fratelli Jackson: I’ll Be There, I Want You Back, ABC e Never Can Say Goodbye.

Concert Band/Harmonie - Grade 6

SKU: BT.DHP-1002209-010

Composed by Jan Van der Roost. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 2000. De Haske Publications #DHP 1002209-010. Published by De Haske Publications (BT.DHP-1002209-010).

Sinfonia Hungarica is a three-movement symphony that depicts the history of Hungary. All three movements were inspired by historical key figures, wars, and other important events from this country. This symphony is a celebration of Hungary’s millennium in 2001.The final movement is named after ISTVAN, the King who introduced Christianity into Hungary and who was crowned by Pope Silvestro II on January 1, 1001. A rather solemn start leads to another war-like passage, ending with some loud crashes. This symbolizes the fact that the body of the pagan Koppany was cut into four pieces, and sent to the four castles of the country as an example. After a quiet, almost religiousintermezzo, the National Hymn of Hungary is introduced. This broad “grandioso” ending also has a symbolic meaning: after ten centuries, Hungary has many reasons to look back on the past with pride, and to look forward to the future with optimism and confidence.

Dit stuk werd gecomponeerd in opdracht van het symfonisch blaasorkest Kiskunfélegyhaza uit Hongarije en opgedragen aan dirigent Ferenc Jankovski, burgemeester Jozsef Ficsor en Gabriella Kiss. De wereldpremière vond plaats op 31 maart2001 in Budapest (Hongarije) door het eerdergenoemde orkest onder leiding van de componist.Deze driedelige symfonie beschrijft de geschiedenis van Hongarije. De drie delen zijn ge nspireerd op historische sleutelfiguren, oorlogenen andere belangrijke gebeurtenissen in dit land. De symfonie werd geschreven ter gelegenheid van de millenniumviering van Hongarije in 2001.ATTILA, koning van de Hunnen, vaak ‘de gesel Gods’ genoemd, is de centrale figuurin het eerste deel, dat voornamelijk wordt gekenmerkt door angst, dreiging, agressie en wreedheid. Attila’s broer, Buda, heeft echter een hero scher thema, terwijl zijn geliefde vrouw, Rika, een lyrische melodie heeft. Het spannendeeinde van dit openingsdeel illustreert de gevreesde snelheid van Attila’s troepen: ze achtervolgden hun slachtoffers en vermoordden ze allemaal! Het tweede deel gaat over ARPAD, de stichter van de Hongaarse staat. Hetbegint met een sfeerpassage, die het beeld oproept van zijn grootmoeder, Emese, dromend over zijn bestemming. Een van Arpad’s tegenstanders, de Bulgaarse prins Zalan, werd verdreven na een gevecht. Hierna noemde Arpad het gebiedofficieel ‘Magyarorszag� ��.Het laatste deel is genoemd naar ISTVAN, de koning die het christendom in Hongarije introduceerde en die werd gekroond door paus Silvester II op 1 januari 1001. Een vrij plechtige start leidt tot nogeen martiale passage, die eindigt met een aantal luide slagen. Deze symboliseren het voorval waarbij het lichaam van de heiden Koppany in vier stukken werd gesneden, die naar de vier kastelen van het land werden gezonden als schrikwekkend

Die Sinfonie in drei Sätzen ist eine musikalische Schilderung der Geschichte Ungarns. Alle drei Sätze haben bedeutende historische Persönlichkeiten und Schlüsselereignisse aus der Landesgeschichte - wie etwa Kriege - zum Inhalt. Das Werk wurde zuUngarns Tausendjahrfeier im Jahr 2001 geschrieben.Attila , König der Hunnen, oftmals auch die Geißel Gottes genannt, ist die zentrale Gestalt des ersten Satzes; in seiner musikalischen Beschreibung sind Aggressivität und Grausamkeit, die vonihm ausgehende Bedrohung und ihm entgegengebrachte Furcht spürbar. Daneben erscheinen das heroischer klingende Thema von Buda, Attilas Bruder, und das lyrische von Rika, seiner zärtlich geliebten Frau. Der aufpeitschende Schluss desSatzes ist Sinnbild für die gefürchtete Schnelligkeit von Attilas Truppen, mit der sie ihre Opfer eingeholt und ohne Ausnahme getötet haben.Im Mittelpunkt des zweiten Satzes steht Arpad, der eigentliche Begründer des ungarischen Staates. Eineatmosphärisch klingende Einleitung beschwört Emese, die Großmutter Arpads, herauf, die im Traum seine Bestimmung vorhergesehen hatte. Er schlug seinen Gegner, den Prinzen Zalan von Bulgarien, im Kampf in die Flucht und gab dem Land denNamen Magyarorszag.Das Finale ist nach Istvan benannt, dem König, der in Ungarn das Christentum einführte und am ersten Januar 1001 durch Papst Sylvester II. gekrönt wurde. Ein feierlicher Anfang leitet über in einen an Kriegsgetümmelerinnern den Abschnitt, der in lärmendem Getöse endet. Es steht für das Ende des Heiden Koppany, dessen Körper gevierteilt und als abschreckendes Beispiel an die vier Burgen des Landes gesandt wurde. Ein ruhiges, beinahe religiös wirkendesZwischenspiel mündet in die ungarische Nationalhymne. Dieser prachtvolle, mit grandioso überschriebene Schluss hat auch eine symbolische Bedeutung: Nach zehn Jahrhunderten hat Ungarn guten Grund, mit Stolz zurückzublicken und der Zukunft mitZuversicht und Optimismus entgegenzusehen.Die wunderbare Melodie der Nationalhymne erscheint in der Sinfonie auch vorher schon immer wieder, wird meist aber ganz oder teilweise überdeckt. Sie durchläuft das Werk wie ein roter Faden, der anfangs kaumwahrzunehmen ist und erst im Verlauf der Sinfonie immer deutlicher wird. Am Ende krönt sie das Werk in einer letzten prachtvollen Steigerung, in der das Orchester den majestätischen Klang einer Orgel annimmt.

