Score Only Concert Band (Score) - Grade 2

SKU: HL.4002331

Composed by Samuel R. Hazo. MusicWorks Grade 2. Concert, Festival. Published by Hal Leonard (HL.4002331).

UPC: 073999617818. 9.0x12.0x0.031 inches.

Commissione d by the Pickens County (GA) Middle School Band on the occasion of the band program being split into separate schools, this marvelous composition for young players explores the emotions of separation. Sam uses the analogy of a river that, when divided, maintains its identity yet becomes two separate entities. Three themes are presented individually then come together in grand fashion at the end. (4:35).

Concert Band - Grade 2.5

SKU: HL.44007672

Grade 2.5 - Score Only. Composed by Timothy Johnson. Curnow Music Concert Band. 28 pages. Published by Curnow Music (HL.44007672).

UPC: 884088310271. 9x12 inches.

Follow the historic Rogue River from its headwaters in Oregon to the mighty Pacific! The serenity of the mountain snowmelt gives way to energetic rapids and then to the greater expanse and power of the lower river. This work has lots of potential for co-curricular study with history and geography. It will be a nice accessible challenge for the maturing young band, rewarding each section with integral and expressive parts to play. (Grade 2-1/2).

Score Only Concert Band (Score) - Grade 3

SKU: HL.4003385

Composed by Richard L. Saucedo. MusicWorks Grade 3. Published by Hal Leonard (HL.4003385).

UPC: 884088885083. 9.0x12.0x0.147 inches.

As implied by the title, the meter of 5/4 is an important structural component of this creative and energetic work for band. After the intense opening statement, a brief lyric and calm middle section builds to a full ensemble climax before returning to the fast main theme. Blending extended jazz-like harmonies with an exciting rhythmic drive, this piece is sure to stir the interest of players and listeners alike. Dur: 4:25.

Band Concert Band

SKU: PR.465000130

For Large Wind Ensemble. Composed by Dan Welcher. Sws. Contemporary. Full score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013. Published by Theodore Presser Company (PR.465000130).

ISBN 9781598064070. UPC: 680160600144. 9x12 inches.

Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.
In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,” for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,” and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Spring”) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

Concert Band/Harmonie/Fanfare Band - Grade 3

SKU: BT.DHP-0950643-015

Composed by D. Fekaris, F. Perren. Arranged by Ron Sebregts. De Haske Pop Collection. Original Light Music. Set (Score and Parts). Composed 1995. De Haske Publications #DHP 0950643-015. Published by De Haske Publications (BT.DHP-0950643-015).

This classic disco hit was released by Gloria Gaynor in 1978. Following massive airplay it reached number one in pop charts around the world and in 1980 received a Grammy for Best Disco Recording. Since then it has appeared in many films and television programs and has been adopted by many causes such as HIV/AIDS awareness and the campaign for womenâ??s rights. It is also the â??stadium anthemâ?? for the Dutch football team Feyenoord. Ensure your audience leaves any concert in an upbeat mood with this disco masterpiece.

I Will Survive was in de jaren zeventig een megahit voor Gloria Gaynor. In discotheken werd het nummer grijsgedraaid. Men begaf zich destijds maar al te graag op de dansvloer om op de energieke klanken van deze song te swingen.In de jaren negentig was I Will Survive opnieuw een enorm succes. Breng tijdens uw concert met deze bewerking van Ron Sebregts leven in de brouwerij!

Das Remake eines der grö�ten Hits von Gloria Gaynor erreichte zur Fu�ball-WM 1998 in der Version der Hermes House Band Kultstatus. Inzwischen gehört der Song zum Standardrepertoire der Fanclubs gro�er und kleiner Vereine auf der ganzen Welt und darf auch bei der Fu�ball-Europameistersc haft im Jahr 2008 nicht fehlen!

Gloria Gaynor (de son vrai nom Gloria Fowles) est considérée comme une des plus grandes divas de l'époque disco. En 1978, elle interprète la chanson I Will Survive qui devient un hymne de l'émancipation féminine. En 1997, reprise par le groupe Hermes House Band, elle devient l'hymne des rugbymen du Stade Français, puis celui de l'�quipe de France de Football lors de la Coupe du Monde 1998.

Gloria Gaynor, è considerata come una delle più grandi dive della musica da discoteca. Nel 1978 interpreta la canzone I Will Survive che diviene un inno dellâ??emancipazione femminile. Nel 1997, ripresa dal gruppo Hermes House Band, la canzone diventa lâ??inno dei giocatori di rugby francese, in seguito lâ??inno della nazionale di calcio transalpina in occasione dei Mondiali di calcio del 1998.

Concert Band/Harmonie - Grade 4

SKU: BT.AMP-340-140

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2012. 44 pages. Anglo Music Press #AMP 340-140. Published by Anglo Music Press (BT.AMP-340-140).

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

Of Skies, Rivers, Lakes and Mountains was commissioned by the Northern California Band Directors' Association to honour their 50th Anniversary in 2012. The first performance was given by the Association’s 2012 Honor Band, conducted by Dr Royce Trevis, in the Harlen Adams Theater, California State University, Chico, California, on 4th February that year.The brief for the commission asked for a piece that celebrated the United States’ natural resources and composer Philip Sparke turned to Katharine Lee Bates’s lyrics for the song America the Beautiful, of which the first and last verses are:O beautiful for spacious skies,For amber waves of grain,For purplemountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaThe three movements each take their title from these verses:1. O Beautiful for Spacious Skies: Opening with filigree woodwind figuring, this movement aims to recreate the light and lightness of a spring sky, birds and blossoms floating on gentle breezes.2. From Sea to Shining Sea: A vivacious celebration of water bubbling in streams, rivers and lakes.3. For Purple Mountain Majesties: A slow final movement representing an awe-inspiring range of mountains

Of Skies, Rivers, Lakes and Mountains is geschreven in opdracht van de Northern California Band Directors' Association, ter gelegenheid van het vijftigjarig jubileum van deze organisatie, dat in 2012 werd gevierd. De première werd op 4 februari van dat jaar onder leiding van dirigent Royce Trevis uitgevoerd door de Association’s 2012 Honor Band, in het Harlen Adams Theater, California State University, Chico, Californië.De componist kreeg het verzoek een werk te schrijven dat een lofzang zou zijn op alles wat de natuur van Verenigde Staten te bieden heeft. Philip Sparke gebruikte de tekst van Katharine Lee Bates voor de song America the Beautiful, waarvan heteerste en laatste couplet als volgt luiden:O beautiful for spacious skies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDe titels van de drie delen van de compositie zijn ontleend aan deze coupletten:1. O Beautiful for Spacious Skies: Dit deel, dat opent met verfijnde figuren in het hout, is een poging om het licht en de lichtheid van een lentehemel te herscheppen, met vogeltjes en bloesems die wiegen in een milde bries.2. From Sea to Shining Sea: Een levendige ode aan water dat stroomt in beken, rivieren en meren3. For Purple Mountain Majesties: Een langzaam laatste deel waarin het beeld wordt opgeroepen van een indrukwekkende bergketen

Of Skies, Rivers, Lakes and Mountains wurde von der Northern California Band Director’s Association (Dirigentenverband Nord-Kaliforniens) zum 50-jährigen Jubiläum im Jahr 2012 in Auftrag gegeben. Die Uraufführung mit dem Ehrenorchester 2012 des Verbands fand am 4. Februar desselben Jahre unter der Leitung von Dr. Royce Trevis im Halen Adams Theater an der California State University, Chico Kalifornien) statt.Der Kompositionsauftrag verlangte ein Stück zu Ehren der Reichtümer der Natur Amerikas. Der Komponist Philip Sparke wählte daher die erste und letzte Strophe aus Katherine Lee Bates’ Text zum Lied America the Beautiful, die da lauten:O beautiful for spaciousskies,For amber waves of grain,For purple mountain majestiesAbove the fruited plain!America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining seaDie Titel der drei Sätze stammen alle aus diesen Strophen:1. O Beautiful for Spacious Skies (O wunderschön, der weite Himmel): Mit filigranen Figuren im Holz beginnend, will dieser Satz das Licht und die Leichtigkeit des Frühlingshimmels, die Vögel und von einer sanften Brise getragene Blüten zum Leben erwecken.2. From Sea to Shining Sea (Vom Meer zum strahlenden Meer): Mit lebhafter Musik wird hier in Flüssen, Bächen und Seen sprudelndes Wasser zelebriert.3. For Purple Mountain Majesties (Die Erhabenheit der purpurrot leuchtenden Berge): Der langsame Schlusssatz richtet den Blick auf ehrfurchtgebietende Gebirge.

