Trombone solo with Concert Band - Advanced SKU: CY.CC3027 Composed by Dav...(+)
Trombone solo with
Concert Band - Advanced
SKU: CY.CC3027
Composed by David Fetter.
Classical. Score and
Parts. Cherry Classics
#CC3027. Published by
Cherry Classics
(CY.CC3027).
ISBN
9790530110027. 8.5 x 11
in inches.
David
Fetter's brilliant new
work Situation Update -
Suite for Tenor Trombone
and Concert Band is
written in three
contrasting movements
totalling almost 11
minutes in length: 1.
Swift 2. Longing 3. Exit
Music Swift is marked
Intense and is very
rhythmic and angular.
Longing is a beautiful
lyrical movement marked
Cantabile and Exit Music
is marked Lively mixing
chromatic, lyrical and
syncopated segments,
ending in a giant climax.
Both the solo and
accompaniment parts are
written for advanced
performers. The work's
premier was performed in
2015 by retired Principal
Trombonist of the Boston
Symphony, Ronald Barron
and accompanied at the
Piano by Pianist Larry
Wallach. Here is what Mr.
Ewazen has said about
Situation Update: I had
the pleasure of hearing
Ron Barron play David
Fetter's exciting and
virtuosic new work for
Trombone and Piano,
Situation Update. David's
music allows the
Trombonist to sing and
soar in 3 contrasting
movements filled with
vivid colors, beautiful
and expressive harmonies,
and a wonderful flowing
rhythmic energy. The
outer movements crackle
with energy, showcasing
the amazing technique of
soloist Ron Barron, as
the melodic line shifts
and changes with playful
abandon, while the middle
movement is heartfelt and
lyrical, with beautiful
melodic lines, supported
by resonant, gorgeous
harmonies. The work is a
real tour de force and
rightly deserves to take
its place as a
significant addition to
the Trombone
repertoire.
Concert Band/Harmonie - Grade 3.5 SKU: BT.AMP-452-140 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.AMP-452-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
March. Score Only.
Composed 2017. Anglo
Music Press #AMP 452-140.
Published by Anglo Music
Press (BT.AMP-452-140).
English-German-French-
Dutch.
Song of
Friendship was
commissioned by the
Concert Band of Jumonji
University, Saitama,
Japan and their
conductor, Yutaka
Nishida. The commission
marked the 50th year of
Yutaka Nishida’s
involvement with bands as
a player, conductor and
radio presenter. The
ceremonial Song of
Friendship opens with
an extended fanfare,
largely featuring the
brass section. This leads
to the main theme, which
develops slowly until it
is played by the full
band. A change of key
signals a contrasting
central section
containing a quiet
woodwind chorale, which
grows until the return of
the triumphant sounding
main theme. Elements of
the opening fanfare then
close the
work.
Song of
Friendship werd
geschreven voor het
harmonieorkest van de
Jumonji University in
Saitama, Japan, en
dirigent Yutaka Nishida.
De opdracht markeerde
tevens het vijftigste
jaar dat Yutaka Nishida
al actief was met
blaasorkesten als
muzikant, dirigent en
radiopresentator. Song
of Friendship opent
met een uitgebreide
fanfare waarin vooral de
kopersectie aan het woord
is. Dit gedeelte leidt
naar het hoofdthema, dat
geleidelijk verder wordt
uitgewerkt tot het door
het volledige orkest
wordt gespeeld. Een
modulatie kondigt een
contrasterend middendeel
aan, met een rustig
koraal in het hout dat
zich verder ontwikkelt
tot aan de terugkeer van
hettriomfantelijk
klinkende hoofdthema. Het
werk wordt afgesloten met
elementen uit de
openingsfanfare.