Sinfon ia Hungarica est une œuvre de commande pour l’Orchestre d’Harmonie de Kiskunfelegyhaze en Hongrie. Elle est dédiée Ferenc Jankovski (Directeur de l’Orchestre d’Harmonie), Jozsef Ficsor (Maire de la ville de Kiskunfelegyhaze) et Gabriella Kiss.Cette symphonie en trois mouvements retrace l’histoire de la Hongrie. L’ensemble des trois mouvements s’inspire de la vie de personnages historiques clés, de guerres et d’autres événements de grande importance qui ont marqué l’histoire de ce pays. Sinfonia Hungarica célèbre le millénaire de la fondation de l’État hongrois (1001-2001). L’œuvre a été donnée en création mondiale, le 31 mars 2001 Budapest,par l’Orchestre d’Harmonie de Kiskunfelegyhaze placé sous la direction du compositeur.ATTILA , roi des Huns, surnommé “le Fléau de Dieu”, est le personnage central du premier mouvement où règne une atmosphère de peur, de menace, d’agression et de cruauté. Bléda, le frère d’Attila, est associé un thème aux accents plus héro ques, tandis que Kerka, l’épouse bien-aimée du roi des Huns, est représentée par une mélodie lyrique. La fin trépidante de ce mouvement d’ouverture illustre l’effroyable rapidité avec laquelle les troupes d’Attila poursuivaient et tuaient toutes leurs victimes.Le deuxième mouvement est centré sur ARPAD, le fondateur de l’État hongrois. Un passage limpide et aérien ouvre ce mouvement évoquant Émèse, la grand-mère d’Arpad, qui vit en rêve sa destinée future. Après avoir livré bataille contre l’un de ses opposants, le prince bulgare Zalan, et l’avoir chassé des terres magyares, Arpad donne officiellement au territoire le nom de Magyarorszag.Le troisième et dernier mouvement de la symphonie porte le nom de celui qui convertit le pays au christianisme : Étienne Ier (ISTVAN), sacré roi de Hongrie le 1er janvier 1001 par le Pape Sylvestre II. Les mesures d’ouverture, solennelles et majestueuses, mènent un passage dont l’atmosphère belliqueuse s’intensifie pour s’achever en de violents fracas symbolisant la mort

Sinfonia Hungarica, commissionata dalla banda ungherese di Kiskunfelegyahaza, è dedicata al maestro Ferenc Jankovski, al sindaco della citt Jozsef Ficsor e a Gabriella Kiss. La prima mondiale, eseguita dalla banda Kiskunfelegyhaza si è tenutaa Budapest il 31 marzo 2001 sotto la direzione del compositore.Gli eventi salienti della storia dell’Ungheria, come le guerre ed altri avvenimenti importanti, sono tradotti in musica in questa sinfonia strutturata in tre movimenti. Sinfonia Hungaricavuole anche essere un omaggio allo stato ungherese che festeggia il suo millennio nel 2001.ATTILA, re degli Unni, spesso chiamato “il flagello di Dio“ è la figura centrale del primo movimento, caratterizzato dalla paura, dalla minaccia,dall’aggr essione e dalla crudelt . Buda, fratello di Attila è associato ad un tema più eroico, mentre Rika, l’amata moglie, è rappresentata da una melodia lirica. L’eccitante finale di questo movimento di apertura illustra la tanto temuta velocit delle truppe di Attila che seminavano paura e morte.Il secondo movimento pone l’accento su ARPAD, il fondatore dello Stato ungherese. Inizia con un passaggio in stile atmosferico che evoca la nonna di Arpad, Emese che aveva sognato e predettoil futuro del nipote. Uno degli oppositori di Arpad, il principe bulgaro Zalan, fu cacciato dopo una battaglia. In seguito, Arpad chiamò ufficialmente il territorio “Magyarorszag� �.Il movimento finale prende il nome da ISTVAN, il re che portòil cristianesimo in Ungheria e che fu incoronato da Papa Silvestro II il 1 gennaio, 1001. Un inizio solenne prelude ad un passaggio bellico accentuato da rumori imponenti; questo a simboleggiare l’atroce fine del pagano Koppany il cui corpo futagliato in quattro pezzi e inviato ai quattro castelli del paese come monito. Dopo un intermezzo quieto, quasi religioso, viene presentato l’Inno nazionale ungherese. In questo ampio e grandioso finale riecheggia l’orgoglio dell’Ungheria nelricordare il suo passato e la fiducia con la quale si proietta al futuro.Lo stupendo tema dell’Inno nazionale ungherese è proposto nell’arco dell’intera sinfonia. E’ però spesso parzialmente nascosto e usato come filo conduttore, appena riconoscibileall’i nizio ma sempre più ovvio quando la sinfonia si avvicina al suo finale. A conclusione della sinfonia, il sublime inno conduce la banda in un’apoteosi finale, facendo apparire l’organico strumentale come un maestoso organo.