Of Skies, Rivers, Lakes and Mountains est une commande de la Northern California Band Directors' Association pour marquer son 50e anniversaire, en 2012. Cette œuvre a été créée par le Honor Band 2012 de l’Association sous la direction du Dr Royce Trevis au thé tre Harlen Adams de l’université de Californie Chico, Californie, le 4 février de cette même année.La commande stipulait que la pièce devait célébrer les ressources naturelles des États-Unis. Le compositeur Philip Sparke s’est donc inspiré des paroles de Katharine Lee Bates pour la chanson America the Beautiful, dont voici les premier et dernier couplets :O beautiful for spacious skies,For amberwaves of grain,For purple mountain majestiesAbove the fruited plain!(Oh belle pour tes vastes cieux,Tes vagues de grains ambrés,La majesté de tes montagnes violettesDominant des plaines fruitées !)America! America!God shed His grace on thee,And crown thy good with brotherhoodFrom sea to shining sea(Amérique ! Amérique !Dieu t’a donné sa gr ceCouronnée de la fraternité des hommesDe la mer la mer étincelante)Les trois mouvements empruntent chacun leur titre ces couplets :1. O Beautiful for Spacious Skies: S’ouvrant avec des figures en filigrane jouées par les bois, ce mouvement cherche recréer la lumière et la légèreté d’un ciel printanier, d’oiseaux et de fleurs flottant au gré d’une douce brise.2. From Sea to Shining Sea: Plein de vivacité, ce mouvement évoque les frémissements de l’eau des ruisseaux, des rivières et des lacs.3. For Purple Mountain Majesties:Le dernier mouvement, lent et majestueux, dépeint une impressionnante chaîne de montagnes.

Band Concert Band

SKU: PR.46500013L

For Wind Ensemble. Composed by Dan Welcher. Contemporary. Large Score. With Standard notation. Composed 2010. Duration 14 minutes. Theodore Presser Company #465-00013L. Published by Theodore Presser Company (PR.46500013L).

UPC: 680160600151. 11 x 14 inches.

I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

Concert Band (Score) - Level 1.5

SKU: HL.4005893

Arranged by Michael Sweeney. MusicWorks Grade 1. Concert. Softcover. 12 pages. Duration 280 seconds. Published by Hal Leonard (HL.4005893).

UPC: 888680940911. 9.0x12.0x0.027 inches.

Here is an emotion-filled arrangement for young players based on the folk tune Down to the River to Pray, which is thought to have been composed by an African-American slave. There is an element of sadness in the music, but also a glimmer of hope as the slaves dream of freedom and being reunited with family and friends. Dur: 2:45.

Score Only Concert Band; Symphonic Band (Score) - Grade 4

SKU: HL.4005037

Composed by Jay Bocook. MusicWorks Grade 4. Softcover. 36 pages. Published by Hal Leonard (HL.4005037).

UPC: 888680669560. 9.0x12.0x0.114 inches.

The African-American spiritual “Down in the River to Pray” forms the basis for this creative and dramatic work for mature ensembles. Opening with a tender chorale-like statement, the piece evolves throughout with variations in mood and intensity, ultimately building to a majestic and powerful conclusion. Dur: 5:20.

((Based on Down to the River to Pray)). By Michael Sweeney. For concert band (Score and Parts). MusicWorks Grade 2. Grade 2.5

Score Only Concert Band (FULL SCORE) - Grade 3

SKU: HL.50498648

Composed by Paul Creston. Arranged by Robert Longfield. G. Schirmer Band/Orchestra. Classical. 28 pages. Published by G. Schirmer (HL.50498648).

ISBN 9781480312951. UPC: 884088878481. 9.0x12.0x0.071 inches.

Paul Creston was one of the most performed composers of the 1940s and '50s, and his music remains important and relevant today. His unique rhythmic and harmonic style is apparent in Five Little Dances, his only work for piano. Robert Longfield's marvelous adaptation for band retains the character and charm of these delightful dances. Dur: 6:40.

Concert Band/Harmonie - Grade 4

SKU: BT.AMP-342-010

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Set (Score & Parts). Composed 2012. Anglo Music Press #AMP 342-010. Published by Anglo Music Press (BT.AMP-342-010).

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

Five States of Change was commissioned by Kunstfactor for the 4th section of the Dutch National Brass Band Championships (NBK) 2011. It is dedicated to Jappie Dijkstra and the Music Information Centre (MUI), Arnhem, Holland, in acknowledgement of their outstanding work in developing band repertoire.The composer writes: The idea for the piece came when I was reading an article about a branch of Chinese philosophy which is abbreviated as Wu Xing*, which has no exact translation but can mean, for example, five elements, five phases or five states of change. It is central to all elements of Chinese thought, including science, philosophy, medicine andastrology, and in simple terms tries to create various cyclic relationships between five elements in all walks of life.An example is: Earth - Metal - Water - Wood - Fire - (Earth) etc. where (in one cycle) earth bears metal, metal changes to liquid (water) when heated, water helps trees grow, wood burns to create fire, fire produces ash (earth) and the cycle continues.I was particularly interested in the cycle of emotions:- Meditation - Sorrow - Fear - Anger - Joy - (Meditation) etc. and thought this cyclic principle would provide an effective emotional journey for a piece of music. So Five States of Change has five equal sections which loosely characterise this emotional cycle. I have tried to make the music grow organically, with minimal repetition, and each movement evolves from the musical elements at the end of the previous one, with the opening material appearing, transformed, at the end of the piece to complete the cycle. *in full Wu zhong liu xing zhi chi or the five types of chi dominating at different times

Five States of Change is geschreven in opdracht van Kunstfactor voor de 4e divisie van de NBK (Nederlandse Brassband Kampioenschappen) 2011. Het werk is opgedragen aan Jappie Dijkstra en het MUI (Muziekuitleen- en Informatiecentrum)te Arnhem,als waardering voor hun inspanningen met betrekking tot de ontwikkeling van het repertoire voor blaasorkesten.De componist schrijft: Het idee voor het werk kwam in mij op toen ik een artikel las over een takbinnen de Chinese filosofie waarvan denaam wordt afgekort tot Wu Xing* - waar geen exacte vertaling voor is, maar wat zoveel betekent als vijf elementen, vijf fasen of vijf stadia van verandering. Het gaat om eenwezenlijk onderdeel van alle componenten binnen hetChinese gedachtegoed, inclusief de wetenschap, filosofie, geneeskunst en astrologie. Simpel gezegd draait het om het creëren van diverse cyclische verbanden tussen vijf elementendie in ieders leven een rol spelen.Een voorbeeld: Aarde - Metaal - Water- Hout - Vuur - (Aarde) enz. In deze cyclus bevat aarde metaal, metaal verandert in vloeistof (water) door verhitting, water helpt bomen te groeien, houtdat brandt creëert vuur, en vuur produceert as (aarde). Zo blijft de cyclus voortgaan. Zelf wasik vooral ge nteresseerd in de cyclus van emoties: Meditatie - Verdriet - Angst - Boosheid - Vreugde - (Meditatie) enz. De gedachte aandit cyclische principe leverde een reis door een muzikale wereld van emoties op. Five States of Changebestaat uit vijf delen die betrekking hebben op de emotionele cyclus. Ik heb geprobeerd de muziek op natuurlijke wijzete laten ontstaan, met zo weinig mogelijk herhalingen. Elk deel vloeit voort uit de muzikale elementen uit het slot van hetvoorgaande deel. Het openingsmateriaal komt, in getransformeerde gedaante, terug aan het einde van het werk.