Song of
Friendship wurde vom
Blasorchester der Jumonji
University in Saitama
(Japan) und seinem
Dirigenten Yutaka Nishida
in Auftrag gegeben. Das
Auftragswerk steht auch
für Yutaka Nishidas
über 50-jähriges
Engagement im Bereich der
Blasmusik als Musiker,
Dirigent und
Radiomoderator. Das
feierliche Stück
Song of Friendship
beginnt mit einer
ausgedehnten Fanfare, die
vor allem die
Blechbläser
herausstellt. Diese
führt zum Hauptthema,
das sich langsam
entwickelt, bis es
schließlich vom
gesamten Orchester
gespielt wird. Ein
Tonartwechsel leitet den
gegensätzlichen
Hauptteil mit einem
ruhigen Choral in den
Holzbläsern ein, der
sich bis zur Wiederkehr
destriumphierenden
Hauptthemas langsam
weiterentwickelt. Das
Werk endet mit Elementen
aus der
Eröffnungsfanfare.
Il celebrativo
Song of Friendship
si apre con un esteso
tema di fanfara che
presenta ampiamente la
sezione degli ottoni.
Questo conduce al tema
principale, che si
sviluppa gradualmente
fino
all’esecuzione da
parte di tutta la banda.
Un cambio di tonalit
anticipa una contrastante
sezione centrale che
contiene un calmo corale
di legni che cresce fino
al ritorno trionfante del
tema principale. Gli
elementi musicali della
fanfara d’apertura
concludono
l’opera.
Band Concert Band - Grade 2 SKU: CF.YPS105 Warm-Ups and Fundamentals(+)
Band Concert Band - Grade
2
SKU: CF.YPS105
Warm-Ups and
Fundamentals.
Composed by Larry Clark.
Collate - FS SWS - spine:
3/4 or .75. Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+10+4+4+8+8+8+1
2+4+6+2+2+4+2+20 pages.
Duration 2 minutes, 53
seconds. Carl Fischer
Music #YPS105. Published
by Carl Fischer Music
(CF.YPS105).
ISBN
9780825884870. UPC:
798408084875. 9 x 12
inches. Key: Bb
major.
Based on our
popular New Bennett Band
Book series, we have
compiled march-style
warm-ups in a separate
publication so they may
be used by all bands
wishing to learn from
them. These innovative
warm-ups and fundamental
drills are the ultimate
method of teaching and
reinforcing the March
style. How To Use the
March Warm-upsPlaying in
a march style can present
difficulties for young
students. The most
prevalent problem is that
students have a tendency
to play every note too
short. Conversely,
accented notes are
usually played
incorrectly with too much
tongue. Do marches
contain short notes?
Absolutely, but these
shortest of notes should
be reserved for notes
that precede an accent or
notes that are
specifically marked with
a staccato. Think of
unmarked notes as being
separated, but not short
and certainly not clipped
or stopped with the
tongue. Accented notes
should be played with
more weight using air and
more length, and not just
a harder tongue. Accents
are given to show
emphasis to a note and
should be thought of in
this manner.The warm-up
exercises provided in
this collection should
give you many
opportunities to stress
the above-mentioned
comments on march
performance style. The
following gives an
explanation on the
purpose and use of each
of these exercises.No. 1
– Basic Chords and
ModulationsOne of the
challenges of playing
marches with young
students is successfully
performing the key change
at the Trio. This
exercise presents the
three basic chords
(tonic, subdominant and
dominant) in each of the
three keys in this
collection of marches.
You can also use this
exercise to teach and
reinforce the style of
accented notes. You may
want to have your band
play major scales in
succession by fourths to
reinforce the concept of
modulation to the
subdominant that occurs
at the Trio (i.e. the
B≤-major scale,
then the E≤-major
scale, then the
A≤-major scale). I
might suggest getting the
students to try
continuing the pattern
all the way around the
circle of fourths.No. 2
– March Style in
B≤ MajorThis
exercise contains many
opportunities to teach
and reinforce the
difference between
staccato and accented
notes. The melody voices
move up and down the
B≤-major scale,
while other instruments
play chords commonly
found in the marches in
this collection. These
include diminished
chords, secondary
dominant chords (i.e. the
V of the V) and other
common chromatic chords
that Fillmore often
used.No. 3 –
Cakewalk Rhythm in
B≤ MajorThe simple
syncopated rhythm in this
exercise is common to
many marches. This drill
gives you the opportunity
to teach/ reinforce the
standard ar-ticulation
and natural accent of
this rhythmic pattern.