Composed by Michael Jackson. Arranged by Takashi Hoshide. Pop and Rock. Set (Score and Parts). Composed 2012. De Haske Publications #DHP 1125265-010. Published by De Haske Publications

Concert Band/Harmonie - Grade 3.5

SKU: BT.AMP-481-010

Composed by Philip Sparke. Ceremonial Series. Concert March. Set (Score & Parts). Composed 2021. Anglo Music Press #AMP 481-010. Published by Anglo Music Press (BT.AMP-481-010).

English-German-French- Dutch.

Guardians of the Waves was commissioned by the Japan Coast Guard Band to celebrate their 30th anniversary in 2018. They gave the premiere as part of a 30th anniversary concert on November 8th that year. Set in traditionalmarch form, Guardians of the Waves opens with a short introduction, which leads to the main theme, played initially by the brass and then repeated with a florid woodwind descant. The theme is extended and morphs into asecond theme, first played tutti and then quietly repeated by bassoon, tenor sax and euphonium. This leads to a conventional ‘bass strain’, played twice with varying accompaniments. A quieter trio section follows, delicatelyscored and featuring the tenor instruments of the band. Taken up by the full band, this leads back to a recall of the introduction and a return to the main two themes, which lead to a triumphal close.

Guardian s of the Waves werd geschreven in opdracht van de Japan Coast Guard Band ter gelegenheid van het dertigjarig bestaan van dit orkest, in 2018. De première vond plaats tijdens het jubileumconcert op 8 november van datjaar. Het werk, dat is gecomponeerd in een traditionele marsvorm, begint met een korte introductie die het hoofdthema inleidt, dat aanvankelijk wordt gespeeld door het koper en dan wordt herhaald met een weelderige discant in hethout. Het thema wordt voortgezet en gaat over in een tweede thema, eerst tutti gespeeld en rustig herhaald door fagot, tenorsax en eufonium. Dit thema voert ons mee naar een conventionele baslijn, die twee keer wordt gespeeld metvariërende begeleiding. Daarna volgt een kalmer triogedeelte, dat delicaat is getoonzet en waarin de tenorinstrumenten van het orkest ruimschoots aan bod komen. Het wordt dan overgenomen door het complete orkest en brengt onsterug naar de inleiding en de twee hoofdthema’s, uitmondend in een triomfantelijk slot.

Guardians of the Waves wurde von der Japan Coast Guard Band anlässlich ihres 30-jährigen Bestehens im Jahr 2018 in Auftrag gegeben. Die Uraufführung fand am 8. November 2018 im Rahmen eines Jubiläumskonzertes statt.Guardians of the Waves wurde als traditioneller Marsch komponiert und beginnt mit einer kurzen Einleitung, die zum Hauptthema führt. Dieses wird zunächst von den Blechbläsern gespielt und dann von den Oberstimmen in denHolzbläsern mit Verzierungen wiederholt. Das Thema wird erweitert und geht in ein zweites Thema über, das zunächst vom Tutti gespielt und dann von Fagott, Tenorsaxophon und Euphonium leise wiederholt wird. Anschließend erklingteine traditionelle Melodie in den Bassinstrumenten, die mit unterschiedlicher Begleitung zweimal gespielt wird. Es folgt ein ruhigeres Trio, das zart besetzt ist und die Tenorinstrumente des Blasorchesters hervorhebt. Dies wirdschließlich vom gesamten Blasorchester aufgegriffen und führt zu einer Wiederholung der Einleitung und einer Rückkehr zu den beiden Hauptthemen, die in einen triumphalen Schluss überleiten.

Guardians of the Waves est une commande de l’Harmonie de la Gendarmerie maritime du Japon pour marquer son 30e anniversaire, en 2018. L’orchestre a créé l’œuvre dans le cadre d’un concert d’anniversaire le 8 novembre decette même année. Écrite en forme de marche traditionnelle, Guardians of the Waves s’ouvre avec une courte introduction qui mène au thème principal, interprété d’abord par les cuivres puis repris avec un déchant fleuri parles bois. Le thème est prolongé et se morphe en un second thème, d’abord en tutti, puis répété doucement par les bassons, saxophones ténor et euphoniums. Ce passage mène une mélodie conventionnelle dans les graves, jouée deuxfois avec divers accompagnements. Vient ensuite un trio plus calme, orchestré avec délicatesse et mettant en avant les instruments ténor. Repris par l’orchestre entier, ce passage est suivi d’un rappel de l’introduction avant unretour aux deux thèmes principaux, qui mènent une conclusion triomphale.

Concert Band/Harmonie - Grade 3.5

SKU: BT.AMP-481-140

Composed by Philip Sparke. Ceremonial Series. Concert March. Score Only. Composed 2021. 32 pages. Anglo Music Press #AMP 481-140. Published by Anglo Music Press (BT.AMP-481-140).

English-German-French- Dutch.

Guardians of the Waves was commissioned by the Japan Coast Guard Band to celebrate their 30th anniversary in 2018. They gave the premiere as part of a 30th anniversary concert on November 8th that year. Set in traditionalmarch form, Guardians of the Waves opens with a short introduction, which leads to the main theme, played initially by the brass and then repeated with a florid woodwind descant. The theme is extended and morphs into asecond theme, first played tutti and then quietly repeated by bassoon, tenor sax and euphonium. This leads to a conventional ‘bass strain’, played twice with varying accompaniments. A quieter trio section follows, delicatelyscored and featuring the tenor instruments of the band. Taken up by the full band, this leads back to a recall of the introduction and a return to the main two themes, which lead to a triumphal close.

