Commence! Orchestre d'harmonie - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Cla...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Chimes, China
Cymbal, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1
and more. - Grade 3
SKU: CF.CPS210
Composed by Sean
O'Loughlin. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
16+16+8+16+32+32+8+8+8+8+
8+8+16+16+16+8+8+12+12+12
+16+8+4+8+32+40+8 pages.
Duration 3 minutes, 57
seconds. Carl Fischer
Music #CPS210. Published
by Carl Fischer Music
(CF.CPS210).
ISBN
9781491152362. UPC:
680160909865.
A
driving composition from
Sean
O'loughlin,?Commence!?beg
ins with a spirited theme
that oscillates between
triple and duple meter.
After developing into a
heartfelt lush brass
chorale, the lilting
theme returns again. The
composition concludes
with a dramatic return of
the B theme and a rousing
finale. A beautiful
piece,?Commence!?is
a?strong choice for any
contest or
festival.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
. Co
mmence! was commissioned
by the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn. This piece is
a loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension releases
into a slow section that
features a flowing,
heartfelt melody. This
builds to the big moment
at m. 112. The timpani
ushers us back to the
6/8, 2/4 section. The
melody is now accompanied
by some flowing
counterpoint at m. 153
which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing finale.
Commence! Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Cabasa, Chimes, China Cymbal, Cla...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Cabasa, Chimes, China
Cymbal, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion, Mark
Tree, Oboe, Percussion 1
and more. - Grade 3
SKU: CF.CPS210F
Composed by Sean
O'Loughlin. Concert Band
(CPS). Full score. With
Standard notation. 40
pages. Carl Fischer Music
#CPS210F. Published by
Carl Fischer Music
(CF.CPS210F).
ISBN
9781491153048. UPC:
680160910540.
A
driving composition from
Sean
O'loughlin,?Commence!?beg
ins with a spirited theme
that oscillates between
triple and duple meter.
After developing into a
heartfelt lush brass
chorale, the lilting
theme returns again. The
composition concludes
with a dramatic return of
the B theme and a rousing
finale. A beautiful
piece,?Commence!?is
a?strong choice for any
contest or
festival.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
.
Commence!
em> was commissioned by
the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn.
This piece is a
loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension
releases into a slow
section that features a
flowing, heartfelt
melody. This builds to
the big moment at m. 112.
The timpani ushers us
back to the 6/8, 2/4
section. The melody is
now accompanied by some
flowing counterpoint at
m. 153 which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing
finale.
. Co
mmence! was commissioned
by the Lynden High School
Class 2017-2019 and the
Lynden, WA Community, and
is dedicated to Steve
Herrick in celebration of
his retirement. Mr.
Herrick and I first
collaborated on a
commission in 2006, and I
was immediately taken by
the community and the
music program in Lynden.
It is truly one of the
most beautiful places in
the country and full of
musical inspiration at
every turn. This piece is
a loving tribute to Mr.
Herrick and his amazing
contribution to the
students of Lynden for
over thirty years. The
music begins with a
spirited section
oscillating between 6/8
and 2/4 time. It should
maintain a pulsing
feeling throughout. The
main melody appears at m.
25 and has a lilting,
reminiscing quality to
it. After some further
development, it moves to
a B-section at m. 41 with
some warm brass passages.
The woodwinds should soar
over the top with their
counter line. The lower
voices take over the
melody at m. 59. The
harmony becomes more
discordant at m. 71 with
passages trading between
the brass and woodwinds.
This tension releases
into a slow section that
features a flowing,
heartfelt melody. This
builds to the big moment
at m. 112. The timpani
ushers us back to the
6/8, 2/4 section. The
melody is now accompanied
by some flowing
counterpoint at m. 153
which leads to the
B-section again at m.
169. This time the
woodwinds take the lead
and the brass provide the
counter line. A final big
moment at m. 194 is the
culmination and high
point of the composition.
A brief fast section puts
a bow on the piece for a
rousing finale.
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1002209-010 Composed by Jan V...(+)
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
“grandiosoâ€
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.
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.
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
“Magyarorszagâ€
.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 John Ireland.
Band Music. Score and
parts. Duration 10:30.
Published by G & M Brand
Music Publishers
(CN.R10004).
A
slow introduction gives
way to the chirpy theme
which is developed,
inverted, and accents
displaced across the bar
line to give a 3/2 feel
against the written
meter. Restlessness leads
to a tranquillo presented
by the flute and
clarinet, weaving a
flowing counterpoint
around the melody until
the original slow
introduction returns. A
triumphant recapitulation
of the main theme brings
this wonderful piece to
an end.
Originally
composed for Brass Band
in 1934 Comedy Overture
is, despite its name, a
serious piece of writing.
The term Overture does
not imply that there is
anything else to follow;
it is used in the 19th
century sense of Concert
Overture (like
Mendelssohn's Fingal's
Cave - in other words, a
miniature Tone Poem). The
1930's was a period of
Ireland's mature writing
- yielding the Piano
Concerto (1930), the
Legend for piano and
orchestra (1933), and the
choral work These Things
Shall Be (1936-1937). We
are fortunate therefore
to have both Comedy
Overture and A Downland
Suite (1932) written for
band medium at this time.
As with Maritime Overture
(written in 1944 for
military band) Ireland
approaches his material
symphonically. The
opening three notes state
immediately the two
seminal intervals of a
semitone and a third.
These are brooding and
dark in Bb minor. It is
these intervals which
make up much of the
thematic content of
Comedy, sometimes
appearing in inverted
form, and sometimes in
major forms as well. The
concept that some musical
intervals are consonant ,
some dissonant, and some
perfect is perhaps useful
in understanding the
nature of the tension and
resolution of this work.
The third is inherently
unstable, and by bar 4,
the interval is expanded
to a fourth - with an
ascending sem-quaver
triplet - and then
expanded to a fifth. The
instability of the third
pushes it towards a
perfect resolution in the
fourth or the fifth. The
slow introduction is
built entirely around
these intervals in Bb
minor and leads through
an oboe cadenza, to an
Allegro moderato
brillante in Bb major.
Once again, the semi-tone
(inverted) and a third
(major) comprise the
main, chirpy,
theme-inspired by a
London bus-conductor's
cry of Piccadilly. (Much
of the material in Comedy
was re-conceived by
Ireland for orchestra and
published two years later
under the title A London
Overture.) The expansion
of the interval of a
third through a fourth,
fifth, sixth, and seventh
now takes place quickly
before our very ears at
the outset of this
quicker section.
Immediately the theme is
developed, inverted, and
accents displaced across
the bar line to give a
3/2 feel against the
written meter. But this
restlessness leads to a
tranquillo built around
an arpeggio figure and
presented by flute and
clarinet. Ireland weaves
his flowing counterpoint
around this melody until
the original slow
introduction returns
leading to a stretto
effect as the rising bass
motifs become more
urgent, requesting a
resolution of the tension
of that original semitone
and minor third. Yet
resolution is withheld at
this point as the music
becomes almost becalmed
in a further, unrelated
tranquillo section marked
pianissimo. It is almost
as if another side of
Ireland's nature is
briefly allowed to shine
through the stern
counterpoint and
disciplined structure.
This leads to virtually a
full recapitulation of
the chirpy brilliante,
with small additional
touches of counterpoint,
followed by the first
tranquillo section-this
time in the tonic of Bb
major. But the
instability of the third
re-asserts itself, this
time demanding a
resolution. And a
triumphant resolution it
receives, for it finally
becomes fully fledged and
reiterates the octave in
a closing vivace. The
opening tension has at
last resolved itself into
the most perfect interval
of all.
Guardians of the Waves Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 3.5 SKU: BT.AMP-481-010 Composed by Philip ...(+)
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.
Concert Band/Harmonie - Grade 3.5 SKU: BT.AMP-481-140 Composed by Philip ...(+)
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.
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-494-140 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.AMP-494-140
Composed by Philip
Sparke. Debut Series
(Anglo). Concert March.
Score Only. Composed
2021. 28 pages. Anglo
Music Press #AMP 494-140.
Published by Anglo Music
Press (BT.AMP-494-140).
English-German-French-
Dutch.
March of
the Robot Army was
commissioned by Linda
Anzolin & Giordano-Bruno
Tedeschi for Campobanda
2019, with funds made
available by JUST ITALIA.
Campobanda is an Italian
summer music camp for 8-
to 18-year-olds (held
inCamposilvano in 2019)
which has a different
theme every year. The
theme for 2019 was
‘science
fiction’, so
composer Philip Sparke
chose to write a robot
march. After a quirky
introduction featuring
trumpet calls and
chromaticfigures, the
main theme appears in a
minor mode on clarinet
and tenor sax and is then
taken up by the full
band. A change of key
heralds a new theme, led
by the trumpet and again
repeated by the full
ensemble. A further
change ofkey introduces a
legato
‘trio’
melody over a rather
robotic accompaniment:
instruments are added bit
by bit until a climax is
reached. Small motifs
from the introduction
then lead back to a full
recapitulation,
revisiting thefirst two
themes in new guises
before finishing the
march with a
flourish.