Five States of Change wurde von Kunstfactor für die vierte Abteilung der Holländischen Nationalen Brass-Band-Meisterschaft (NBK) 2011 in Auftrag gegeben. Die Widmung gilt Jappie Dijkstra und dem Musik-Informationszentrum (MUI) in Arnhem(Holland), in Anerkennung derer außerordentlichen Bemühungen um die Entwicklung des Blasorchester-Repertoires . Der Komponist über sein Werk: Die Idee zu diesem Stück kam mir beim Lesen eines Artikels über eine Richtung derchinesischen Philosophie, die abgekürzt Wu Xing* heißt, was nicht wörtlich übersetzt werden kann, aber so viel wie fünf Elemente, fünf Phasen oder fünf Stadien der Verwandlung bedeutet. DiesesPrinzip nimmt eine zentrale Position im gesamten chinesischen Gedankengut ein, sei es in der Wissenschaft, Medizin oder Astrologie. Einfach ausgedrückt, werden damit in allen Lebensbereichen verschiedene zyklische Beziehungen zwischenfünf Elementen hergestellt.Zum Beispiel: Erde - Metall - Wasser - Holz - Feuer - (Erde) - usw. In diesem Zyklus enthält die Erde Metall, das sich bei Erhitzung verflüssigt (Wasser); Wasser lässt Bäume wachsen, deren Holz verbrennt (Feuer)und zu Asche wird (Erde), womit der Kreislauf von neuem beginnt.Mich interessierte besonders der Kreislauf von Gefühlen:Meditation - Trauer - Angst - Ärger - Freude - (Meditation) usw.Ich dachte mir, dass dieser Kreislauf eine wirkungsvolleemotionale Reise“ durch ein Musikstück darstellen könnte. Folglich besteht Five States of Change aus fünf gleichen Abschnitten, die diesen Kreislauf der Gefühle grob nachzeichnen. Ich habe versucht, die Musik organischwachsen zu lassen mit möglichst wenig Wiederholungen. Jeder Satz entwickelt sich aus den Elementen vom Ende des vorhergehenden Satzes und das Material der Eröffnung vollendet am Schluss des Werkes den Kreis. *Abkürzung für Wu zhongliu xing zhi chi oder Die fünf Arten von Chi, die zu unterschiedlichen Zeiten dominieren

Five States of Change est une commande de l’institut Kunstfactor pour la 4e division des Championnats néerlandais de Brass Band en 2011. Cette œuvre est dédiée Jappie Dijkstra et au Music Information Centre (MUI) d’Arnhem, aux Pays-Bas, en hommage leur rôle exceptionnel dans le développement du répertoire pour Orchestre Vent.Le compositeur écrit : L’idée de cette composition m’est venue alors que je lisais un article sur un aspect de la philosophie chinoise, connu sous l’abréviation de Wu Xing*, qu’il est impossible de traduire littéralement mais qui peut signifier, par exemple, cinq éléments, cinq phases ou cinq états de changement. Toutechose dans l’univers est le fruit d’un cycle de création (ou d’engendrement) et de domination (ou contrôle). Ce concept est essentiel tous les éléments de la pensée chinoise, y compris les sciences, la philosophie, la médecine et l’astrologie et, en termes simples, il représente les multiples rapports cycliques qui existent entre cinq éléments liés l’univers et toute chose dans l’univers, donc l’homme.Évoquo ns le cycle de la création : Terre - Métal - Eau - Bois - Feu - (Terre) etc. La terre contient des minéraux, source de métal, le métal peut être fondu et se liquéfie, l’eau arrose et fait pousser les arbres, le bois br le et produit du feu, le feu produit des cendres, une sorte de terre, dans une dynamique cyclique perpétuelle.Parmi tous les cycles existants, celui des émotions éveilla particulièrement mon intérêt : Méditation - Chagrin - Peur - Colère - Joie - (Méditation) etc. et je me suis dit que ce principe cyclique pourrait être la source d’un puissant et émotionnel voyage musical. Five States of Change se compose donc de cinq parties égales qui reflètent assez librement ce cycle des émotions. J’ai essayé de faire en sorte que la musique se développe de manière fluide et naturelle, avec un minimum de répétitions. Chaque mouvement s’ouvre partir des éléments musicaux qui parachèvent le mouvement précédent, tandis que

L’idea di comporre questo brano è venuta a Philip Sparke leggendo un articolo sulla filosofi a cinese che si basa su cicli di cinque elementi, fasi e stadi di cambiamento. A Sparke interessavano in particolare il flusso dei sentimenti come la meditazione, il lutto, la paura, la rabbia e la gioia. A partire da questi elementi ha composto un impressionante “viaggio” musicale suddiviso in cinque sezioni, tematicamente intrecciate tra loro, quasi a voler formare un cerchio.

Concert Band/Harmonie - Grade 4

SKU: BT.AMP-342-140

Composed by Philip Sparke. Anglo Music Midway Series. Concert Piece. Score Only. Composed 2012. 61 pages. Anglo Music Press #AMP 342-140. Published by Anglo Music Press (BT.AMP-342-140).

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

Five States of Change was commissioned by Kunstfactor for the 4th section of the Dutch National Brass Band Championships (NBK) 2011. It is dedicated to Jappie Dijkstra and the Music Information Centre (MUI), Arnhem, Holland, in acknowledgement of their outstanding work in developing band repertoire.The composer writes: The idea for the piece came when I was reading an article about a branch of Chinese philosophy which is abbreviated as Wu Xing*, which has no exact translation but can mean, for example, five elements, five phases or five states of change. It is central to all elements of Chinese thought, including science, philosophy, medicine andastrology, and in simple terms tries to create various cyclic relationships between five elements in all walks of life.An example is: Earth - Metal - Water - Wood - Fire - (Earth) etc. where (in one cycle) earth bears metal, metal changes to liquid (water) when heated, water helps trees grow, wood burns to create fire, fire produces ash (earth) and the cycle continues.I was particularly interested in the cycle of emotions:- Meditation - Sorrow - Fear - Anger - Joy - (Meditation) etc. and thought this cyclic principle would provide an effective emotional journey for a piece of music. So Five States of Change has five equal sections which loosely characterise this emotional cycle. I have tried to make the music grow organically, with minimal repetition, and each movement evolves from the musical elements at the end of the previous one, with the opening material appearing, transformed, at the end of the piece to complete the cycle. *in full Wu zhong liu xing zhi chi or the five types of chi dominating at different times