Guardian s of the Waves werd geschreven in opdracht van de Japan Coast Guard Band ter gelegenheid van het dertigjarig bestaan van dit orkest, in 2018. De première vond plaats tijdens het jubileumconcert op 8 november van datjaar. Het werk, dat is gecomponeerd in een traditionele marsvorm, begint met een korte introductie die het hoofdthema inleidt, dat aanvankelijk wordt gespeeld door het koper en dan wordt herhaald met een weelderige discant in hethout. Het thema wordt voortgezet en gaat over in een tweede thema, eerst tutti gespeeld en rustig herhaald door fagot, tenorsax en eufonium. Dit thema voert ons mee naar een conventionele baslijn, die twee keer wordt gespeeld metvariërende begeleiding. Daarna volgt een kalmer triogedeelte, dat delicaat is getoonzet en waarin de tenorinstrumenten van het orkest ruimschoots aan bod komen. Het wordt dan overgenomen door het complete orkest en brengt onsterug naar de inleiding en de twee hoofdthema’s, uitmondend in een triomfantelijk slot.

Guardians of the Waves wurde von der Japan Coast Guard Band anlässlich ihres 30-jährigen Bestehens im Jahr 2018 in Auftrag gegeben. Die Uraufführung fand am 8. November 2018 im Rahmen eines Jubiläumskonzertes statt.Guardians of the Waves wurde als traditioneller Marsch komponiert und beginnt mit einer kurzen Einleitung, die zum Hauptthema führt. Dieses wird zunächst von den Blechbläsern gespielt und dann von den Oberstimmen in denHolzbläsern mit Verzierungen wiederholt. Das Thema wird erweitert und geht in ein zweites Thema über, das zunächst vom Tutti gespielt und dann von Fagott, Tenorsaxophon und Euphonium leise wiederholt wird. Anschließend erklingteine traditionelle Melodie in den Bassinstrumenten, die mit unterschiedlicher Begleitung zweimal gespielt wird. Es folgt ein ruhigeres Trio, das zart besetzt ist und die Tenorinstrumente des Blasorchesters hervorhebt. Dies wirdschließlich vom gesamten Blasorchester aufgegriffen und führt zu einer Wiederholung der Einleitung und einer Rückkehr zu den beiden Hauptthemen, die in einen triumphalen Schluss überleiten.

Guardians of the Waves est une commande de l’Harmonie de la Gendarmerie maritime du Japon pour marquer son 30e anniversaire, en 2018. L’orchestre a créé l’œuvre dans le cadre d’un concert d’anniversaire le 8 novembre decette même année. Écrite en forme de marche traditionnelle, Guardians of the Waves s’ouvre avec une courte introduction qui mène au thème principal, interprété d’abord par les cuivres puis repris avec un déchant fleuri parles bois. Le thème est prolongé et se morphe en un second thème, d’abord en tutti, puis répété doucement par les bassons, saxophones ténor et euphoniums. Ce passage mène une mélodie conventionnelle dans les graves, jouée deuxfois avec divers accompagnements. Vient ensuite un trio plus calme, orchestré avec délicatesse et mettant en avant les instruments ténor. Repris par l’orchestre entier, ce passage est suivi d’un rappel de l’introduction avant unretour aux deux thèmes principaux, qui mènent une conclusion triomphale.

Band Concert Band

SKU: PR.11540431S

Composed by Stacy Garrop. Study Score. 64 pages. Duration 18 minutes. Theodore Presser Company #115-40431S. Published by Theodore Presser Company (PR.11540431S).

UPC: 680160689750.

The first time I saw an alpenglow, I had no idea what it was. It was the late 1980s, and I was at a music camp at the base of theRocky Mountain National Park in Colorado. A few of us got up in the middle of the night so we could hike to a vantage pointat the foot of Longs Peak, to watch the sun rise without any trees obstructing our view. Even though we had a few moreminutes to go before the sun breached the horizon, when I looked up at the face of Longs Peak, it was glowing intensely with amost beautiful peach-pink color. This enchanting vision lasted only about ten minutes, after which the color faded as the sunrose. Throughout the next thirty years, whenever I returned to the Rocky Mountain National Park, I would occasionally catchthis pre-dawn light show in all its glory.An alpenglow is an optical phenomenon that is visible on high altitude mountains. It happens twice daily, right before the sunrises and right after it sets. The earth’s atmosphere scatters the sun’s light, allowing particular wavelengths of light through andblanketing the mountains in rich hues of peach, pink, red, and purple.Alpenglow opens with First Light. This movement begins in the pre-dawn hour. The music starts simply and slowly, thengrows increasingly animated as the sky lightens and the horizon shimmers with color. The movement explodes in a massiveflurry of activity when the sun crosses the horizon; this energy eventually fades as the sun rises in the sky. In Arc of the Sun,we follow the sun as it energetically leaps and surges upwards in the sky. The music moves steadily upwards as it keeps pacewith the sun’s progress, then crests as the sun reaches its zenith. As the sun bends back down towards the earth, the musicfollows suit, getting lower in range and slower as the sun nears the horizon. In Radiant Glow, the sun slips under the horizon,giving way to a most radiant alpenglow. As the alpenglow fades and twilight envelops the earth, stars shimmer in the nightsky.-S.G.