Again, this exercise uses
an ascending and
descending major-scale
pattern as the melodic
basis, accompanied by
chords commonly found in
American- style
marches.No. 4 –
The March Scale in
B≤ MajorI call this
exercise “The March
Scale,†because
often in marches (and
especially in these
marches) the descending
half-step is part of the
melodic material. These
chromatic figures give
the melodies of many
marches their charm and
flow. Thus, I devised
this exercise and others
like it in E≤ major
and A≤ major to
familiarize students with
these patterns. I would
suggest playing the
pattern in a variety of
ways different from what
is written. Here are some
other
possibilities:•
Tongue one, slur
three• Slur two,
tongue two• Tongue
two, slur two•
Tongue one, slur two,
tongue oneGradually
increase the tempo to the
march tempo and the
articulation style will
fall right into
place.Another important
consideration is the
performance of the bass
line and the bass-drum
part. Too often, the bass
drum and bass instruments
play their parts with
equal emphasis on both
beats in the measure.
This is incorrect, and
frequently makes the
marchNo. 5 – March
Style in E≤
MajorThis is a similar to
exercise No. 2, but with
a different rhythmic
pattern. Emphasize the
difference between
accented and unaccented
notes. Also, play the
exercise with line
direction moving the
musical line forward.
Experiment and play the
exercise with different
dynamic choices and with
hairpins up and down in
different ways.No. 6
– More March Style
in E≤ MajorExercise
No. 6 comprises more
rhythmic patterns and
harmonic materials in
E≤ major to teach
and reinforce the march
style. This exercise
em-phasizes the
sixteenth-note rhythm, as
notated in the third
measure of the exercise.
Young stu- dents have a
tendency to
“crush†the
sixteenths; consequently,
they lack clarity. It
would be a good idea to
work this rhythmic figure
on a scale pattern with
all of the instruments in
the band as an additional
warm-up exercise.No. 7
– The March Scale
in E≤ MajorSee the
information for No. 4 and
apply it to this
exercise. Use all of the
various articulations
described above as
well.No. 8 – March
Style in A≤
MajorSee the information
for No. 2 and apply it to
this exercise.No. 9
– Cakewalk Rhythm
in A≤ MajorSee the
information for No. 3 and
apply it to this
exercise.No. 10 –
The March Scale in
A≤ MajorSee the
information for No. 4 and
apply it to this
exercise.Other Ideas for
March PerformanceA
rehearsal practice that
has worked very well for
me is to start out by
having the band play the
march very slowly at
about Å’ = 60 in a
chorale/legato style. The
slow tempo is a fine
opportunity to work on
clarity of harmonic move-
ment and to work on the
balance and blend of the
tutti band sound. This
will pay great dividends
toward improving the
sound of your band.
Gradually increase the
tempo to the march tempo
and the articulation
style will fall right
into place.Another
important consideration
is the performance of the
bass line and the
bass-drum part. Too
often, the bass drum and
bass instruments play
their parts with equal
emphasis on both beats in
the measure. This is
incorrect, and frequently
makes the march.
Brass Quintet SKU: PE.EP68779 Arranged for Brass Band by Phillip Littl...(+)
Brass Quintet
SKU:
PE.EP68779
Arranged for Brass
Band by Phillip
Littlemore (Score).
Composed by Eriks
Esenvalds. Arranged by
Phillip Littlemore.
Edition Peters.
Contemporary. Score. 8
pages. Edition Peters
#98-EP68779. Published by
Edition Peters
(PE.EP68779).
ISBN
9790300762425.
O
Salutaris Hostia is one
of Eriks Ešenvalds'
most popular pieces.