Five States of Change is geschreven in opdracht van Kunstfactor voor de 4e divisie van de NBK (Nederlandse Brassband Kampioenschappen) 2011. Het werk is opgedragen aan Jappie Dijkstra en het MUI (Muziekuitleen- en Informatiecentrum)te Arnhem,als waardering voor hun inspanningen met betrekking tot de ontwikkeling van het repertoire voor blaasorkesten.De componist schrijft: Het idee voor het werk kwam in mij op toen ik een artikel las over een takbinnen de Chinese filosofie waarvan denaam wordt afgekort tot Wu Xing* - waar geen exacte vertaling voor is, maar wat zoveel betekent als vijf elementen, vijf fasen of vijf stadia van verandering. Het gaat om eenwezenlijk onderdeel van alle componenten binnen hetChinese gedachtegoed, inclusief de wetenschap, filosofie, geneeskunst en astrologie. Simpel gezegd draait het om het creëren van diverse cyclische verbanden tussen vijf elementendie in ieders leven een rol spelen.Een voorbeeld: Aarde - Metaal - Water- Hout - Vuur - (Aarde) enz. In deze cyclus bevat aarde metaal, metaal verandert in vloeistof (water) door verhitting, water helpt bomen te groeien, houtdat brandt creëert vuur, en vuur produceert as (aarde). Zo blijft de cyclus voortgaan. Zelf wasik vooral ge nteresseerd in de cyclus van emoties: Meditatie - Verdriet - Angst - Boosheid - Vreugde - (Meditatie) enz. De gedachte aandit cyclische principe leverde een reis door een muzikale wereld van emoties op. Five States of Changebestaat uit vijf delen die betrekking hebben op de emotionele cyclus. Ik heb geprobeerd de muziek op natuurlijke wijzete laten ontstaan, met zo weinig mogelijk herhalingen. Elk deel vloeit voort uit de muzikale elementen uit het slot van hetvoorgaande deel. Het openingsmateriaal komt, in getransformeerde gedaante, terug aan het einde van het werk.

Five States of Change wurde von Kunstfactor für die vierte Abteilung der Holländischen Nationalen Brass-Band-Meisterschaft (NBK) 2011 in Auftrag gegeben. Die Widmung gilt Jappie Dijkstra und dem Musik-Informationszentrum (MUI) in Arnhem(Holland), in Anerkennung derer außerordentlichen Bemühungen um die Entwicklung des Blasorchester-Repertoires . Der Komponist über sein Werk: Die Idee zu diesem Stück kam mir beim Lesen eines Artikels über eine Richtung derchinesischen Philosophie, die abgekürzt Wu Xing* heißt, was nicht wörtlich übersetzt werden kann, aber so viel wie fünf Elemente, fünf Phasen oder fünf Stadien der Verwandlung bedeutet. DiesesPrinzip nimmt eine zentrale Position im gesamten chinesischen Gedankengut ein, sei es in der Wissenschaft, Medizin oder Astrologie. Einfach ausgedrückt, werden damit in allen Lebensbereichen verschiedene zyklische Beziehungen zwischenfünf Elementen hergestellt.Zum Beispiel: Erde - Metall - Wasser - Holz - Feuer - (Erde) - usw. In diesem Zyklus enthält die Erde Metall, das sich bei Erhitzung verflüssigt (Wasser); Wasser lässt Bäume wachsen, deren Holz verbrennt (Feuer)und zu Asche wird (Erde), womit der Kreislauf von neuem beginnt.Mich interessierte besonders der Kreislauf von Gefühlen:Meditation - Trauer - Angst - Ärger - Freude - (Meditation) usw.Ich dachte mir, dass dieser Kreislauf eine wirkungsvolleemotionale Reise“ durch ein Musikstück darstellen könnte. Folglich besteht Five States of Change aus fünf gleichen Abschnitten, die diesen Kreislauf der Gefühle grob nachzeichnen. Ich habe versucht, die Musik organischwachsen zu lassen mit möglichst wenig Wiederholungen. Jeder Satz entwickelt sich aus den Elementen vom Ende des vorhergehenden Satzes und das Material der Eröffnung vollendet am Schluss des Werkes den Kreis. *Abkürzung für Wu zhongliu xing zhi chi oder Die fünf Arten von Chi, die zu unterschiedlichen Zeiten dominieren

Five States of Change est une commande de l’institut Kunstfactor pour la 4e division des Championnats néerlandais de Brass Band en 2011. Cette œuvre est dédiée Jappie Dijkstra et au Music Information Centre (MUI) d’Arnhem, aux Pays-Bas, en hommage leur rôle exceptionnel dans le développement du répertoire pour Orchestre Vent.Le compositeur écrit : L’idée de cette composition m’est venue alors que je lisais un article sur un aspect de la philosophie chinoise, connu sous l’abréviation de Wu Xing*, qu’il est impossible de traduire littéralement mais qui peut signifier, par exemple, cinq éléments, cinq phases ou cinq états de changement. Toutechose dans l’univers est le fruit d’un cycle de création (ou d’engendrement) et de domination (ou contrôle). Ce concept est essentiel tous les éléments de la pensée chinoise, y compris les sciences, la philosophie, la médecine et l’astrologie et, en termes simples, il représente les multiples rapports cycliques qui existent entre cinq éléments liés l’univers et toute chose dans l’univers, donc l’homme.Évoquo ns le cycle de la création : Terre - Métal - Eau - Bois - Feu - (Terre) etc. La terre contient des minéraux, source de métal, le métal peut être fondu et se liquéfie, l’eau arrose et fait pousser les arbres, le bois br le et produit du feu, le feu produit des cendres, une sorte de terre, dans une dynamique cyclique perpétuelle.Parmi tous les cycles existants, celui des émotions éveilla particulièrement mon intérêt : Méditation - Chagrin - Peur - Colère - Joie - (Méditation) etc. et je me suis dit que ce principe cyclique pourrait être la source d’un puissant et émotionnel voyage musical. Five States of Change se compose donc de cinq parties égales qui reflètent assez librement ce cycle des émotions. J’ai essayé de faire en sorte que la musique se développe de manière fluide et naturelle, avec un minimum de répétitions. Chaque mouvement s’ouvre partir des éléments musicaux qui parachèvent le mouvement précédent, tandis que

L’idea di comporre questo brano è venuta a Philip Sparke leggendo un articolo sulla filosofi a cinese che si basa su cicli di cinque elementi, fasi e stadi di cambiamento. A Sparke interessavano in particolare il flusso dei sentimenti come la meditazione, il lutto, la paura, la rabbia e la gioia. A partire da questi elementi ha composto un impressionante “viaggio” musicale suddiviso in cinque sezioni, tematicamente intrecciate tra loro, quasi a voler formare un cerchio.

Concert Band/Harmonie/Fanfare Band/Brass Band - Grade 3

SKU: BT.DHP-0950643-216

Composed by D. Fekaris, F. Perren. Arranged by Ron Sebregts. De Haske Pop Collection. Pop & Rock. Score Only. Composed 1995. De Haske Publications #DHP 0950643-216. Published by De Haske Publications (BT.DHP-0950643-216).

This classic disco hit was released by Gloria Gaynor in 1978. Following massive airplay it reached number one in pop charts around the world and in 1980 received a Grammy for Best Disco Recording. Since then it has appeared in many films and television programs and has been adopted by many causes such as HIV/AIDS awareness and the campaign for women’s rights. It is also the ‘stadium anthem’ for the Dutch football team Feyenoord. Ensure your audience leaves any concert in an upbeat mood with this disco masterpiece.

I Will Survive was in de jaren zeventig een megahit voor Gloria Gaynor. In discotheken werd het nummer grijsgedraaid. Men begaf zich destijds maar al te graag op de dansvloer om op de energieke klanken van deze song te swingen.In de jaren negentig was I Will Survive opnieuw een enorm succes. Breng tijdens uw concert met deze bewerking van Ron Sebregts leven in de brouwerij!