Band Concert Band

SKU: PR.11540431L

Composed by Stacy Garrop. Large Score. 64 pages. Duration 18 minutes. Theodore Presser Company #115-40431L. Published by Theodore Presser Company (PR.11540431L).

UPC: 680160689767.

The first time I saw an alpenglow, I had no idea what it was. It was the late 1980s, and I was at a music camp at the base of theRocky Mountain National Park in Colorado. A few of us got up in the middle of the night so we could hike to a vantage pointat the foot of Longs Peak, to watch the sun rise without any trees obstructing our view. Even though we had a few moreminutes to go before the sun breached the horizon, when I looked up at the face of Longs Peak, it was glowing intensely with amost beautiful peach-pink color. This enchanting vision lasted only about ten minutes, after which the color faded as the sunrose. Throughout the next thirty years, whenever I returned to the Rocky Mountain National Park, I would occasionally catchthis pre-dawn light show in all its glory.An alpenglow is an optical phenomenon that is visible on high altitude mountains. It happens twice daily, right before the sunrises and right after it sets. The earth’s atmosphere scatters the sun’s light, allowing particular wavelengths of light through andblanketing the mountains in rich hues of peach, pink, red, and purple.Alpenglow opens with First Light. This movement begins in the pre-dawn hour. The music starts simply and slowly, thengrows increasingly animated as the sky lightens and the horizon shimmers with color. The movement explodes in a massiveflurry of activity when the sun crosses the horizon; this energy eventually fades as the sun rises in the sky. In Arc of the Sun,we follow the sun as it energetically leaps and surges upwards in the sky. The music moves steadily upwards as it keeps pacewith the sun’s progress, then crests as the sun reaches its zenith. As the sun bends back down towards the earth, the musicfollows suit, getting lower in range and slower as the sun nears the horizon. In Radiant Glow, the sun slips under the horizon,giving way to a most radiant alpenglow. As the alpenglow fades and twilight envelops the earth, stars shimmer in the nightsky.-S.G.

Concert Band Concert Band - Grade 2.5

SKU: FJ.B1574S

Score Only. Arranged by Ryan Fraley. Concert Band. FJH Concert Band. Christmas; Holiday Pops. Score. Duration 2:30. The FJH Music Company Inc #98-B1574S. Published by The FJH Music Company Inc (FJ.B1574S).

English.

While many get excited at the holidays, some people just can't turn that frown upside down. In this spirit comes a fun swing arrangement of Jingle Bells, written in a blues style. Your students will enjoy the laid back swing figures and the catchy melodic adaptations depicting the fun (maybe just a little??) it is to ride on a one-horse open sleigh. A 'downer' ending takes the blues to a whole new level — sure to be the highlight (and lowlight!) of your next winter program!

About FJH Concert Band

Desig ned for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5

Concert Band/Harmonie and Bass Clarinet Solo - Grade 6

SKU: BT.DHP-1053797-140

Three Moods for Bass Clarinet and Symphonic Band. Composed by Jan Van der Roost. Solo Spectrum. Solo & Concerto. Score Only. Composed 2005. 102 pages. De Haske Publications #DHP 1053797-140. Published by De Haske Publications (BT.DHP-1053797-140).

340 X 250 inches. English-German-French-Dut ch.

At last the bass clarinet can shine in this major new solo work for bass clarinet and concert band. This composition begins with a rather mysterious opening passage with atmospheric sounds and effects. The soloist plays-preferably backstage- a number of fragments and melodic patterns, without actually starting the piece. After this somewhat hesitant introduction, a lively, cheerful allegro entitled Con Giocondita (with joy) bursts out. It isswarming with irregular meters, changing tempos, and polyrhythm, through which the listeners (and sometimes also the musicians) constantly get the feeling that they are being tossed around. The second movement brings rest andpeace making careful use of sound colours. The upbeat finale, titled Con Allegria (with cheerfulness), is the most significant movement for the soloist. This is a challenging piece of music that demands great virtuosity, but withthe correct performer it will be a real highpoint in any concert..

In een mysterieuze openingspassage zijn atmosferische klanken te horen. Dan barst er een vrolijk allegro los: Con Giocondita (met vreugde). Een intiemer tweede deel, Con Tristezza (met droefheid), brengt rust. Het orkestspeelt hier een belangrijke rol en laat allerlei klankkleuren horen in de dialoog met de solist. De onstuimige finale getiteld Con Allegria (met vrolijkheid) vraagt grote virtuositeit van de solist, het orkest doet opnieuwmeer dan alleen begeleiden. Na een korte cadens worden de drie voorafgaande thema’s in omgekeerde volgorde herhaald en een spannend slot beëindigt dit contrastrijke werk.

Freude, Traurigkeit und Fröhlichkeit sind die drei Stimmungen, die Jan Van der Roost in diesem Werk für Bassklarinette und Blasorchester in ebenso vielen Sätzen vertonte. Während die Freude in einem rhythmischen, energiereichen und lebhaften Allegro zum Ausdruck kommt, setzt der zweite, langsamere Satz lyrische und melodische Akzente. Das schnelle Finale ist eine große Herausforderung an den Solisten. Auch das Blasorchester spielt in diesem musikalisch erfinderischen Werk eine weit mehr als begleitende Rolle.