March
of the Robot Army
werd geschreven in
opdracht van Linda
Anzolin & Giordano-Bruno
Tedeschi voor Campobanda
2019: de financiering
werd mogelijk gemaakt
door JUST ITALIA.
Campobanda is een
Italiaans zomermuziekkamp
vooracht- tot
achttienjarigen (dat in
2019 werd gehouden in
Camposilvano) met elk
jaar een ander thema. Het
thema voor 2019 was
sciencefiction, dus
besloot componist Philip
Sparke een robotmars te
schrijven. Na een
grilligeinleiding met
trompetsignalen en
chromatische motieven
verschijnt het hoofdthema
in mineur op klarinet en
tenorsax, waarna het door
het hele orkest wordt
overgenomen. Een
verandering van toonsoort
kondigt een nieuw thema
aan, weeringeleid door de
trompet en herhaald door
het volledige ensemble.
Een verdere
toonsoortverandering
introduceert een legato
‘triomelodieâ€
boven een nogal
robotachtige begeleiding:
er worden stapsgewijs
instrumenten toegevoegd
totde muziek uitmondt in
een hoogtepunt. Korte
figuren uit de inleiding
nemen ons dan mee naar
een volledige herneming,
met een terugkeer naar de
eerste twee
thema’s in een
nieuwe gedaante, waarna
de mars in stijl wordt
afgesloten.
Der
March of the Robot
Army wurde von Linda
Anzolin und
Giordano-Bruno Tedeschi
für Campobanda
2019“ in Auftrag
gegeben und finanziell
von JUST ITALIA
unterstützt. Das
italienische
Sommermusikcamp
Campobanda für 8-
bis18-Jährige fand
2019 in Camposilvano
statt und hat jedes Jahr
ein anderes Motto. 2019
lautete das Thema Science
Fiction“, daher
entschied sich der
Komponist Philip Sparke
dazu, einen Robotermarsch
zu schreiben. Nach
einerskurrilen Einleitung
mit Trompetenrufen und
chromatischen Figuren
erklingt in Klarinetten
und Tenorsaxophonen das
Hauptthema in Moll, das
dann vom gesamten
Orchester aufgegriffen
werd. Ein Tonartwechsel
kündigt ein neues
Thema an,das von der
Trompete vorgestellt und
anschließend vom
gesamten Ensemble
wiederholt wird. Ein
weiterer Tonartwechsel
führt zu einem
melodischen, legato
gespielten Trio-Abschnitt
über einer
roboterhaften Begleitung.
Nach und nachkommen
weitere Instrumente
hinzu, bis der
Höhepunkt erreicht
ist. Kleine Motive aus
der Einleitung führen
dann zu einer Reprise,
wobei die ersten beiden
Themen in neuer Gestalt
wieder aufgegriffen
werden, bevor der Marsch
zum Endehin noch einmal
musikalisch
aufblüht.
March of the Robot Army Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Anglo Music
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-494-010 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.AMP-494-010
Composed by Philip
Sparke. Debut Series
(Anglo). Concert March.
Set (Score & Parts).
Composed 2021. Anglo
Music Press #AMP 494-010.
Published by Anglo Music
Press (BT.AMP-494-010).
English-German-French-
Dutch.
March of
the Robot Army was
commissioned by Linda
Anzolin & Giordano-Bruno
Tedeschi for Campobanda
2019, with funds made
available by JUST ITALIA.
Campobanda is an Italian
summer music camp for 8-
to 18-year-olds (held
inCamposilvano in 2019)
which has a different
theme every year. The
theme for 2019 was
‘science
fiction’, so
composer Philip Sparke
chose to write a robot
march. After a quirky
introduction featuring
trumpet calls and
chromaticfigures, the
main theme appears in a
minor mode on clarinet
and tenor sax and is then
taken up by the full
band. A change of key
heralds a new theme, led
by the trumpet and again
repeated by the full
ensemble. A further
change ofkey introduces a
legato
‘trio’
melody over a rather
robotic accompaniment:
instruments are added bit
by bit until a climax is
reached. Small motifs
from the introduction
then lead back to a full
recapitulation,
revisiting thefirst two
themes in new guises
before finishing the
march with a
flourish.
March
of the Robot Army
werd geschreven in
opdracht van Linda
Anzolin & Giordano-Bruno
Tedeschi voor Campobanda
2019: de financiering
werd mogelijk gemaakt
door JUST ITALIA.
Campobanda is een
Italiaans zomermuziekkamp
vooracht- tot
achttienjarigen (dat in
2019 werd gehouden in
Camposilvano) met elk
jaar een ander thema. Het
thema voor 2019 was
sciencefiction, dus
besloot componist Philip
Sparke een robotmars te
schrijven. Na een
grilligeinleiding met
trompetsignalen en
chromatische motieven
verschijnt het hoofdthema
in mineur op klarinet en
tenorsax, waarna het door
het hele orkest wordt
overgenomen. Een
verandering van toonsoort
kondigt een nieuw thema
aan, weeringeleid door de
trompet en herhaald door
het volledige ensemble.
Een verdere
toonsoortverandering
introduceert een legato
‘triomelodieâ€
boven een nogal
robotachtige begeleiding:
er worden stapsgewijs
instrumenten toegevoegd
totde muziek uitmondt in
een hoogtepunt. Korte
figuren uit de inleiding
nemen ons dan mee naar
een volledige herneming,
met een terugkeer naar de
eerste twee
thema’s in een
nieuwe gedaante, waarna
de mars in stijl wordt
afgesloten.
Der
March of the Robot
Army wurde von Linda
Anzolin und
Giordano-Bruno Tedeschi
für Campobanda
2019“ in Auftrag
gegeben und finanziell
von JUST ITALIA
unterstützt. Das
italienische
Sommermusikcamp
Campobanda für 8-
bis18-Jährige fand
2019 in Camposilvano
statt und hat jedes Jahr
ein anderes Motto. 2019
lautete das Thema Science
Fiction“, daher
entschied sich der
Komponist Philip Sparke
dazu, einen Robotermarsch
zu schreiben. Nach
einerskurrilen Einleitung
mit Trompetenrufen und
chromatischen Figuren
erklingt in Klarinetten
und Tenorsaxophonen das
Hauptthema in Moll, das
dann vom gesamten
Orchester aufgegriffen
werd. Ein Tonartwechsel
kündigt ein neues
Thema an,das von der
Trompete vorgestellt und
anschließend vom
gesamten Ensemble
wiederholt wird. Ein
weiterer Tonartwechsel
führt zu einem
melodischen, legato
gespielten Trio-Abschnitt
über einer
roboterhaften Begleitung.
Nach und nachkommen
weitere Instrumente
hinzu, bis der
Höhepunkt erreicht
ist. Kleine Motive aus
der Einleitung führen
dann zu einer Reprise,
wobei die ersten beiden
Themen in neuer Gestalt
wieder aufgegriffen
werden, bevor der Marsch
zum Endehin noch einmal
musikalisch
aufblüht.
Solemnity Orchestre d'harmonie - Facile Molenaar Edition
Concert Band - Grade 3 SKU: ML.013751080 Composed by Alexandre Carlin. Fu...(+)
Concert Band - Grade 3
SKU: ML.013751080
Composed by Alexandre
Carlin. Full set.
Molenaar Edition
#013751080. Published by
Molenaar Edition
(ML.013751080).
Solemnity was
composed when the
composer came back from
his first Midwest Clinic
in Chicago. Inspired by
all the concert bands
performing there, and all
the fellow composers met
at this occasion, he
decided to write a kind
of fanfare work, leading
to a fast theme on a
driving rhythm.The piece
begins like a fanfare
with a solemn character
which gives the title of
the work, the brass here
have a nice part to play.
Then, a new theme full of
energy, using the same
rhythmic motive as the
fanfare theme, is exposed
by the high woodwinds and
finally by more
instruments. The central
part is a slow one, where
a melancolic theme is
exposed by the oboe, and
finally the rest of the
band. After a fugato
section, the energic
theme is back to lead to
a brilliant
coda.
Solemnity
werd gecomponeerd toen de
componist terugkwam van
zijn eerste Midwest
Clinic in Chicago.
Geïnspireerd door alle
concertbands die daar
optraden en alle
collega-componisten die
hij bij deze gelegenheid
ontmoette, besloot hij
een soort fanfarewerk te
schrijven, leidend naar
een snel thema op een
stuwend ritme.Het stuk
begint als een fanfare
met een plechtig karakter
dat de titel van het werk
geeft, de koperblazers
hebben hier een mooie rol
te spelen. Dan volgt een
nieuw thema vol energie,
gebruikmakend van
hetzelfde ritmische
motief als het thema van
de fanfare, belicht door
de hoge houtblazers en
tenslotte door meer
instrumenten. Het
centrale deel is
langzaam, waar een
melancholisch thema wordt
belicht door de hobo en
uiteindelijk de rest van
de band. Na een
fugatogedeelte is het
energieke thema terug om
te leiden naar een
briljante
coda.