Das Remake eines der größten Hits von Gloria Gaynor erreichte zur Fußball-WM 1998 in der Version der Hermes House Band Kultstatus. In zwischen gehört der Song zum Standardrepertoire der Fanclubs großer und kleiner Vereine und wird besonders im Jahr der Fußballweltmeisterscha ft in Deutschland wieder in aller Ohren und Munde sein!

Gloria Gaynor (de son vrai nom Gloria Fowles) est considérée comme une des plus grandes divas de l'époque disco. En 1978, elle interprète la chanson I Will Survive qui devient un hymne de l'émancipation féminine. En 1997, reprise par le groupe Hermes House Band, elle devient l'hymne des rugbymen du Stade Français, puis celui de l'Équipe de France de Football lors de la Coupe du Monde 1998.

Concert Band/Harmonie/Fanfare/Bra ss Band - Grade 3

SKU: HL.44002405

Composed by D. Fekaris and F. Perren. Arranged by Ron Sebregts. De Haske Concert Band. Pop & Rock. Score Only. Composed 1995. De Haske Publications #950643. Published by De Haske Publications (HL.44002405).

UPC: 073999024050. 6.75x10.5 inches.

This classic disco hit was released by Gloria Gaynor in 1978. Following massive airplay it reached number one in pop charts around the world and in 1980 received a Grammy for Best Disco Recording. Since then it has appeared in many films and television programs and has been adopted by many causes such as HIV/AIDS awareness and the campaign for women's rights. It is also the 'stadium anthem' for the Dutch football team Feyenoord. Ensure your audience leaves any concert in an upbeat mood with this disco masterpiece.

I Will Survive was in de jaren zeventig een megahit voor Gloria Gaynor. In discotheken werd het nummer grijsgedraaid. Men begaf zich destijds maar al te graag op de dansvloer om op de energieke klanken van deze song te swingen.In de jaren negentig was I Will Survive opnieuw een enorm succes. Breng tijdens uw concert met deze bewerking van Ron Sebregts leven in de brouwerij!

Das Remake eines der grossten Hits von Gloria Gaynor erreichte zur Fussball-WM 1998 in der Version der Hermes House Band Kultstatus. In zwischen gehort der Song zum Standardrepertoire der Fanclubs grosser und kleiner Vereine und wird besonders im Jahr der Fussballweltmeisterschaft in Deutschland wieder in aller Ohren und Munde sein!

Gloria Gaynor (de son vrai nom Gloria Fowles) est consideree comme une des plus grandes divas de l'epoque disco. En 1978, elle interprete la chanson I Will Survive qui devient un hymne de l'emancipation feminine. En 1997, reprise par le groupe Hermes House Band, elle devient l'hymne des rugbymen du Stade Francais, puis celui de l'Equipe de France de Football lors de la Coupe du Monde 1998.

Score and Parts Elite Series. By Philip Sparke. ANGLO MUSIC PRESS. Published by Anglo Music.

Brass Band - Grade 5

SKU: HL.44010989

Brass Band - Score Only. Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Score Only. Composed 2011. Anglo Music Press #AMP338130. Published by Anglo Music Press (HL.44010989).

UPC: 884088637446. 9x12 inches. English-German-French-Dut ch.

Evolution was commissioned by Kunstfactor for the 4th section of the Dutch National Brass Band Championships (NBK) 2011. It is dedicated to Jappie Dijkstra and the Music Information Centre (MUI), Arnhem, Holland, in acknowledgement of their outstanding work in developing brass band repertoire. The composer writes:-The idea for the piece came when I was reading an article about a branch of Chinese philosophy which is abbreviated as Wu Xing, which has no exact translation but can mean, for example, five elements, five phases or five states of change. It is central to all elements of Chinese thought, including science, philosophy, medicine and astrology, and in simpleterms tries to create various cyclic relationships between five elements in all walks of life. An example is: Earth - Metal - Water - Wood - Fire - (Earth) etc. where (in one cycle) earth bears metal, metal changes to liquid (water) when heated, water helps trees grow, wood burns to create fire, fire produces ash (earth) and the cycle continues.I was particularly interested in the cycle of emotions: Meditation - Sorrow - Fear - Anger - Joy - (Meditation) etc. and thought this cyclic principle would provide an effective emotional journey for a piece of music. So Evolution has five equal sections which loosely characterise this emotional cycle. I have tried to make the music grow organically, with minimal repetition, and each movement evolves from the musical elements at the end of the previous one, with the opening material appearing, transformed, at the end of the piece to complete the cycle.

Evolution is geschreven in opdracht van Kunstfactor voor de 4e divisie van de NBK (Nederlandse Brassband Kampioenschappen) 2011. Het werk is opgedragen aan Jappie Dijkstra en het MUI (Muziekuitleen- en Informatiecentrum) te Arnhem, als waardering voor hun inspanningen met betrekking tot de ontwikkeling van het brassbandrepertoire.De componist schrijft:Het idee voor Evolution kwam in mij op toen ik een artikel las over een tak binnen de Chinese filosofie waarvan de naam wordt afgekort tot Wu Xing - waar geen exacte vertaling voor is, maar wat zoveel betekent als vijf elementen, vijf fasen of vijf stadia van verandering. Het gaat om een wezenlijk onderdeel van allecomponenten binnen het Chinese gedachtegoed, inclusief de wetenschap, filosofie, geneeskunst en astrologie. Simpel gezegd draait het om het creeren van diverse cyclische verbanden tussen vijf elementen die in ieders leven een rol spelen. Een voorbeeld: Aarde - Metaal - Water - Hout - Vuur - (Aarde) enz. In deze cyclus bevat aarde metaal; metaal verandert in vloeistof (water) door verhitting; water helpt bomen te groeien; hout dat brandt creeert vuur; en vuur produceert as (aarde). Zo blijft de cyclus voortgaan. Zelf was ik vooral geinteresseerd in de cyclus van emoties: Meditatie - Verdriet - Angst - Boosheid - Vreugde - (Meditatie) enz. De gedachte aan dit cyclische principe leverde een reis door een muzikale wereld van emoties op. Evolution bestaat uit vijf delen die betrekking hebben op de emotionele cyclus. Ik heb geprobeerd de muziek op natuurlijke wijze te laten ontstaan, met zo weinig mogelijk herhalingen. Elk deel vloeit voort uit de muzikale elementen uit het slot van het voorgaande deel. Het openingsmateriaal komt, in getransformeerde gedaante, terug aan het einde van het werk, waarmee de cyclus wordt afgerond.

Evolution wurde von Kunstfactor fur die vierte Abteilung der Hollandischen Nationalen Brass-Band-Meisterschaft (NBK) 2011 in Auftrag gegeben. Die Widmung gilt Jappie Dijkstra und dem Musik-Informationszentrum (MUI) in Arnhem (Holland), in Anerkennung ihrer ausserordentlichen Bemuhungen um die Entwicklung des Brass-Band-Repertoires.De r Komponist uber sein Werk:Die Idee zu diesem Stuck kam mir beim Lesen eines Artikels uber eine Richtung der chinesischen Philosophie, die abgekurzt Wu Xing heisst, was nicht wortlich ubersetzt werden kann, aber so viel wie funf Elemente, funf Phasen oder funf Stadien der Verwandlung bedeutet. Dieses Prinzip nimmt eine zentrale Positionim gesamten chinesischen Gedankengut ein, sei es in der Wissenschaft, Medizin oder Astrologie. Einfach ausgedruckt, werden damit in allen Lebensbereichen verschiedene zyklische Beziehungen zwischen funf Elementen hergestellt.Zum Beispiel: Erde - Metall - Wasser - Holz - Feuer - (Erde) - usw. In diesem Zyklus enthalt die Erde Metall, das sich bei Erhitzung verflussigt (Wasser); Wasser lasst Baume wachsen, deren Holz verbrennt (Feuer) und zu Asche wird (Erde), womit der Kreislauf von neuem beginnt.Mich interessierte besonders der Kreislauf von Gefuhlen: Meditation - Trauer - Angst - Arger - Freude - (Meditation) usw. Ich dachte mir, dass dieser Kreislauf eine wirkungsvolle emotionale Reise durch ein Musikstuck darstellen konnte. Folglich besteht Evolution aus funf gleichen Abschnitten, die diesen Kreislauf der Gefuhle grob nachzeichnen. Ich habe versucht, die Musik organisch wachsen zu lassen mit moglichst wenig Wiederholungen. Jeder Satz entwickelt sich aus den Elementen vom Ende des vorhergehenden Satzes und das Material der Eroffnung vollendet am Schluss des Werkes den Kreis.