Originally written for
female voices, the
composer later created a
version for full choir on
which this arrangement is
based. It has a gentle
meditation with the two
soloists drifting across
the soft band
accompaniment,
alternately echoing and
imitating each other or
joining together in
thirds. The effect is
quietly ecstatic, a brief
moment of adoration and
wonderment. This
arrangement can be played
with either two cornets
or two euphoniums as
soloists as the
accompaniment works just
as effectively with
either.
Bri
ngs contemporary choral
repertoire by a leading
international composer to
the band
world
Arrangement
of Eriks Ešenvalds'
highly successful choral
piece 'O Salutaris
Hostia'
Arranged
by brass band specialist
Phillip
Littlemore
Part
of EP Brass Band
Series
Meditative
, beautiful piece, highly
attractive for audiences,
and proven success as a
choral
work
Suitable for
intermediate band at 2nd
Section and
above
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-056-010 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-056-010
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2003.
Anglo Music Press #AMP
056-010. Published by
Anglo Music Press
(BT.AMP-056-010).
As the title
suggests, this piece
comprises a set of
variations on an original
chorale,which is
presented in the opening
bars.The chorale uses the
dark middle and lower
sections of the band and
is extended with minor
variations until a pause
leads to the first real
variation, marked Vivo.
This is in the form of a
moto perpetuo. The second
variation is a beautiful
Andante introduced by a
solo clarinet. Following
a full band climax the
final variation opens
with quiet, nervous
energy until its main
theme is introduced.The
chorale makes a brief
appearance until the main
theme reappears. This
leads to a triumphant
final augmented statement
of the chorale theme,
decorated by theflorid
clarinet theme in the
upper woodwinds. A
dazzling new concert
work.
Zoals de
titel al aangeeft,
bestaat het stuk uit een
aantal variaties op een
oorspronkelijk koraal,
dat aan het begin wordt
ge ntroduceerd. Het
koraal, stevig verankerd
in c mineur, komt naar
voren in de donkere
midden- en lage
sectiesvan het orkest en
wordt uitgebouwd met
variaties in mineur,
totdat een korte pauze de
overgang vormt naar de
eerste echte variatie,
Vivo getiteld. Dit is een
moto perpetuo. De tweede
variatie, een krachtige
Andante, introduceerteen
soloklarinet. Na een
climax in het hele orkest
vangt de laatste variatie
aan met een stille,
nerveuze energie totdat
het hoofdthema naar voren
komt. Het koraal duikt
even op totdat het
hoofdthema weer
verschijnt. Dit leidtnaar
een glorierijke laatste
reprise van het
koraalthema in
verbreding, omspeeld met
het zwierige
klarinetthema in het hoge
hout. Een verbluffend
nieuw
concertwerk.
In
drei sehr
unterschiedlichen
Variationen kommen in
diesem Werk alle Register
des Blasorchesters zum
Zug: Die mittleren und
tieferen Register stellen
den originalen Choral in
Moll vor, darauf folgt
die erste, lyrische
Variation im
Tenorregister. Eine
Solo-Klarinette
präsentiert die
metrische zweite
Variation, abgelöst
vom gesamten
Blasorchester. Die hohen
Holzbläser spielen
eine wichtige Rolle in
der dritten Variation,
die zunächst verhalten
einsetztt, dann aber das
Werk zu einem
triiumphalen Schluss
führt. Ein
interessantes Werk, das
keine Wünsche bei
Musikern oder Zuhörern
offen
lässt!
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-056-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-056-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2003. 56 pages.
Anglo Music Press #AMP
056-140. Published by
Anglo Music Press
(BT.AMP-056-140).
As the title
suggests, this piece
comprises a set of
variations on an original
chorale,which is
presented in the opening
bars.The chorale uses the
dark middle and lower
sections of the band and
is extended with minor
variations until a pause
leads to the first real
variation, marked Vivo.