Solemnity a
été composée lorsque
le compositeur est revenu
de sa première Midwest
Clinic à Chicago.
Inspiré par tous les
orchestres de concert qui
s'y produisaient et par
tous les collègues
compositeurs rencontrés
à cette occasion, il a
décidé d'écrire une
sorte de fanfare,
conduisant à un thème
rapide sur un rythme
entraînant.La pièce
commence comme une
fanfare avec un
caractère solennel qui
donne le titre de
l'œuvre, les cuivres ont
ici un beau rôle à
jouer. Ensuite, un
nouveau thème plein
d'énergie, utilisant le
même motif rythmique que
le thème de la fanfare,
est exposé par les bois
aigus et finalement par
d'autres instruments. La
partie centrale est une
partie lente, où un
thème mélancolique est
exposé par le hautbois,
puis par le reste de
l'orchestre. Après une
section fugato, le thème
énergique est de retour
pour mener à une
brillante
coda.
Solemnity
wurde komponiert, als der
Komponist von seiner
ersten Midwest Clinic in
Chicago zurückkam.
Inspiriert von all den
Konzertkapellen, die dort
auftraten, und all den
Komponistenkollegen, die
er bei dieser Gelegenheit
traf, beschloss er, eine
Art Fanfare zu schreiben,
die zu einem schnellen
Thema auf einem
treibenden Rhythmus
führt.Das Stück beginnt
wie eine Fanfare mit
einem feierlichen
Charakter, der dem Werk
seinen Titel gibt; die
Blechbläser haben hier
einen schönen Part zu
spielen. Dann folgt ein
neues, energiegeladenes
Thema, das dasselbe
rhythmische Motiv wie das
Fanfarenmotiv verwendet
und von den hohen
Holzbläsern und
schließlich von weiteren
Instrumenten vorgetragen
wird. Der Mittelteil ist
ein langsamer Teil, in
dem ein melancholisches
Thema von der Oboe und
schließlich vom Rest des
Orchesters vorgetragen
wird. Nach einem
Fugato-Abschnitt kehrt
das energische Thema
zurück und führt zu
einer brillanten
Coda.
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2013.
Anglo Music Press
#AMP358140. Published by
Anglo Music Press
(HL.44012271).
UPC:
888680057664.
English-German-French-Dut
ch.
Looking Up,
Moving On was
commissioned by the Tokyo
Kosei Wind Orchestra and
was part of a tour
programme they gave in
May 2012, a tour which
included many areas that
had been devastated by
the 2011 earthquake and
tsunami.The theme of the
piece is the powerful
ability of mankind to
overcome such disasters
and look forward to a
positive future; it opens
in an appropriately
optimistic mood,
featuring bright
orchestral colours and
extensive syncopation. A
chorale-like fanfare is
soon introduced on horns
and euphonium, answered
by chirpy woodwinds. The
mood subsides until an
alto saxophone introduces
a brief quotation from
the composer's The Sun
Will RiseAgain, which
was written to raise
funds for victims of the
2011 disaster. The mood
soon changes and the
horns introduce a noble
theme under woodwind
flourishes. This leads to
the main Vivo
section of the piece
which is characterised
again by strong
syncopations as part of a
florid theme in the low
woodwinds. This melody
undergoes varied
development by all
sections of the band
until the horn fanfare
returns triumphally on
the brass. This is
extended and leads to a
faster coda which brings
together previous
material in counterpoint
to close the work in
optimistic mood.
Looking Up,
Moving On is
gecomponeerd in opdracht
van het Tokyo Kosei Wind
Orchestra. Het werk
maakte deel uit van een
programma uit mei 2012,
dat werd uitgevoerd
tijdens een tournee
waarbij veel regio's
werden bezocht die waren
verwoest door de
aardbeving en tsunami van
2011.Het thema van het
werk is het buitengewone
vermogen van de mens om
dergelijke rampen te
boven te komen en vooruit
te kijken naar een
positieve toekomst. De
opening is dan ook
optimistisch van
karakter, met heldere
orkestrale kleuren en een
rijkelijke syncopering.
Al snel wordt er een
koraalachtige fanfare
geintroduceerd door de
hoorns en het euphonium,
waarop een levendig
antwoord volgt in
dehoutblazerssectie. De
sfeer wordt dan steeds
kalmer totdat een
altsaxofoon een kort
citaat laat horen uit een
eerder werk van de
componist, The Sun
Will Rise Again, dat
werd geschreven om geld
in te zamelen voor de
slachtoffers van de ramp
uit 2011. De stemming
slaat vlug weer om: de
hoorns introduceren een
nobel thema, dat
weerklinkt onder
versieringen in het hout.
Dit leidt naar het Vivo,
het hoofdgedeelte, dat
eveneens wordt gekenmerkt
door sterke
syncoperingen, als
onderdeel van een
sierlijk thema in het
lage hout. De melodie
ondergaat een gevarieerde
ontwikkeling binnen alle
secties van het orkest,
totdat de hoornfanfare op
triomfantelijke wijze
terugkeert in het koper.
De fanfare wordt
vervolgens verder
uitgewerkt en voert ons
mee naar een snellere
coda, die voorafgaand
materiaal in contrapunt
samenbrengt en de
compositie in
optimistische stemming
afsluit.
Looking Up,
Moving Down wurde vom
Tokyo Kosei Wind
Orchestra in Auftrag
gegeben und war Teil des
Konzertprogramms einer
Tour im Mai 2012, welche
viele Gebiete einschloss,
die vom Erdbeben und
Tsunami im Jahr 2011
zerstort worden waren.
Thema dieses Stuckes ist
die gewaltige Fahigkeit
der Menschheit, uber
solche Katastrophen
hinwegzukommen und voll
Optimismus in die Zukunft
zu blicken; es beginnt
dementsprechend in einer
positiven Stimmung mit
strahlenden
Orchesterfarben und einer
ausgepragten
Synkopierung. Schon bald
wird eine choralartige
Fanfare auf den Hornern
und im Euphonium
vorgestellt, die von
munteren Holzblasern
beantwortet wird. Die
Stimmung flaut ab, bis
einAltsaxophon ein kurzes
Zitat aus The Sun Will
Rise Again anspielt,
das der Komponist zur
Spendenbeschaffung fur
die Opfer des Unglucks
2011 geschrieben hatte.
Kurz darauf folgt ein
Stimmungswechsel und die
Horner prasentieren ein
stattliches Thema,
begleitet von Fanfaren in
den Holzblasern. Dies
fuhrt zum mit Vivo
uberschriebenen Hauptteil
des Stuckes, der wiederum
von starken
Synkopierungen gepragt
ist, die Teil eines
bluhenden Themas in den
tiefen Holzblasern sind.
Diese Melodie durchlauft
eine vielgestaltige
Entwicklung durch alle
Instrumentengruppen des
Blasorchesters, bis das
Blech mit der Hornfanfare
triumphal zuruckkehrt.
Dies wird erweitert und
fuhrt zu einer
schnelleren Coda, in dem
verschiedenes zuvor
gehortes Material
kontrapunktisch
zusammenkommt, um das
Werk in einer
optimistischen Stimmung
zu beenden.
Looking Up,
Moving On est une
commande du Tokyo Kosei
Wind Orchestra. Cette
piece faisait partie du
programme de la tournee
effectuee par l'orchestre
en mai 2012, qui s'est
produit dans de
nombreuses regions
devastees par le
tremblement de terre et
le tsunami de 2011.La
composition a pour theme
l'immense capacite
humaine a surmonter de
telles catastrophes et
envisager l'avenir de
facon positive. Elle
debute justement dans un
climat optimiste
comportant de vives
couleurs orchestrales et
des passages syncopes.
Les cors et les euphonium
introduisent bientot une
fanfare en forme de
choral a laquelle
repondent des bois
petillants. L'ambiance
s'apaise jusqu'a ce
qu'unsaxophone alto
introduise un court
extrait de The Sun
Will Rise Again, du
meme compositeur, une
piece ecrite pour
collecter des fonds en
faveur des victimes du
desastre de 2011. Le
climat change hativement
lorsque les cors
introduisent un theme
noble par-dessus des
fioritures executees par
les bois. Vient ensuite
la principale section
vivo de la piece, qui se
caracterise, encore une
fois, par des syncopes
tres marquees dans le
cadre d'un theme fleuri
assure dans le registre
grave des bois. Cette
melodie fait l'objet de
divers developpements par
tous les pupitres de
l'orchestre jusqu'au
retour triomphant de la
fanfare soutenue par les
cuivres. Celle-ci se
prolonge pour mener a une
coda plus rapide qui
rassemble les elements
precedents en contrepoint
pour clore la piece dans
un climat optimiste.
Pulcinella Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-513-010 For Euphonium and ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-513-010
For
Euphonium and Concert
Band. Composed by
Philip Sparke. Anglo
Music Midway Series. Solo
& Concerto. Set (Score &
Parts). Composed 2021.