Tre Sentimenti (Trois sentiments) pour Clarinette Basse et Orchestre d’Harmonie est un carrefour inédit de sentiments contrastés (l’exubérance, la tristesse, l’allégresse) et d’idées musicales captivantes.

Concert Band/Harmonie and Bass Clarinet Solo - Grade 6

SKU: BT.DHP-1053797-010

Three Moods for Bass Clarinet and Symphonic Band. Composed by Jan Van der Roost. Solo Spectrum. Solo & Concerto. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053797-010. Published by De Haske Publications (BT.DHP-1053797-010).

9x12 inches. English-German-French-Dut ch.

At last the bass clarinet can shine in this major new solo work for bass clarinet and concert band. This composition begins with a rather mysterious opening passage with atmospheric sounds and effects. The soloist plays - preferably backstage - a number of fragments and melodic patterns, without actually “starting” the piece. After this somewhat hesitant introduction, a lively, cheerful allegro entitled Con Giocondita (with joy) bursts out. It is swarming with irregular meters, changing tempos, and polyrhythm, through which the listeners (and sometimes also the musicians) constantly get the feeling that they are being tossed around. The second movement brings rest andpeace making careful use of sound colours. The upbeat finale, titled Con Allegria (with cheerfulness), is the most significant movement for the soloist. This is a challenging piece of music that demands great virtuosity, but with the correct performer it will be a real highpoint in any concert..

In een mysterieuze openingspassage zijn atmosferische klanken te horen. Dan barst er een vrolijk allegro los: Con Giocondita (met vreugde). Een intiemer tweede deel, Con Tristezza (met droefheid), brengt rust. Het orkestspeelt hier een belangrijke rol en laat allerlei klankkleuren horen in de dialoog met de solist. De onstuimige finale getiteld Con Allegria (met vrolijkheid) vraagt grote virtuositeit van de solist, het orkest doet opnieuwmeer dan alleen begeleiden. Na een korte cadens worden de drie voorafgaande thema’s in omgekeerde volgorde herhaald en een spannend slot beëindigt dit contrastrijke werk.

Freude, Traurigkeit und Fröhlichkeit sind die drei Stimmungen, die Jan Van der Roost in diesem Werk für Bassklarinette und Blasorchester in ebenso vielen Sätzen vertonte. Während die Freude in einem rhythmischen, energiereichen und lebhaften Allegro zum Ausdruck kommt, setzt der zweite, langsamere Satz lyrische und melodische Akzente. Das schnelle Finale ist eine große Herausforderung an den Solisten. Auch das Blasorchester spielt in diesem musikalisch erfinderischen Werk eine weit mehr als begleitende Rolle.

Tre Sentimenti (Trois sentiments) pour Clarinette Basse et Orchestre d’Harmonie est un carrefour inédit de sentiments contrastés (l’exubérance, la tristesse, l’allégresse) et d’idées musicales captivantes.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115042-140

Composed by Rod Temperton. Arranged by Naohiro Iwai. New Sounds for Concert Band. Pop & Rock. Score Only. Composed 2011. 36 pages. De Haske Publications #DHP 1115042-140. Published by De Haske Publications (BT.DHP-1115042-140).

9x12 inches.

Over the years much has been written and broadcast about Michael Jackson. Naohiro Iwai has created a powerful medley by letting the music of the undisputed ‘King of Pop’ speak for itself. The medley contains the hits Thriller, I’ll Be There and I Want You Back. Don’t stop ’til you get enough!

Michael Jackson: alles wat over hem kan worden beweerd is al gezegd, geschreven en uitgezonden. Naohiro Iwai laat liever de muziek van deze onbetwistbare ‘King of Pop’ voor zich spreken. Zie hier een overtuigende medley voor harmonieorkestvan de nummers Thriller, I’ll be There en I Want You Back.

Über Michael Jackson wurde schon viel geschrieben, gesagt und gezeigt. Naohiro Iwai lässt die Musik des unangefochtenen King of Pop“ sprechen in seinem überzeugenden Blasorchestermedley aus den Hits Thriller, I’ll be There und I Want You Back.

Michael Jackson, le « roi de la pop », restera un pilier de l’histoire de la musique et une source d’inspiration énorme pour plusieurs générations. Disparu, il y a tout juste un an, Naohiro Iwai lui rend hommage avec ce medley de trois de ses plus grands succès : Thriller, I’ll be There et I Want You Back.

Di Michael Jackson si è parlato, scritto e mostrato tanto, forse troppo. In questo coinvolgente medley che raggruppa Thriller, I’ll Be There e I Want You Back, Naohiro Iwai lascia semplicemente parlare la musica dell’indiscusso “King of pop”.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115042-010

Composed by Rod Temperton. Arranged by Naohiro Iwai. New Sounds for Concert Band. Pop & Rock. Set (Score & Parts). Composed 2011. De Haske Publications #DHP 1115042-010. Published by De Haske Publications (BT.DHP-1115042-010).

9x12 inches.

Over the years much has been written and broadcast about Michael Jackson. Naohiro Iwai has created a powerful medley by letting the music of the undisputed ‘King of Pop’ speak for itself. The medley contains the hits Thriller, I’ll BeThere and I Want You Back. Don’t stop ’til you get enough!