Evolution est une commande de l'institut Kunstfactor pour la 4e division des Championnats neerlandais de Brass Band en 2011. Cette oeuvre est dediee a Jappie Dijkstra et au Music Information Centre (MUI) d'Arnhem, aux Pays-Bas, en hommage a leur role exceptionnel dans le developpement du repertoire pour Brass Band. Le compositeur ecrit :L'idee de cette composition m'est venue alors que je lisais un article sur un aspect de la philosophie chinoise, connu sous l'abreviation de Wu Xing, qu'il est impossible de traduire litteralement mais qui peut signifier, par exemple, cinq elements, cinq phases ou cinq etats de changement. Toute chose dans l'univers est le fruitd'un cycle de creation (ou d'engendrement) et de domination (ou controle). Ce concept est essentiel a tous les elements de la pensee chinoise, y compris les sciences, la philosophie, la medecine et l'astrologie et, en termes simples, il represente les multiples rapports cycliques qui existent entre cinq elements lies a l'univers et a toute chose dans l'univers, donc a l'homme.Evoquons le cycle de la creation : Terre - Metal - Eau - Bois - Feu - (Terre) etc. la terre contient des mineraux, source de metal, le metal peut etre fondu et se liquefie, l'eau arrose et fait pousser les arbres, le bois brule et produit du feu, le feu produit des cendres, une sorte de terre, dans une dynamique cyclique perpetuelle.Parmi tous les cycles existants, celui des emotions eveilla particulierement mon interet : Meditation - Chagrin - Peur - Colere - Joie - (Meditation) etc. et je me suis dit que ce principe cyclique pourrait etre a la source d'un puissant et emotionnel voyage musical. Evolution se compose donc de cinq parties egales qui refletent assez librement ce cycle des emotions. J'ai essaye de faire en sorte que la musique se developpe de maniere fluide et naturelle, avec un minimum de repetitions. Chaque mouvement s'ouvre a partir des elements musicaux qui parachevent le mouvement precedent, tandis que le motif premier reapparait.

Brass Band - Grade 5

SKU: HL.44010988

Brass Band - Score and Parts. Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Set (Score & Parts). Composed 2011. Anglo Music Press #AMP338030. Published by Anglo Music Press (HL.44010988).

UPC: 884088637439. 9x12 inches. English-German-French-Dut ch.

Evolution was commissioned by Kunstfactor for the 4th section of the Dutch National Brass Band Championships (NBK) 2011. It is dedicated to Jappie Dijkstra and the Music Information Centre (MUI), Arnhem, Holland, in acknowledgement of their outstanding work in developing brass band repertoire. The composer writes:-The idea for the piece came when I was reading an article about a branch of Chinese philosophy which is abbreviated as Wu Xing, which has no exact translation but can mean, for example, five elements, five phases or five states of change. It is central to all elements of Chinese thought, including science, philosophy, medicine and astrology, and in simpleterms tries to create various cyclic relationships between five elements in all walks of life. An example is: Earth - Metal - Water - Wood - Fire - (Earth) etc. where (in one cycle) earth bears metal, metal changes to liquid (water) when heated, water helps trees grow, wood burns to create fire, fire produces ash (earth) and the cycle continues.I was particularly interested in the cycle of emotions: Meditation - Sorrow - Fear - Anger - Joy - (Meditation) etc. and thought this cyclic principle would provide an effective emotional journey for a piece of music. So Evolution has five equal sections which loosely characterise this emotional cycle. I have tried to make the music grow organically, with minimal repetition, and each movement evolves from the musical elements at the end of the previous one, with the opening material appearing, transformed, at the end of the piece to complete the cycle.

Evolution is geschreven in opdracht van Kunstfactor voor de 4e divisie van de NBK (Nederlandse Brassband Kampioenschappen) 2011. Het werk is opgedragen aan Jappie Dijkstra en het MUI (Muziekuitleen- en Informatiecentrum) te Arnhem, als waardering voor hun inspanningen met betrekking tot de ontwikkeling van het brassbandrepertoire.De componist schrijft:Het idee voor Evolution kwam in mij op toen ik een artikel las over een tak binnen de Chinese filosofie waarvan de naam wordt afgekort tot Wu Xing - waar geen exacte vertaling voor is, maar wat zoveel betekent als vijf elementen, vijf fasen of vijf stadia van verandering. Het gaat om een wezenlijk onderdeel van allecomponenten binnen het Chinese gedachtegoed, inclusief de wetenschap, filosofie, geneeskunst en astrologie. Simpel gezegd draait het om het creeren van diverse cyclische verbanden tussen vijf elementen die in ieders leven een rol spelen. Een voorbeeld: Aarde - Metaal - Water - Hout - Vuur - (Aarde) enz. In deze cyclus bevat aarde metaal; metaal verandert in vloeistof (water) door verhitting; water helpt bomen te groeien; hout dat brandt creeert vuur; en vuur produceert as (aarde). Zo blijft de cyclus voortgaan. Zelf was ik vooral geinteresseerd in de cyclus van emoties: Meditatie - Verdriet - Angst - Boosheid - Vreugde - (Meditatie) enz. De gedachte aan dit cyclische principe leverde een reis door een muzikale wereld van emoties op. Evolution bestaat uit vijf delen die betrekking hebben op de emotionele cyclus. Ik heb geprobeerd de muziek op natuurlijke wijze te laten ontstaan, met zo weinig mogelijk herhalingen. Elk deel vloeit voort uit de muzikale elementen uit het slot van het voorgaande deel. Het openingsmateriaal komt, in getransformeerde gedaante, terug aan het einde van het werk, waarmee de cyclus wordt afgerond.

Evolution wurde von Kunstfactor fur die vierte Abteilung der Hollandischen Nationalen Brass-Band-Meisterschaft (NBK) 2011 in Auftrag gegeben. Die Widmung gilt Jappie Dijkstra und dem Musik-Informationszentrum (MUI) in Arnhem (Holland), in Anerkennung ihrer ausserordentlichen Bemuhungen um die Entwicklung des Brass-Band-Repertoires.De r Komponist uber sein Werk:Die Idee zu diesem Stuck kam mir beim Lesen eines Artikels uber eine Richtung der chinesischen Philosophie, die abgekurzt Wu Xing heisst, was nicht wortlich ubersetzt werden kann, aber so viel wie funf Elemente, funf Phasen oder funf Stadien der Verwandlung bedeutet. Dieses Prinzip nimmt eine zentrale Positionim gesamten chinesischen Gedankengut ein, sei es in der Wissenschaft, Medizin oder Astrologie. Einfach ausgedruckt, werden damit in allen Lebensbereichen verschiedene zyklische Beziehungen zwischen funf Elementen hergestellt.Zum Beispiel: Erde - Metall - Wasser - Holz - Feuer - (Erde) - usw. In diesem Zyklus enthalt die Erde Metall, das sich bei Erhitzung verflussigt (Wasser); Wasser lasst Baume wachsen, deren Holz verbrennt (Feuer) und zu Asche wird (Erde), womit der Kreislauf von neuem beginnt.Mich interessierte besonders der Kreislauf von Gefuhlen: Meditation - Trauer - Angst - Arger - Freude - (Meditation) usw. Ich dachte mir, dass dieser Kreislauf eine wirkungsvolle emotionale Reise durch ein Musikstuck darstellen konnte. Folglich besteht Evolution aus funf gleichen Abschnitten, die diesen Kreislauf der Gefuhle grob nachzeichnen. Ich habe versucht, die Musik organisch wachsen zu lassen mit moglichst wenig Wiederholungen. Jeder Satz entwickelt sich aus den Elementen vom Ende des vorhergehenden Satzes und das Material der Eroffnung vollendet am Schluss des Werkes den Kreis.