Anglo Music Press #AMP
513-010. Published by
Anglo Music Press
(BT.AMP-513-010).
English-German-French-
Dutch.
Pulcinell
a was commissioned by
the Taiwanese euphonium
player Tzu-Hsiang Lin.
Lin is a renowned soloist
and teacher and a Besson
Euphonium Artist. He
teaches euphonium at
Taipei National
University of the Arts,
National Taiwan
University of Arts, Shih
Chien University and
National Kaohsiung Normal
University. Lin gave the
premiere of
Pulcinella in both
its concert band and
brass band versions in
January 2021.
Pulcinella
continues Sparke’s
series of euphonium solos
named after characters of
the Italian commedia
dell’arte and
opens with a long and
expressive minor melody
for the soloist over a
brooding accompaniment.
This is taken up briefly
by the full band and is
extended by the soloist
after a change of key. A
cadenza, accompanied by
fragments of the main
melody leads to a
complete change of mood,
tempo and tonality,
introducing a Vivo
section starting with a
perky syncopated tune for
the soloist. The band
then uses elements of
this new tune to
introduce a change of
key, where the soloist
introduces a more lyrical
second subject over a
pulsing accompaniment.
The band then takes this
up and changes key to
reintroduce the original
Vivo melody, which
leads to a short and
acrobatic coda to bring
the work to a spectacular
close.
Pulcinella
werd geschreven in
opdracht van de Taiwanese
eufoniumspeler Tzu-Hsiang
Lin. Lin is een
gerenommeerd solist en
leraar en een Besson
Euphonium Artist. Hij
geeft eufoniumles aan de
Taipei National
University of the Arts,
de National Taiwan
University of Arts, de
Shih Chien University en
de National Kaohsiung
Normal University. In
januari 2021 bracht Lin
de première van
Pulcinella in
zowel de versie voor
harmonieorkest als die
voor brassband.
Pulcinella is een
vervolg binnen Sparkes
serie
eufoniumsolo’s
waarin personages uit de
Italiaanse commedia
dell’arte de
hoofdrol spelen. Het werk
opent met een lange,
expressieve mineurmelodie
voor de solist, boven een
sonore begeleiding. Deze
wordt kortstondig door
het complete orkest
overgenomen en dan na een
modulatie door de solist
verder uitgewerkt. Een
cadens, begeleid door
fragmenten van de
hoofdmelodie, mondt uit
in een totaal andere
sfeer, tempo en
tonaliteit, met de
introductie van een
Vivo-gedeelte dat
begint met een pittige,
gesyncopeerde passage
voor de solist. Het
orkest gebruikt elementen
hieruit om een nieuwe
modulatie in te voeren,
waarbij de solist een
lyrischer tweede thema
boven een pulserende
begeleiding introduceert.
Het orkest neemt dit dan
over en verandert van
toonsoort om naar de
originele
Vivo-melodie terug
te keren, die naar een
korte, acrobatische coda
leidt en het werk op
spectaculaire wijze
afsluit.
Pulcinella
wurde von dem
taiwanesischen
Euphoniumspieler
Tzu-Hsiang Lin in Auftrag
gegeben, einem bekannten
Solisten, Lehrer und
Besson Euphonium
Artist“. Er
unterrichtet Euphonium an
der Taipei National
University of the Arts,
der National Taiwan
University of Arts, der
Shih Chien University und
an der National Kaohsiung
Normal University.
Tzu-Hsiang Lin spielte im
Januar 2021 die
Uraufführungen von
Pulcinella, sowohl
die Version mit
Blasorchesterbegleitung
als auch die mit
Brass-Band-Begleitung.
Mit Pulcinella
setzt sich Philip Sparkes
Serie mit Stücken
für Euphonium solo
fort, die nach
Charakteren der
italienischen Commedia
dell’Arte
benannt sind. Das Werk
beginnt mit einer langen
und ausdrucksvollen
Melodie des Solisten in
Moll über einer
düsteren Begleitung.
Die Melodie wird vom
gesamten Blasorchester
kurz übernommen und
durch den Solisten nach
einem Tonartwechsel
erweitert. Eine Kadenz,
begleitet von Fragmenten
der Hauptmelodie,
führt zu einer
kompletten Veränderung
von Stimmung, Tempo und
Tonalität und leitet
einen
Vivo-Abschnitt
ein, der mit einer
munteren synkopierten
Melodie des Solisten
beginnt. Das
Blasorchester greift
Elemente der neuen
Melodie auf, um einen
Tonartwechsel
einzuführen, wobei der
Solist ein lyrischeres
zweites Thema über
einer pulsierenden
Begleitung vorstellt. Das
Blasorchester greift
dieses wiederum auf,
wechselt die Tonart und
übernimmt erneut die
ursprüngliche
Vivo-Melodie. Eine
kurze und technisch
anspruchsvolle Coda
leitet in einen
fulminanten Schluss
über.
Pulcinella Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-513-140 For Euphonium and ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-513-140
For
Euphonium and Concert
Band. Composed by
Philip Sparke. Anglo
Music Midway Series. Solo
& Concerto. Score Only.
Composed 2021. 28 pages.
Anglo Music Press #AMP
513-140. Published by
Anglo Music Press
(BT.AMP-513-140).
English-German-French-
Dutch.
Pulcinell
a was commissioned by
the Taiwanese euphonium
player Tzu-Hsiang Lin.
Lin is a renowned soloist
and teacher and a Besson
Euphonium Artist. He
teaches euphonium at
Taipei National
University of the Arts,
National Taiwan
University of Arts, Shih
Chien University and
National Kaohsiung Normal
University. Lin gave the
premiere of
Pulcinella in both
its concert band and
brass band versions in
January 2021.
Pulcinella
continues Sparke’s
series of euphonium solos
named after characters of
the Italian commedia
dell’arte and
opens with a long and
expressive minor melody
for the soloist over a
brooding accompaniment.
This is taken up briefly
by the full band and is
extended by the soloist
after a change of key. A
cadenza, accompanied by
fragments of the main
melody leads to a
complete change of mood,
tempo and tonality,
introducing a Vivo
section starting with a
perky syncopated tune for
the soloist. The band
then uses elements of
this new tune to
introduce a change of
key, where the soloist
introduces a more lyrical
second subject over a
pulsing accompaniment.
The band then takes this
up and changes key to
reintroduce the original
Vivo melody, which
leads to a short and
acrobatic coda to bring
the work to a spectacular
close.
Pulcinella
werd geschreven in
opdracht van de Taiwanese
eufoniumspeler Tzu-Hsiang
Lin. Lin is een
gerenommeerd solist en
leraar en een Besson
Euphonium Artist. Hij
geeft eufoniumles aan de
Taipei National
University of the Arts,
de National Taiwan
University of Arts, de
Shih Chien University en
de National Kaohsiung
Normal University. In
januari 2021 bracht Lin
de première van
Pulcinella in
zowel de versie voor
harmonieorkest als die
voor brassband.
Pulcinella is een
vervolg binnen Sparkes
serie
eufoniumsolo’s
waarin personages uit de
Italiaanse commedia
dell’arte de
hoofdrol spelen. Het werk
opent met een lange,
expressieve mineurmelodie
voor de solist, boven een
sonore begeleiding. Deze
wordt kortstondig door
het complete orkest
overgenomen en dan na een
modulatie door de solist
verder uitgewerkt. Een
cadens, begeleid door
fragmenten van de
hoofdmelodie, mondt uit
in een totaal andere
sfeer, tempo en
tonaliteit, met de
introductie van een
Vivo-gedeelte dat
begint met een pittige,
gesyncopeerde passage
voor de solist. Het
orkest gebruikt elementen
hieruit om een nieuwe
modulatie in te voeren,
waarbij de solist een
lyrischer tweede thema
boven een pulserende
begeleiding introduceert.
Het orkest neemt dit dan
over en verandert van
toonsoort om naar de
originele
Vivo-melodie terug
te keren, die naar een
korte, acrobatische coda
leidt en het werk op
spectaculaire wijze
afsluit.
Pulcinella
wurde von dem
taiwanesischen
Euphoniumspieler
Tzu-Hsiang Lin in Auftrag
gegeben, einem bekannten
Solisten, Lehrer und
Besson Euphonium
Artist“. Er
unterrichtet Euphonium an
der Taipei National
University of the Arts,
der National Taiwan
University of Arts, der
Shih Chien University und
an der National Kaohsiung
Normal University.
Tzu-Hsiang Lin spielte im
Januar 2021 die
Uraufführungen von
Pulcinella, sowohl
die Version mit
Blasorchesterbegleitung
als auch die mit
Brass-Band-Begleitung.
Mit Pulcinella
setzt sich Philip Sparkes
Serie mit Stücken
für Euphonium solo
fort, die nach
Charakteren der
italienischen Commedia
dell’Arte
benannt sind. Das Werk
beginnt mit einer langen
und ausdrucksvollen
Melodie des Solisten in
Moll über einer
düsteren Begleitung.