Michael Jackson: alles wat over hem kan worden beweerd is al gezegd, geschreven en uitgezonden. Naohiro Iwai laat liever de muziek van deze onbetwistbare ‘King of Pop’ voor zich spreken. Zie hier een overtuigende medley voor harmonieorkestvan de nummers Thriller, I’ll be There en I Want You Back.

Über Michael Jackson wurde schon viel geschrieben, gesagt und gezeigt. Naohiro Iwai lässt die Musik des unangefochtenen King of Pop“ sprechen in seinem überzeugenden Blasorchestermedley aus den Hits Thriller, I’ll be There und I Want You Back.

Michael Jackson, le « roi de la pop », restera un pilier de l’histoire de la musique et une source d’inspiration énorme pour plusieurs générations. Disparu, il y a tout juste un an, Naohiro Iwai lui rend hommage avec ce medley de trois de ses plus grands succès : Thriller, I’ll be There et I Want You Back.

Di Michael Jackson si è parlato, scritto e mostrato tanto, forse troppo. In questo coinvolgente medley che raggruppa Thriller, I’ll Be There e I Want You Back, Naohiro Iwai lascia semplicemente parlare la musica dell’indiscusso “King of pop”.

Band concert band - Grade 0.5

SKU: CF.PPS53F

Composed by Sean O'Loughlin. Primer Band (PPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #PPS53F. Published by Carl Fischer Music (CF.PPS53F).

ISBN 9781491152652. UPC: 680160910151.

Illyr ia is a region in southern Europe, and the name has been used in books and music throughout history, including Shakespearean plays. Composer Sean O'Loughlin takes beginning students on a musical journey, starting with broad melodic statements by the brass, bold full ensemble statements, a contrasting lyrical section, and concluding with a relentless finish. Journey to Illyria is a sophisticated musical presentation that is still playable by the youngest of students.
The title Journey to Illyria comes out of a recent internet search that came up with a similarly titled book by an author named Sean O'Loughlin (no relation). I'm always fascinated by how connected and small this world can seem. After some further research, I found that Illyria is also a name that appears in some fantasy fiction books and even on the TV show Angel. All of this gets wrapped into the music for this piece.It begins with a broad melodic statement by the brass. It develops further at m. 9 and then transitions to a full statement at m. 25 with plenty of imitation between upper and lower voices. A contrasting slower section follows at m. 39, which should bring out the haunting, rich sound of the ensemble. The fast section returns at m. 46 with progressively building imitation to bring back the opening gesture at m. 58. The music then is relentless to the rousing end.

Band concert band - Grade 0.5

SKU: CF.PPS53

Composed by Sean O'Loughlin. Primer Band (PPS). Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+2+3+2+6+3 +1+1+2+5+16+2 pages. Duration 2 minutes, 50 seconds. Carl Fischer Music #PPS53. Published by Carl Fischer Music (CF.PPS53).

ISBN 9781491151976. UPC: 680160909476.

Illyr ia is a region in southern Europe, and the name has been used in books and music throughout history, including Shakespearean plays. Composer Sean O'Loughlin takes beginning students on a musical journey, starting with broad melodic statements by the brass, bold full ensemble statements, a contrasting lyrical section, and concluding with a relentless finish. Journey to Illyria is a sophisticated musical presentation that is still playable by the youngest of students.
The title Journey to Illyria comes out of a recent internet search that came up with a similarly titled book by an author named Sean O'Loughlin (no relation). I'm always fascinated by how connected and small this world can seem. After some further research, I found that Illyria is also a name that appears in some fantasy fiction books and even on the TV show Angel. All of this gets wrapped into the music for this piece.It begins with a broad melodic statement by the brass. It develops further at m. 9 and then transitions to a full statement at m. 25 with plenty of imitation between upper and lower voices. A contrasting slower section follows at m. 39, which should bring out the haunting, rich sound of the ensemble. The fast section returns at m. 46 with progressively building imitation to bring back the opening gesture at m. 58. The music then is relentless to the rousing end.

Grade 2

SKU: CL.011-4728-00

Composed by Romeyn. Young Concert Band. Score and set of parts. C.L. Barnhouse #011-4728-00. Published by C.L. Barnhouse (CL.011-4728-00).

Get ready for some Halloween fun with The Horseman Of Sleepy Hollow, a creative and well-written novelty selection easily accessible to bands. A spooky and ominous introduction using the tune Skin and Bones sets the stage for this creepy and hilarious ride on horseback through the fictional Sleepy Hollow. Better hold on, towards the end our horse gets a little spooked and starts speeding up! In this entertaining setting, students will learn to watch the conductor through the changes of tempo. Accessory percussion and timpani glissandos add to the spooky effect. A fun and entertaining favorite for bands and audiences alike!

Grade 2

SKU: CL.011-4728-01

Composed by Romeyn. Young Concert Band. Extra full score. C.L. Barnhouse #011-4728-01. Published by C.L. Barnhouse (CL.011-4728-01).

Get ready for some Halloween fun with The Horseman Of Sleepy Hollow, a creative and well-written novelty selection easily accessible to bands. A spooky and ominous introduction using the tune Skin and Bones sets the stage for this creepy and hilarious ride on horseback through the fictional Sleepy Hollow. Better hold on, towards the end our horse gets a little spooked and starts speeding up! In this entertaining setting, students will learn to watch the conductor through the changes of tempo. Accessory percussion and timpani glissandos add to the spooky effect. A fun and entertaining favorite for bands and audiences alike!