Evolution est une commande de l'institut Kunstfactor pour la 4e division des Championnats neerlandais de Brass Band en 2011. Cette oeuvre est dediee a Jappie Dijkstra et au Music Information Centre (MUI) d'Arnhem, aux Pays-Bas, en hommage a leur role exceptionnel dans le developpement du repertoire pour Brass Band. Le compositeur ecrit :L'idee de cette composition m'est venue alors que je lisais un article sur un aspect de la philosophie chinoise, connu sous l'abreviation de Wu Xing, qu'il est impossible de traduire litteralement mais qui peut signifier, par exemple, cinq elements, cinq phases ou cinq etats de changement. Toute chose dans l'univers est le fruitd'un cycle de creation (ou d'engendrement) et de domination (ou controle). Ce concept est essentiel a tous les elements de la pensee chinoise, y compris les sciences, la philosophie, la medecine et l'astrologie et, en termes simples, il represente les multiples rapports cycliques qui existent entre cinq elements lies a l'univers et a toute chose dans l'univers, donc a l'homme.Evoquons le cycle de la creation : Terre - Metal - Eau - Bois - Feu - (Terre) etc. la terre contient des mineraux, source de metal, le metal peut etre fondu et se liquefie, l'eau arrose et fait pousser les arbres, le bois brule et produit du feu, le feu produit des cendres, une sorte de terre, dans une dynamique cyclique perpetuelle.Parmi tous les cycles existants, celui des emotions eveilla particulierement mon interet : Meditation - Chagrin - Peur - Colere - Joie - (Meditation) etc. et je me suis dit que ce principe cyclique pourrait etre a la source d'un puissant et emotionnel voyage musical. Evolution se compose donc de cinq parties egales qui refletent assez librement ce cycle des emotions. J'ai essaye de faire en sorte que la musique se developpe de maniere fluide et naturelle, avec un minimum de repetitions. Chaque mouvement s'ouvre a partir des elements musicaux qui parachevent le mouvement precedent, tandis que le motif premier reapparait.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2

SKU: CF.YPS212F

Composed by Larry Clark. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS212F. Published by Carl Fischer Music (CF.YPS212F).

ISBN 9781491152997. UPC: 680160910496.

Takin g its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.
Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.” They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.  That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Tambourine, Timpani and more. - Grade 2.5

SKU: CF.YPS212

Composed by Larry Clark. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8 +12+6+6+2+2+4+10+20+4 pages. Duration 3 minutes, 39 seconds. Carl Fischer Music #YPS212. Published by Carl Fischer Music (CF.YPS212).

ISBN 9781491152317. UPC: 680160909810. Key: C minor.

Taking its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.
Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.” They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey.  That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.

Concert Band - Grade 5

SKU: BT.DHP-1033505-040

Gulliver's Travels. Composed by Maxime Aulio. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 2003. De Haske Publications #DHP 1033505-040. Published by De Haske Publications (BT.DHP-1033505-040).

9x12 inches.

Duration: 19:00 minutes

Jonathan Swifts satirischer Roman Gullivers Reisen - eine literarische Reise zwischen Vernunft und Verrücktheit - regte auch die Phantasie des Komponisten Maxime Aulio an. Seine Suite für Blasorchester besteht aus mehreren kurzen, teilweise wie eine Kette aneinander gereihten Sätzen. Zyklisch in veränderter Form wiederkehrende Motive und Themen beschreiben Gullivers Gedanken und Gefühle oder auch Landschaften und Personen, die ihm unterwegs begegnen.

1. Voyage Lilliput • 2. Voyage Brobdingnag • 3. Voyage Laputa/Voyage Balnibarbi; l’Académie de Lagado/Voyage Glubbdubdrib, l’île des Magiciens /Voyage Luggnagg; Les Struldbruggs • 4. Voyage chez les Houyhnhnms / Maxime Aulio a composé Gulliver's Travels (Les Voyages de Gulliver) pour l’Orchestre d’Harmonie du Conservatoire National de Région de Toulouse placé sous la direction de Jean-Guy Olive. L’œuvre a été donnée en création mondiale le 25 avril 2001, l’Auditorium Saint-Pierre des Cuisines de Toulouse, par la formation dédicataire.Vers 1720, lorsque Jonathan Swift (1667-1745), écrivain irlandais d’origine anglaise, envoie Lemuel Gulliver,un vieux chirurgien malicieux, la découverte de contrées extraordinaires, il débute en réalité l’écriture d’un roman satirique sur la vanité, la morale et l’hypocrisie de la société humaine. L’utopie littéraire était alors l'unique moyen d’éviter la censure. Mais en écrivant ce livre, dont la rédaction dura six ans, Swift eut le temps de m rir ses idées, si bien que sa réflexion grinçante sur la condition humaine est toujours d’actualité. Le génie imaginatif, la finesse d’esprit et la prose simple qui caractérisent Les Voyages de Gulliver ont fasciné des générations de lecteurs. Ce voyage littéraire entre raison et folie s’est également arrimé dans l’imaginaire de Maxime Aulio qui nous offre avec sa suite en quatre mouvements, une vision musicale des pérégrinations de Gulliver, la manière d’un kaléidoscope qui juxtapose de petits fragments de couleur dans une trame linéaire.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115063-010

Composed by Jan Van der Roost. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2011. De Haske Publications #DHP 1115063-010. Published by De Haske Publications (BT.DHP-1115063-010).

9x12 inches.

Jan Van der Roost and the commissioner of this work have strong personal ties, making By the River a very personal work for both of them. The first part is pastoral and describes the rural character of what is actually an industrial region.The next movement, a dynamic allegro that creates an exciting contrast to the first. All instruments are put to good use, letting everyone have their moment in the limelight. All the interesting thematic and melodic elements Van der Roost createswill keep the audience engaged through to the very last note!

De opdrachtgever van dit werk is op meerdere wijze verbonden aan de componist. Hierdoor is By the River een zeer persoonlijk en indrukwekkend werk geworden. Het eerste deel heeft het karakter van een pastorale en beschrijfthet landelijke karakter van een - in basis - industrieel gebied. In sterk contrast daarop volgt een dynamisch allegro met toespelingen op Leonard Bernstein. Alle registers van het moderne blaasorkest komen aan hun trekken in Bythe River. Maar ook het publiek wordt flink op de proef gesteld, wil het alle thematische en melodische elementen van dit afwisselende werk doorgronden..!

Dem Auftraggeber dieses Werkes ist der Komponist in mehrfacher Weise sehr verbunden, wodurch By the River ein sehr persönliches und eindringliches Werk geworden ist. Der erste Teil ist von pastoralem Charakter und beschreibt den ländlichenCharakter einer eigentlichen Industrieregion. Stark kontrastiv folgt darauf ein dynamisches Allegro mit einer Anspielung auf Leonard Bernstein. Alle Register des modernen Blasorchesters sind in By the River gefordert, genau wie dieAufmerksamkeit des Publikums, wenn es alle thematischen und melodischen Elemente dieses abwechslungsreichen Werkes erfassen will.