Die Melodie wird vom
gesamten Blasorchester
kurz übernommen und
durch den Solisten nach
einem Tonartwechsel
erweitert. Eine Kadenz,
begleitet von Fragmenten
der Hauptmelodie,
führt zu einer
kompletten Veränderung
von Stimmung, Tempo und
Tonalität und leitet
einen
Vivo-Abschnitt
ein, der mit einer
munteren synkopierten
Melodie des Solisten
beginnt. Das
Blasorchester greift
Elemente der neuen
Melodie auf, um einen
Tonartwechsel
einzuführen, wobei der
Solist ein lyrischeres
zweites Thema über
einer pulsierenden
Begleitung vorstellt. Das
Blasorchester greift
dieses wiederum auf,
wechselt die Tonart und
übernimmt erneut die
ursprüngliche
Vivo-Melodie. Eine
kurze und technisch
anspruchsvolle Coda
leitet in einen
fulminanten Schluss
über.
By Rob Romeyn. Concert band. Concert Band Series. Audio recording available sepa...(+)
By Rob Romeyn. Concert
band. Concert Band
Series. Audio recording
available separately
(item CL.WFR373). Grade
3. Score and set of
parts. Composed 2011.
Duration 3 minutes, 7
seconds. Published by
C.L. Barnhouse
Grace Will Lead Me Home Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Kjos Music Company
Band concert band - Grade 4.5 SKU: KJ.WB383 Composed by Vincent Oppido. B...(+)
Band concert band - Grade
4.5
SKU: KJ.WB383
Composed by Vincent
Oppido. Bandworks. Score
and parts. Neil A. Kjos
Music Company #WB383.
Published by Neil A. Kjos
Music Company (KJ.WB383).
ISBN 9788402702586.
UPC: 8402702589.
A
moving tribute to honor
the memory of a student
slain in the Virginia
Tech tragedy, Grace Will
Lead Me Home features a
setting of Amazing Grace
as its centerpiece. This
work is solidly and
inventively scored for
intermediate bands by new
Kjos composer Vincent
Oppido.
By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin S...(+)
By Robert W. Smith. By
Robert W. Smith. For
Concert Band. Concert
Band. Belwin Symphonic
Band. Level: Medium
(grade IV). Conductor
Score and Parts. 286
pages. Duration 7:10.
Published by Alfred
Publishing.
Glorioso Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1175789-010 Grand Overture...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1175789-010
Grand Overture.
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Opening Pieces. Set
(Score & Parts). Composed
2017. De Haske
Publications #DHP
1175789-010. Published by
De Haske Publications
(BT.DHP-1175789-010).
English-German-French-
Dutch.
Glorioso<
/I> was commissioned by,
and is dedicated to, the
‘Siena Wind
Orchestra’. The
work opens after a short
aleatoric intro, with an
energetic and brassy
‘one tone
fanfare’. The note
F acts as an omnipresent
note, and is also used as
a bridge into the second,
rather static movement. A
noble sounding theme
leads to an impressive
climax, shortly followed
by the spectacular and
virtuoso finale, which is
built on the musical
elements that have been
heard before.
Stylistically, this
sparkling finale is
clearly influenced by
Dmitri Shostakovich,
hence the use of the
famous signature used by
the Russian Master: C D E
flat B (or C flat). A
glorious finish to a
special workthat
highlights various facets
of the modern concert
band.
Glorioso
werd geschreven in
opdracht van en is
opgedragen aan het
Japanse Siena Wind
Orchestra. Het werk opent
na een korte aleatorische
intro met een energieke
‘one tone
fanfare’, waarin
voornamelijk het koper
aan zet is. De noot F,
als een pedaaltoon
alomtegenwoordig, blijft
nog even klinken in het
aansluitende langzame
deel. Na een nobel thema
volgt de spectaculaire en
virtuoze finale, die
voortbouwt op de muzikale
componenten die al eerder
te horen waren.
Stilistisch is in deze
wervelende finale
onmiskenbaar de invloed
van Dmitri Sjostakovitsj
aanwezig, het hoofdmotief
is tot C D Eb B (of Cb)
getransformeerd: het
anagram dat de Russische
meester vaak als
muzikalehandtekening
heeft gebruikt. Een
glorieus slot aan een
bijzonder werk dat
diverse facetten van het
moderne harmonieorkest
aan bod laat komen.
Glorioso
wurde vom Siena Wind
Orchestra in Auftrag
gegeben und ist diesem
gewidmet. Das Werk
beginnt nach einer
kurzen, aleatorischen
Einleitung mit einer
schwungvollen
Blechbläser-Fanfare
auf nur einem Ton. Dabei
ist der Ton F
allgegenwärtig und
leitet in den langsamen,
eher statischen Satz
über. Nachdem das
nobel klingende Thema zu
einem beeindruckenden
Höhepunkt geführt
hat, setzt sich das
fantastische und virtuose
Finale aus den zuvor
erklungenen Elementen
zusammen. Stilistisch ist
dieses schwungvolle
Finale deutlich von
Dmitri Schostakowitsch
beeinflusst, daher wird
die berühmte
musikalische Unterschrift
des russischen Meisters
verwendet, die dieser
oftbenutzte: C D Es H
(oder Ces). Ein
eindrucksvolles Ende
eines besonderen Werkes,
das verschiedene Facetten
des modernen
Blasorchesters
hervorhebt.
Glorioso
è stato
commissionatodalla Siena
Wind Orchestra, ed è a
loro dedicato. Il lavoro
si apre dopo una breve
introduzione aleatoria,
con una fanfara energica
e dai suoni simili agli
ottoni. La nota Fa agisce
come una nota
onnipresente, ed è
anche usata come un ponte
nel secondo movimento
piuttosto statico. Un
tema sonoro nobile porta
ad un climax
impressionante, seguito a
breve distanza dal finale
spettacolare e virtuoso,
che è costruito sugli
elementi musicali che
sono stati ascoltati
precedentemente.
Stilisticamente, questo
frizzante finale è
chiaramente influenzato
da Dmitri Shostakovich,
da qui l'uso della famosa
firma usata dal Maestro
russo: Do Re Mib Si
(oDob). Un finale
glorioso per un'opera
speciale che mette in
risalto varie
sfaccettature della banda
moderna.
Glorioso Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1175789-140 Grand Overture...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1175789-140
Grand Overture.
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Opening Pieces. Score
Only. Composed 2017. 76
pages. De Haske
Publications #DHP
1175789-140. Published by
De Haske Publications
(BT.DHP-1175789-140).
English-German-French-
Dutch.
Glorioso<
/I> was commissioned by,
and is dedicated to, the
‘Siena Wind
Orchestra’. The
work opens after a short
aleatoric intro, with an
energetic and brassy
‘one tone
fanfare’. The note
F acts as an omnipresent
note, and is also used as
a bridge into the second,
rather static movement. A
noble sounding theme
leads to an impressive
climax, shortly followed
by the spectacular and
virtuoso finale, which is
built on the musical
elements that have been
heard before.
Stylistically, this
sparkling finale is
clearly influenced by
Dmitri Shostakovich,
hence the use of the
famous signature used by
the Russian Master: C D E
flat B (or C flat). A
glorious finish to a
special workthat
highlights various facets
of the modern concert
band.
Glorioso
werd geschreven in
opdracht van en is
opgedragen aan het
Japanse Siena Wind
Orchestra. Het werk opent
na een korte aleatorische
intro met een energieke
‘one tone
fanfare’, waarin
voornamelijk het koper
aan zet is. De noot F,
als een pedaaltoon
alomtegenwoordig, blijft
nog even klinken in het
aansluitende langzame
deel. Na een nobel thema
volgt de spectaculaire en
virtuoze finale, die
voortbouwt op de muzikale
componenten die al eerder
te horen waren.
Stilistisch is in deze
wervelende finale
onmiskenbaar de invloed
van Dmitri Sjostakovitsj
aanwezig, het hoofdmotief
is tot C D Eb B (of Cb)
getransformeerd: het
anagram dat de Russische
meester vaak als
muzikalehandtekening
heeft gebruikt. Een
glorieus slot aan een
bijzonder werk dat
diverse facetten van het
moderne harmonieorkest
aan bod laat komen.
Glorioso
wurde vom Siena Wind
Orchestra in Auftrag
gegeben und ist diesem
gewidmet. Das Werk
beginnt nach einer
kurzen, aleatorischen
Einleitung mit einer
schwungvollen
Blechbläser-Fanfare
auf nur einem Ton. Dabei
ist der Ton F
allgegenwärtig und
leitet in den langsamen,
eher statischen Satz
über. Nachdem das
nobel klingende Thema zu
einem beeindruckenden
Höhepunkt geführt
hat, setzt sich das
fantastische und virtuose
Finale aus den zuvor
erklungenen Elementen
zusammen. Stilistisch ist
dieses schwungvolle
Finale deutlich von
Dmitri Schostakowitsch
beeinflusst, daher wird
die berühmte
musikalische Unterschrift
des russischen Meisters
verwendet, die dieser
oftbenutzte: C D Es H
(oder Ces). Ein
eindrucksvolles Ende
eines besonderen Werkes,
das verschiedene Facetten
des modernen
Blasorchesters
hervorhebt.