Concert band 5-Part Ensemble & Rhythm Section (Piano, Bass, Drums) + CD Play Back / Play Along - Grade 3

SKU: MA.EMR-28476

Composed by Gunter Noris. 5 - Part Ensemble & Rhythm Section & Strings (+ Play Back / Play Along CD optional). Score and parts. Duration 15'43. Editions Marc Reift #EMR 28476. Published by Editions Marc Reift (MA.EMR-28476).

Dancing Clown / Disco Lady / Get Up And Swing / El Toro / Feel Like Dancing / Cha Cha No. 2.

Concert band 5-Part Ensemble + CD Play Back / Play Along - Grade 3

SKU: MA.EMR-28466

Composed by Gunter Noris. 5 - Part Ensemble (+ Play Back / Play Along CD optional). Score and parts. Duration 15'43. Editions Marc Reift #EMR 28466. Published by Editions Marc Reift (MA.EMR-28466).

Dancing Clown / Disco Lady / Get Up And Swing / El Toro / Feel Like Dancing / Cha Cha No. 2.

Concert band 5-Part Ensemble & Rhythm Section (Piano, Bass, Drums) + CD Play Back / Play Along - Grade 3

SKU: MA.EMR-28471

Composed by Gunter Noris. 5 - Part Ensemble & Rhythm Section (Piano, Bass, Drums) (+ Play Back / Play Along CD optional). Score and parts. Duration 15'43. Editions Marc Reift #EMR 28471. Published by Editions Marc Reift (MA.EMR-28471).

Dancing Clown / Disco Lady / Get Up And Swing / El Toro / Feel Like Dancing / Cha Cha No. 2.

Band concert band - Grade 0.5

SKU: CF.PPS51F

March. Composed by Larry Clark. Primer Band (PPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #PPS51F. Published by Carl Fischer Music (CF.PPS51F).

ISBN 9781491152638. UPC: 680160910137.

The march style is important to the heritage of the modern concert band. Why not get beginners off to a great start by teaching them this essential band style as early as possible? Achieve u ses only the first six notes of the Bb-major scale and utilizes two repeated eighth notes as the most difficult rhythm. It is written in traditional march form and style, but without modulation in the trio.
The march style is important to the heritage of the modern concert band, and it is my opinion that even the youngest of students should be taught the march style and form as early as possible. This march sets out to give these students that opportunity. It uses only the first six notes of the Bb-major scale, and the most difficult rhythm is two repeated eighth notes. Yet it has all of the traditional march form and style. The form of this easy march is the traditional intro, first strain, second strain and trio. The only difference from more challenge marches is that the key does not change to the subdominant at the trio. Most everything else is the same as you would find in the American marches of Sousa, Fillmore or King.The march begins forte with a quote from the end of the second strain, something that is common in many marches. This is followed by the first strain at a softer dynamic level. Additional voices are added on the repeat for variety. The second strain has tradition changes in dynamics, first starting out loud, then getting soft with crescendos to the end of the strain. The trio following again in typical fashion with the first time being very soft and legato. There are some suggestions for changing the orchestration, but you can use your creativity to tailor the instrumentation to your musical taste. The repeat of the trio should then be back to a more marcato march style. This should start with the last note of the first ending in m. 70. The march then ends with the traditional stinger.It is my opinion that in marches with this form that the repeats should not be eliminated. By doing so, it changes the form and makes the march lopsided, with the first half of the marching being too short compared to the trio section.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.

Band concert band - Grade 0.5

SKU: CF.PPS51

March. Composed by Larry Clark. Primer Band (PPS). Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+2+3+2+6+3 +1+1+2+2+12+2 pages. Duration 2 minutes, 8 seconds. Carl Fischer Music #PPS51. Published by Carl Fischer Music (CF.PPS51).

ISBN 9781491151952. UPC: 680160909452.

The march style is important to the heritage of the modern concert band. Why not get beginners off to a great start by teaching them this essential band style as early as possible? Achieve u ses only the first six notes of the Bb-major scale and utilizes two repeated eighth notes as the most difficult rhythm. It is written in traditional march form and style, but without modulation in the trio.
The march style is important to the heritage of the modern concert band, and it is my opinion that even the youngest of students should be taught the march style and form as early as possible. This march sets out to give these students that opportunity. It uses only the first six notes of the Bb-major scale, and the most difficult rhythm is two repeated eighth notes. Yet it has all of the traditional march form and style. The form of this easy march is the traditional intro, first strain, second strain and trio. The only difference from more challenge marches is that the key does not change to the subdominant at the trio. Most everything else is the same as you would find in the American marches of Sousa, Fillmore or King.The march begins forte with a quote from the end of the second strain, something that is common in many marches. This is followed by the first strain at a softer dynamic level. Additional voices are added on the repeat for variety. The second strain has tradition changes in dynamics, first starting out loud, then getting soft with crescendos to the end of the strain. The trio following again in typical fashion with the first time being very soft and legato. There are some suggestions for changing the orchestration, but you can use your creativity to tailor the instrumentation to your musical taste. The repeat of the trio should then be back to a more marcato march style. This should start with the last note of the first ending in m. 70. The march then ends with the traditional stinger.It is my opinion that in marches with this form that the repeats should not be eliminated. By doing so, it changes the form and makes the march lopsided, with the first half of the marching being too short compared to the trio section.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.