By the River (Prés de la rivére) est une oeuvre que Jan van der Roost affectionne tout particuliérement. La premiére partie s'ouvre sur motif plutôt pastoral et décrit le caractére assez rural des gens du paysvivant dans une certaine région industrielle. Un dynamique allegro améne en contraste un bref clin d'oeil Leonard Berstein. Afin de pouvoir restituer cette composition dans toute sa diversité, l'ensemble des registres del'orchestre d'harmonie contemporain sera sollicité. Votre attentif auditoire en restera époustouflé !

By the River é un'opera alla quale Jan Van der Roost é particolarmente affezionato. La prima parte si apre su un motivo pastorale e descrive il carattere rimasto rurale di alcuni popoli che vivono in regioni ormaiindustrializzate. Segue un dinamico allegro, breve ma che ricorda la musica di Leonard Bernstein. Una composizione che sollecita tutti i registri della banda e che entusiasmer il pubblico!

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115063-140

Composed by Jan Van der Roost. Concert and Contest Collection CBHA. Concert Piece. Score Only. Composed 2011. 52 pages. De Haske Publications #DHP 1115063-140. Published by De Haske Publications (BT.DHP-1115063-140).

9x12 inches.

Jan Van der Roost and the commissioner of this work have strong personal ties, making By the River a very personal work for both of them. The first part is pastoral and describes the rural character of what is actually an industrial region. The next movement, a dynamic allegro that creates an exciting contrast to the first. All instruments are put to good use, letting everyone have their moment in the limelight. All the interesting thematic and melodic elements Van der Roost creates will keep the audience engaged through to the very last note!

De opdrachtgever van dit werk is op meerdere wijze verbonden aan de componist. Hierdoor is By the River een zeer persoonlijk en indrukwekkend werk geworden. Het eerste deel heeft het karakter van een pastorale en beschrijfthet landelijke karakter van een - in basis - industrieel gebied. In sterk contrast daarop volgt een dynamisch allegro met toespelingen op Leonard Bernstein. Alle registers van het moderne blaasorkest komen aan hun trekken in Bythe River. Maar ook het publiek wordt flink op de proef gesteld, wil het alle thematische en melodische elementen van dit afwisselende werk doorgronden..!

Dem Auftraggeber dieses Werkes ist der Komponist in mehrfacher Weise sehr verbunden, wodurch By the River ein sehr persönliches und eindringliches Werk geworden ist. Der erste Teil ist von pastoralem Charakter und beschreibt den ländlichen Charakter einer eigentlichen Industrieregion. Stark kontrastiv folgt darauf ein dynamisches Allegro mit einer Anspielung auf Leonard Bernstein. Alle Register des modernen Blasorchesters sind in By the River gefordert, genau wie die Aufmerksamkeit des Publikums, wenn es alle thematischen und melodischen Elemente dieses abwechslungsreichen Werkes erfassen will.

By the River (Près de la rivière) est une oeuvre que Jan van der Roost affectionne tout particulièrement. La première partie s’ouvre sur motif plutôt pastoral et décrit le caractère assez rural des gens du pays vivant dans une certaine région industrielle. Un dynamique allegro amène en contraste un bref clin d’oeil Leonard Berstein. Afin de pouvoir restituer cette composition dans toute sa diversité, l’ensemble des registres de l’orchestre d’harmonie contemporain sera sollicité. Votre attentif auditoire en restera époustouflé !

By the River è un’opera alla quale Jan Van der Roost è particolarmente affezionato. La prima parte si apre su un motivo pastorale e descrive il carattere rimasto rurale di alcuni popoli che vivono in regioni ormai industrializzate. Segue un dinamico allegro, breve ma che ricorda la musica di Leonard Bernstein. Una composizione che sollecita tutti i registri della banda e che entusiasmer il pubblico!

Concert Band - Grade 1.5

SKU: AP.29446

Composed by Steve Hodges. Concert Band; Performance Music Ensemble; Single Titles. Challenger Band Series. Novelty. Score and Part(s). 128 pages. Duration 3:05. Alfred Music #00-29446. Published by Alfred Music (AP.29446).

UPC: 038081322957. English.

Looking for some music to get the audience more involved in your concert? Here it is! A medium-rock groove sets the stage for an eighth-note motive that signals the band and audience to give high fives throughout the piece. Soloists on the flute, saxophone, trumpet, trombone and clarinet are featured on two-measure phrases that lead to an exciting drum-off between the snare and tom players. Band members and directors are encouraged to use their creativity in the solo section as well as in giving high fives to each other and to the audience. A really fun piece! (3:05).

By Robert Sheldon. Concert Band. Concert Band; Part(s); Score. Alfred Concert Band. Form: Overture. Grade 3. 272 pages. Published by Alfred Music Publishing

By Robert Sheldon. Concert Band. Concert Band; Score. Alfred Concert Band. Form: Overture. Grade 3. 24 pages. Published by Alfred Music Publishing

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1115037-140

Composed by Satoshi Yagisawa. Brilliant Marches. March. Score Only. Composed 2011. 24 pages. De Haske Publications #DHP 1115037-140. Published by De Haske Publications (BT.DHP-1115037-140).

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

Satoshi Yagisawa is well known for his dramatic symphonic band compositions. Even though he has written relatively few marches, they are also very popular: March Willing and Able is based on a chorale while March Bou Shu is based on a Japanese folk song. The Memory of Our Native Place is a rather unusual piece for Yagisawa, as it actually closely resembles a traditional march. The piece opens with a lively fanfare and is contrasted by the following theme. The trio features a chorale-like melody.

Satoshi Yagisawa is vooral bekend van zijn dramatische orkestwerken. Marsen schreef hij nog maar weinig. Die paar die hij schreef, zijn inmiddels allemaal wel erg geliefd en populair; March Willing and Able is gebaseerd op koraalmuziek en in March Bou Shu is een Japanse volksmelodie verwerkt. Deze nieuwe mars, The Memory of Our Native Place, begint met een stralende fanfare. Daarna klinkt een innig thema. In het triodeel komt een koraalachtige melodie naar voren. Kortom: hieraan houdt uw publiek zeker een mooie herinnering!

Satos hi Yagisawa ist bekannt für seine dramatischen Blasorchesterwerke - Märsche hat er bisher nur sehr wenige, dafür aber sehr beliebte geschrieben. Zwei davon sind March Willing and Able und March Bou Shu - der eine auf choraler Musik, der andere auf einem japanischen Volkslied basierend. The Memory of Our Native Place beginnt mit einer strahlenden Fanfare, bevor ein inniges Thema erklingt. Im Trio tritt eine choralartige Melodie hervor.

The Memory of our Native Place n’est pas une marche conventionnelle, mais contient néanmoins quelques éléments standard. Elle s’ouvre avec une fanfare brillante, suivie par un thème pétillant de fraîcheur marqué par une joyeuse alternance de réponses entre bois, cuivres et cuivres graves. La mélodie chantante du trio mène fi nale haut en couleurs faisant de The Memory of our Native Place une incontournable marche de concert.

Satoshi Yagisawa ha composto oltre cento brani per fi ati, ma solamente quattro marce, tra le quali ricordiamo le acclamate March Willing and Able e March Bou Shu, la prima basata su musica corale, la seconda su una canzone folk giapponese. Con The Memory of our Native Place, Yagisawa si allontana dal suo stile poco convenzionale, componendo una marcia che si avvicina agli schemi standard. L’inizio vede protagonista una fanfara brillante, seguita da un tema più intimo. Il trio espone una melodia simile a un corale.