Glorioso
è stato
commissionatodalla Siena
Wind Orchestra, ed è a
loro dedicato. Il lavoro
si apre dopo una breve
introduzione aleatoria,
con una fanfara energica
e dai suoni simili agli
ottoni. La nota Fa agisce
come una nota
onnipresente, ed è
anche usata come un ponte
nel secondo movimento
piuttosto statico. Un
tema sonoro nobile porta
ad un climax
impressionante, seguito a
breve distanza dal finale
spettacolare e virtuoso,
che è costruito sugli
elementi musicali che
sono stati ascoltati
precedentemente.
Stilisticamente, questo
frizzante finale è
chiaramente influenzato
da Dmitri Shostakovich,
da qui l'uso della famosa
firma usata dal Maestro
russo: Do Re Mib Si
(oDob). Un finale
glorioso per un'opera
speciale che mette in
risalto varie
sfaccettature della banda
moderna.
Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225).
ISBN
9781491152515. UPC:
680160910014.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F).
ISBN
9781491153192. UPC:
680160910694.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Spanish Flea Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1135433-140 As performed b...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1135433-140
As performed by Herb
Alpert. Composed by
Julius Wechter. Arranged
by Peter Kleine Schaars.
Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2012. 12 pages. De Haske
Publications #DHP
1135433-140. Published by
De Haske Publications
(BT.DHP-1135433-140).
9x12 inches.
English-German-French-Dut
ch.
Julius Wechter
wrote Spanish Flea
in 1967 for the renowned
trumpeter and bandleader
Herb Alpert, who made the
tune famous. The title
itself might be less
familiar, but the tune is
known the world over
through radio, tv and
films such as Beverly
Hills Cop and The
Simpsons or simply as
catchy, up-beat
background music. A
guaranteed smash hit for
every concert!
Julius Wechter
schreef Spanish
Flea in 1967 voor de
beroemde trompettist en
bandleader Herb Alpert.
Hij was het die het
nummer wereldberoemd
maakte. Ook wie dit
nummer niet van naam
kent, herkent vast de
wereldberoemde melodie
van film of televisie.
Want deze is bijvoorbeeld
ook gebruikt in films als
Beverly Hills Cop
en The Simpsons.
Als achtergrondmuziek bij
allerlei vrolijke scenes
doet hij het meestal ook
erg goed. Spanish
Flea brengt
gegarandeerd de stemming
erin op uw volgende
concert!
Spanis
h Flea schrieb Julius
Wechter 1967 für
den berühmten
Trompeter und Bandleader
Herb Alpert, der die
Nummer weltberühmt
machte. Auch wer den
Titel dem Namen nach
nicht kennt, wird die
Melodie aus Funk, Film
und Fernsehen kennen, wo
sie in lustigen Filmen
wie Beverly Hills
Cop und Die
Simpsons oder einfach
als Hintergrundmelodie zu
allerlei fröhlichen
Szenerien gerne verwendet
wird. Ein garantierter
Stimmungsmacher für
jedes
Konzert!
Spanis
h Flea fu scritta nel
1967 da Julius Wechter
per il noto trombettista
e band leader Herb
Albert, che grazie e
questa canzone divenne
famoso in tutto il mondo.
Il titolo non è molto
conosciuto, ma la melodia
è nota ai più
grazie alle serie
televisive Beverly
Hills Cop e The
Simpsons.
Spanish Flea Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1135433-010 As performed b...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1135433-010
As performed by Herb
Alpert. Composed by
Julius Wechter. Arranged
by Peter Kleine Schaars.
Peter's Popular
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2012. De Haske
Publications #DHP
1135433-010. Published by
De Haske Publications
(BT.DHP-1135433-010).
9x12 inches.
English-German-French-Dut
ch.
Julius Wechter
wrote Spanish Flea
in 1967 for the renowned
trumpeter and bandleader
Herb Alpert, who made the
tune famous. The title
itself might be less
familiar, but the tune is
known the world over
through radio, tv and
films such as Beverly
Hills Cop and The
Simpsons or simply as
catchy, up-beat
background music. A
guaranteed smash hit for
every concert!
Julius Wechter
schreef Spanish
Flea in 1967 voor de
beroemde trompettist en
bandleader Herb Alpert.
Hij was het die het
nummer wereldberoemd
maakte. Ook wie dit
nummer niet van naam
kent, herkent vast de
wereldberoemde melodie
van film of televisie.
Want deze is bijvoorbeeld
ook gebruikt in films als
Beverly Hills Cop
en The Simpsons.
Als achtergrondmuziek bij
allerlei vrolijke scenes
doet hij het meestal ook
erg goed. Spanish
Flea brengt
gegarandeerd de stemming
erin op uw volgende
concert!
Spanis
h Flea schrieb Julius
Wechter 1967 für
den berühmten
Trompeter und Bandleader
Herb Alpert, der die
Nummer weltberühmt
machte. Auch wer den
Titel dem Namen nach
nicht kennt, wird die
Melodie aus Funk, Film
und Fernsehen kennen, wo
sie in lustigen Filmen
wie Beverly Hills
Cop und Die
Simpsons oder einfach
als Hintergrundmelodie zu
allerlei fröhlichen
Szenerien gerne verwendet
wird. Ein garantierter
Stimmungsmacher für
jedes
Konzert!
Spanis
h Flea fu scritta nel
1967 da Julius Wechter
per il noto trombettista
e band leader Herb
Albert, che grazie e
questa canzone divenne
famoso in tutto il mondo.
Il titolo non è molto
conosciuto, ma la melodia
è nota ai più
grazie alle serie
televisive Beverly
Hills Cop e The
Simpsons.
Richard Meyer : Clarinetics Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Richard Meyer. Music by Richard Meyer. Concert Band. Alfred Concert Band. Lev...(+)
By Richard Meyer. Music
by Richard Meyer. Concert
Band. Alfred Concert
Band. Level: Level 3
(grade 3). Conductor
Score and Parts. 2 pages.
Published by Alfred
Publishing.
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1063946-140 Composed by Itaru...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1063946-140
Composed by Itaru Sakai.
Inspiration Series. Score
Only. Composed 2006. 60
pages. De Haske
Publications #DHP
1063946-140. Published by
De Haske Publications
(BT.DHP-1063946-140).
9x12 inches.
English-German-French-Dut
ch.
The Hida High
School is in a highland
city called Takayama in
Gifu Prefecture. Takayama
City has some of the
highest mountains in
Japan, atmospheric rows
of houses and streets,
and a beautiful
landscape. The
magnificent views from
these mountains can be
described as a paradise
above the clouds. When
the composer visited
there in the summer of
2001, the lovely flowers
spreading through the
valley and the refreshing
air welcomed him. The
flowers looked as if they
were fashionably dressed
and fully enjoying
conversation and a short
summer at a reunion
party. The composer was
inspired by this scenery
to compose this piece.
The musical party opens
with happy greetings of a
reunion andjoyful themes
follow one after another.
A light xylophone solo, a
waltz and an adagio
featuring alternate solos
by alto saxophone,
euphonium and trumpet
lead to a brilliant
finale featuring brass
and percussion played in
irregular time. A
beautiful musical picture
that your band will enjoy
performing for many
years.
Takayama
is een hooggelegen stad
in de Gifu-prefectuur
(Japan). Het oostelijke
stadsdeel Tatamidaira
ligt tussen schitterende
bergen die behoren tot de
noordelijke Japanse
Alpen. Toen de componist
in de zomer deze plaats
bezocht,werd hij ge
nspireerd tot het
schrijven van Alpine
Flowers’
Party! Het muzikale
festijn begint met
opgewekte klanken, waarna
meer vrolijke scènes
elkaar opvolgen. Een
xylofoonsolo, een wals en
een adagio met wisselende
solo’svoor
altsaxofoon, euphonium en
trompet leiden naar een
briljante finale met veel
maatwisselingen, waarin
het koper en het slagwerk
de leiding nemen op weg
naar een spetterend
slot.
Als Itaru
Sakai im Sommer 2001 die
reizvolle Region um den
Berg Tatamidaira in Japan
besuchte, wurde er von
einem Meer von Blumen
empfangen. Sie sahen aus,
als würden sie in
festlichem Aufzug eine
unterhaltsame Party
feiern und den kurzen
Sommer genießen. Diese
Szenerie inspirierte den
Komponisten zu Alpine
Flowers’
Party! Die
musikalische Party
beginnt mit einer
herzlichen
Begrüßung, dann
folgt ein fröhlicher
Programmpunkt dem
anderen. Ein spritziges
Xylophonsolo, ein Walzer
und ein Adagio mit
abwechselnden Soli für
Altsaxophon, Euphonium
und Trompete führen zu
einem brillanten Finale,
in dem Blechbläser und
Schlagzeug im Vordergrund
stehen. Feiern Sie
mit!
Soggiornando nel
cuore della splendida
catena montuosa delle
Alpi giapponesi, Itaru
Sakai è sorpreso del
dolce profumo e dai
colori dei fiori. Si
lascia ispirare dalla
bellezza armoniosa che si
rivela ai suoi occhi. Ha
inizio il delizioso
festival dei fiori
alpini. La conversazione
è animata. Un assolo
di xilofono apporta un
tocco di leggerezza, un
valzer fa piroettare lo
sviluppo del tema, ed in
seguito un adagio snoda i
soli e accompagna il
brano verso un finale
brillante.
Alpine Flowers' Party! Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1063946-010 Composed by Itaru...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1063946-010
Composed by Itaru Sakai.
Inspiration Series. Set
(Score & Parts). Composed
2006. De Haske
Publications #DHP
1063946-010. Published by
De Haske Publications
(BT.DHP-1063946-010).
9x12 inches.
English-German-French-Dut
ch.
The Hida High
School is in a highland
city called Takayama in
Gifu Prefecture. Takayama
City has some of the
highest mountains in
Japan, atmospheric rows
of houses and streets,
and a beautiful
landscape. The
magnificent views from
these mountains can be
described as a paradise
above the clouds. When
the composer visited
there in the summer of
2001, the lovely flowers
spreading through the
valley and the refreshing
air welcomed him. The
flowers looked as if they
were fashionably dressed
and fully enjoying
conversation and a short
summer at a reunion
party. The composer was
inspired by this scenery
to compose this piece.
The musical party opens
with happy greetings of a
reunion andjoyful themes
follow one after another.
A light xylophone solo, a
waltz and an adagio
featuring alternate solos
by alto saxophone,
euphonium and trumpet
lead to a brilliant
finale featuring brass
and percussion played in
irregular time. A
beautiful musical picture
that your band will enjoy
performing for many
years.
Takayama
is een hooggelegen stad
in de Gifu-prefectuur
(Japan). Het oostelijke
stadsdeel Tatamidaira
ligt tussen schitterende
bergen die behoren tot de
noordelijke Japanse
Alpen. Toen de componist
in de zomer deze plaats
bezocht,werd hij ge
nspireerd tot het
schrijven van Alpine
Flowers’
Party! Het muzikale
festijn begint met
opgewekte klanken, waarna
meer vrolijke scènes
elkaar opvolgen. Een
xylofoonsolo, een wals en
een adagio met wisselende
solo’svoor
altsaxofoon, euphonium en
trompet leiden naar een
briljante finale met veel
maatwisselingen, waarin
het koper en het slagwerk
de leiding nemen op weg
naar een spetterend
slot.
Als Itaru
Sakai im Sommer 2001 die
reizvolle Region um den
Berg Tatamidaira in Japan
besuchte, wurde er von
einem Meer von Blumen
empfangen. Sie sahen aus,
als würden sie in
festlichem Aufzug eine
unterhaltsame Party
feiern und den kurzen
Sommer genießen. Diese
Szenerie inspirierte den
Komponisten zu Alpine
Flowers’
Party! Die
musikalische Party
beginnt mit einer
herzlichen
Begrüßung, dann
folgt ein fröhlicher
Programmpunkt dem
anderen. Ein spritziges
Xylophonsolo, ein Walzer
und ein Adagio mit
abwechselnden Soli für
Altsaxophon, Euphonium
und Trompete führen zu
einem brillanten Finale,
in dem Blechbläser und
Schlagzeug im Vordergrund
stehen. Feiern Sie
mit!
Soggiornando nel
cuore della splendida
catena montuosa delle
Alpi giapponesi, Itaru
Sakai è sorpreso del
dolce profumo e dai
colori dei fiori. Si
lascia ispirare dalla
bellezza armoniosa che si
rivela ai suoi occhi. Ha
inizio il delizioso
festival dei fiori
alpini. La conversazione
è animata. Un assolo
di xilofono apporta un
tocco di leggerezza, un
valzer fa piroettare lo
sviluppo del tema, ed in
seguito un adagio snoda i
soli e accompagna il
brano verso un finale
brillante.
Tirol Terra Fortis Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094734-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094734-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2009.
De Haske Publications
#DHP 1094734-010.
Published by De Haske
Publications
(BT.DHP-1094734-010).
9x12 inches.
English-German-French-Dut
ch.
The
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) invited Belgian
composer Jan Van der
Roost to write a work to
mark the bicentenary of
the Tyrolean fight for
freedom, which was
settled in 1809. Various
musical elements reflect
this historical event.
First, a hymn-like
section rings out, based
on melodic fragments from
the ‘Tiroler
Landeshymne’ (by
Leopold Knebelsberger),
which intertwine in a
counterpoint-like
arrangement. The second
passage is more bellicose
in character, and mirrors
the fight of the
Tyroleans - under the
inspiring leadership of
freedom fighter Andreas
Hofer (1767-1810) -
against Bavarian, French
and Italian troops. Next,
a broad, chorale-style
melodyappears again:
here, the imposing beauty
of nature in Tyrol, and
the amiable, lively
temperament of the people
who live in this
mountainous region, are
glorified.This is neither
a programmatic work
around an historical
reconstruction, nor a
politically inspired
work: it is a combination
of factual and cultural
components, with an
artistic and sonorous
character. The use of the
flugelhorn in particular
gives Tirol Terra
Fortis its
‘couleur
locale’: for this
beautiful instrument can
invariably be found in
the Austrian wind band.
The commissioning music
society had therefore
specifically asked the
composer to incorporate
the instrument in this
work. It certainly
enhances the already
extensive colour palette
of the modern concert
band!
Een hymne
bestaand uit fragmenten
van het Tiroolse
volkslied. Strijdlustige
klanken in het tweede
deel. Tot slot een
melodie in koraalstijl
die de bewoners van Tirol
en de indrukwekkende
schoonheid van de natuur
beschrijft. Hebt ual een
idee? Tirol Terra
Fortis is een
programmatisch werk
rondom de geschiedenis
van Andreas Hofer en de
vrijheidsstrijd van Tirol
200 jaar geleden. De
bugel geeft dit
kunstzinnige en
klankvolle werk zijn
bijzondere
‘couleurlocaleâ€
™.
Eine Hymne
aus Fragmenten der
Tiroler Landeshymne,
kämpferische Klänge
im zweiten Teil und
schließlich eine
Melodie im Choralstil,
welche die eindrucksvolle
Schönheit der Natur
und die Menschen in Tirol
beschreibt. Sie haben es
erraten? Tirol Terra
Fortis ist ein
programmatisches Werk
rund um die Geschichte
Andreas Hofers und den
Freiheitskampf Tirols vor
200 Jahren. Der Einsatz
des Flügelhorns
verleiht diesem
künstlerischen und
klangvollen Werk ein
besonderes
Lokalkolorit.
La
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) ha invitato il
compositore belga Jan Van
der Roost a scrivere
un'opera per celebrare il
bicentenario
dell’Insorgenza
tirolese, che ebbe luogo
nel 1809. L'uso del
flicorno, in particolare,
conferisce al Tirol
Terra Fortis il suo
colore locale: questo
bellissimo strumento si
può sempre trovare
nelle bande
austriache.
Tirol Terra Fortis Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1094734-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1094734-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2009. 40
pages. De Haske
Publications #DHP
1094734-140. Published by
De Haske Publications
(BT.DHP-1094734-140).
9x12 inches.
English-German-French-Dut
ch.
The
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) invited Belgian
composer Jan Van der
Roost to write a work to
mark the bicentenary of
the Tyrolean fight for
freedom, which was
settled in 1809. Various
musical elements reflect
this historical event.
First, a hymn-like
section rings out, based
on melodic fragments from
the ‘Tiroler
Landeshymne’ (by
Leopold Knebelsberger),
which intertwine in a
counterpoint-like
arrangement. The second
passage is more bellicose
in character, and mirrors
the fight of the
Tyroleans - under the
inspiring leadership of
freedom fighter Andreas
Hofer (1767-1810) -
against Bavarian, French
and Italian troops. Next,
a broad, chorale-style
melodyappears again:
here, the imposing beauty
of nature in Tyrol, and
the amiable, lively
temperament of the people
who live in this
mountainous region, are
glorified.This is neither
a programmatic work
around an historical
reconstruction, nor a
politically inspired
work: it is a combination
of factual and cultural
components, with an
artistic and sonorous
character. The use of the
flugelhorn in particular
gives Tirol Terra
Fortis its
‘couleur
locale’: for this
beautiful instrument can
invariably be found in
the Austrian wind band.
The commissioning music
society had therefore
specifically asked the
composer to incorporate
the instrument in this
work. It certainly
enhances the already
extensive colour palette
of the modern concert
band!
Een hymne
bestaand uit fragmenten
van het Tiroolse
volkslied. Strijdlustige
klanken in het tweede
deel. Tot slot een
melodie in koraalstijl
die de bewoners van Tirol
en de indrukwekkende
schoonheid van de natuur
beschrijft. Hebt ual een
idee? Tirol Terra
Fortis is een
programmatisch werk
rondom de geschiedenis
van Andreas Hofer en de
vrijheidsstrijd van Tirol
200 jaar geleden. De
bugel geeft dit
kunstzinnige en
klankvolle werk zijn
bijzondere
‘couleurlocaleâ€
™.
Eine Hymne
aus Fragmenten der
Tiroler Landeshymne,
kämpferische Klänge
im zweiten Teil und
schließlich eine
Melodie im Choralstil,
welche die eindrucksvolle
Schönheit der Natur
und die Menschen in Tirol
beschreibt. Sie haben es
erraten? Tirol Terra
Fortis ist ein
programmatisches Werk
rund um die Geschichte
Andreas Hofers und den
Freiheitskampf Tirols vor
200 Jahren. Der Einsatz
des Flügelhorns
verleiht diesem
künstlerischen und
klangvollen Werk ein
besonderes
Lokalkolorit.
La
Stadtmusikkapelle
Wilten-Innsbruck
(Austria) ha invitato il
compositore belga Jan Van
der Roost a scrivere
un'opera per celebrare il
bicentenario
dell’Insorgenza
tirolese, che ebbe luogo
nel 1809. L'uso del
flicorno, in particolare,
conferisce al Tirol
Terra Fortis il suo
colore locale: questo
bellissimo strumento si
può sempre trovare
nelle bande
austriache.
Aurora Dances Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-480-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-480-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2019. 40 pages.
Anglo Music Press #AMP
480-140. Published by
Anglo Music Press
(BT.AMP-480-140).
English-German-French-
Dutch.
Aurora
Dances was
commissioned by the Hong
Kong-based Winter Band
Festival, and consists of
three movements, to be
played without a break.
‘Aurora
Borealis’ opens
with florid woodwind
figures and highlights
different sections of the
band in turn. The second
movement ‘Aurora
Australis’ leads
to a sombre chorale,
which builds to a
full-band climax. The
finale ‘Aurora
Dances’ is
characterised by
rhythmic, dance-like
themes. A central section
features a contrasting
legato melody, but
this doesn’t
dispel the energetic feel
of the opening, which
returns to close the
work.
Aurora
Dances werd
geschreven in opdracht
van het Winter Band
Festival in Hongkong. Het
werk bestaat uit drie
delen die in elkaar
overlopen. ‘Aurora
Borealis’ opent
met sierlijke motieven in
het hout en bevat korte,
herhaalde frasen waarin
de verschillende secties
afwisselend in de
schijnwerpers worden
gezet. Het melancholieke
koraal van deel twee,
‘Aurora
Australis’,
ontvouwt zich tot een
climax in het hele
orkest. Het laatste deel,
‘Aurora
Dances’ wordt
gekenmerkt door
ritmische, dansachtige
thema’s. Een
middengedeelte bevat een
contrasterende
legato melodie,
maar die gaat niet ten
koste van het energieke
gevoel van de opening,
waarmee het werk
wordtafgesloten.
Aurora
Dances wurde vom
Winter Band Festival in
Hongkong in Auftrag
gegeben und wird ohne
Pause gespielt. Aurora
Borealis“ beginnt
mit
überschwänglichen
Holzbläserfiguren und
hebt abwechselnd
verschiedene Sektionen
des Blasorchesters
hervor. Der zweite Satz,
Aurora Australis“,
führt zu einem
düsteren Choral, der
sich zu einem
Höhepunkt des
kompletten Orchesters
aufbaut. Das Finale,
Aurora Dances“,
zeichnet sich durch
rhythmische und
tänzerische Themen
aus. Ein zentraler
Abschnitt ist durch eine
kontrastierende
Legato-Melodie
geprägt, die jedoch
die energiegeladene
Stimmung des Anfangs
nicht aufhebt, welche am
Ende des Werkes
wiederkehrt
Dancing Zoo Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1135417-215 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2
SKU:
BT.DHP-1135417-215
Composed by Peter Kleine
Schaars. De Haske
Flexible Series. Original
Light Music. Score Only.
Composed 2012. 24 pages.
De Haske Publications
#DHP 1135417-215.
Published by De Haske
Publications
(BT.DHP-1135417-215).
9x12 inches.
English-German-French-Dut
ch.
This suite with
a four-part
instrumentation is
comprised of three
cheerful, imaginative
movements: firstly
Yellow Duck
Shuffle, a bluesy,
swinging section; next
comes Purple Panda
Polka, a lively,
modern polka in which a
funny dancing pair of
pandas take centre stage;
and finally the third
movement entitled Pink
Donkey Boogie is a
gentle boogie-woogie. The
musical motifs are played
in all four parts giving
every instrumentalist a
chance to take the
lead.
Deze
vierstemmige suite
bestaat uit drie vrolijke
delen die stuk voor stuk
tot de verbeelding
spreken. De Yellow
Duck Shuffle is een
swingend, bluesachtig
deel waarin het ritmische
gekwaak van een jong
eendje te horen is. De
Purple Panda Polka
is een snelle, moderne
polka waarin een grappige
paarse pandabeer al
dansend de hoofdrol
speelt. Het derde deel,
Pink Donkey
Boogie, is een
rustige boogiewoogie met
als terugkerend motief
het herkenbare
‘ia’ van een
swingende ezel. In de
gehele suite lopen de
melodische thema’s
door alle vier de stemmen
heen, zodat elke partij
op haar beurt de
boventoon
voert.
Diese
vierstimmige Suite
besteht aus drei
fröhlichen,
fantasieanregenden
Sätzen: Auf den
Yellow Duck
Shuffle, einen
swingender, bluesartigen
Satz, folgt die Purple
Panda Polka, eine
flotte, moderne Polka, in
der ein drolliges,
tanzendes
Panda-Pärchen die
Hauptrolle spielt. Der
dritte Satz mit dem Titel
Pink Donkey Boogie
ist ein ruhiger Boogie
Woogie. Die musikalischen
Themen wechseln durch
alle vier Stimmen durch,
sodass jede Stimme einmal
führen
darf.
Yell
ow Duck Shuffle, un
movimento in stile swing
e blues, e una polka
molto moderna (Purple
Panda Polka), sono i
primi due movimenti di
questa suite gioiosa,
perfetta per stimolare la
fantasia. Il terzo
movimento, Pink Donkey
Boogie è un
tranquillo boogie woogie.
I temi musicali sono
presenti in tutte quattro
le voci previste in
questo brano, così da
permettere a tutto
l’organico di
esibirsi come
solista.
Dancing Zoo Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1135417-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2
SKU:
BT.DHP-1135417-015
Composed by Peter Kleine
Schaars. De Haske
Flexible Series. Original
Light Music. Set (Score &
Parts). Composed 2012. De
Haske Publications #DHP
1135417-015. Published by
De Haske Publications
(BT.DHP-1135417-015).
9x12 inches.
English-German-French-Dut
ch.
This suite with
a four-part
instrumentation is
comprised of three
cheerful, imaginative
movements: firstly
Yellow Duck
Shuffle, a bluesy,
swinging section; next
comes Purple Panda
Polka, a lively,
modern polka in which a
funny dancing pair of
pandas take centre stage;
and finally the third
movement entitled Pink
Donkey Boogie is a
gentle boogie-woogie. The
musical motifs are played
in all four parts giving
every instrumentalist a
chance to take the
lead.
Deze
vierstemmige suite
bestaat uit drie vrolijke
delen die stuk voor stuk
tot de verbeelding
spreken. De Yellow
Duck Shuffle is een
swingend, bluesachtig
deel waarin het ritmische
gekwaak van een jong
eendje te horen is. De
Purple Panda Polka
is een snelle, moderne
polka waarin een grappige
paarse pandabeer al
dansend de hoofdrol
speelt. Het derde deel,
Pink Donkey
Boogie, is een
rustige boogiewoogie met
als terugkerend motief
het herkenbare
‘ia’ van een
swingende ezel. In de
gehele suite lopen de
melodische thema’s
door alle vier de stemmen
heen, zodat elke partij
op haar beurt de
boventoon
voert.
Diese
vierstimmige Suite
besteht aus drei
fröhlichen,
fantasieanregenden
Sätzen: Auf den
Yellow Duck
Shuffle, einen
swingender, bluesartigen
Satz, folgt die Purple
Panda Polka, eine
flotte, moderne Polka, in
der ein drolliges,
tanzendes
Panda-Pärchen die
Hauptrolle spielt. Der
dritte Satz mit dem Titel
Pink Donkey Boogie
ist ein ruhiger Boogie
Woogie. Die musikalischen
Themen wechseln durch
alle vier Stimmen durch,
sodass jede Stimme einmal
führen
darf.
Yell
ow Duck Shuffle, un
movimento in stile swing
e blues, e una polka
molto moderna (Purple
Panda Polka), sono i
primi due movimenti di
questa suite gioiosa,
perfetta per stimolare la
fantasia. Il terzo
movimento, Pink Donkey
Boogie è un
tranquillo boogie woogie.
I temi musicali sono
presenti in tutte quattro
le voci previste in
questo brano, così da
permettere a tutto
l’organico di
esibirsi come
solista.