This is in the form of a
moto perpetuo. The second
variation is a beautiful
Andante introduced by a
solo clarinet. Following
a full band climax the
final variation opens
with quiet, nervous
energy until its main
theme is introduced.The
chorale makes a brief
appearance until the main
theme reappears. This
leads to a triumphant
final augmented statement
of the chorale theme,
decorated by theflorid
clarinet theme in the
upper woodwinds. A
dazzling new concert
work.
Zoals de
titel al aangeeft,
bestaat het stuk uit een
aantal variaties op een
oorspronkelijk koraal,
dat aan het begin wordt
ge ntroduceerd. Het
koraal, stevig verankerd
in c mineur, komt naar
voren in de donkere
midden- en lage
sectiesvan het orkest en
wordt uitgebouwd met
variaties in mineur,
totdat een korte pauze de
overgang vormt naar de
eerste echte variatie,
Vivo getiteld. Dit is een
moto perpetuo. De tweede
variatie, een krachtige
Andante, introduceerteen
soloklarinet. Na een
climax in het hele orkest
vangt de laatste variatie
aan met een stille,
nerveuze energie totdat
het hoofdthema naar voren
komt. Het koraal duikt
even op totdat het
hoofdthema weer
verschijnt. Dit leidtnaar
een glorierijke laatste
reprise van het
koraalthema in
verbreding, omspeeld met
het zwierige
klarinetthema in het hoge
hout. Een verbluffend
nieuw
concertwerk.
In
drei sehr
unterschiedlichen
Variationen kommen in
diesem Werk alle Register
des Blasorchesters zum
Zug: Die mittleren und
tieferen Register stellen
den originalen Choral in
Moll vor, darauf folgt
die erste, lyrische
Variation im
Tenorregister. Eine
Solo-Klarinette
präsentiert die
metrische zweite
Variation, abgelöst
vom gesamten
Blasorchester. Die hohen
Holzbläser spielen
eine wichtige Rolle in
der dritten Variation,
die zunächst verhalten
einsetzt, dann aber das
Werk zu einem
triiumphalen Schluss
führt. Ein
interessantes Werk, das
keine Wünsche bei
Musikern oder Zuhörern
offen
lässt!
Pop! Pop! Pop! Orchestre d'harmonie - Débutant Carl Fischer
Band Concert Band - Grade 1 SKU: CF.BPS125F Pop Goes the Weasel. C...(+)
Band Concert Band - Grade
1
SKU: CF.BPS125F
Pop Goes the
Weasel. Composed by
Traditional. Arranged by
Andrew Balent. Sws. Bps.
Full score. 12 pages.
Duration 1 minute, 26
seconds. Carl Fischer
Music #BPS125F. Published
by Carl Fischer Music
(CF.BPS125F).
ISBN
9781491156179. UPC:
680160914715. 9 x 12
inches.
This
beginning band
arrangement of Pop Goes
the Weasel is designed to
teach and perform basic
3/4 rhythms. The tempo
will be determined by the
ability of the group.
Begin rehearsing at a
slow tempo and gradually
increase the speed until
reaching the marked
allegro. Performance
Time: 1:30. This
beginning band
arrangement of Pop Goes
the Weasel is designed to
teach and perform basic
3/4 rhythms. The tempo
will be determined by the
ability of the
group.Begin rehearsing at
a slow tempo and
gradually increase the
speed until reaching the
marked
allegro.Performance Time:
1:30.
Pop! Pop! Pop! Orchestre d'harmonie - Débutant Carl Fischer
Band Concert Band - Grade 1 SKU: CF.BPS125 Pop Goes the Weasel. Co...(+)
Band Concert Band - Grade
1
SKU: CF.BPS125
Pop Goes the
Weasel. Composed by
Traditional. Arranged by
Andrew Balent. Folio.
Bps. Set of Score and
Parts.
8+2+8+2+5+2+2+8+3+6+2+3+1
+1+2+1+12 pages. Duration
1 minute, 26 seconds.
Carl Fischer Music
#BPS125. Published by
Carl Fischer Music
(CF.BPS125).
ISBN
9781491156162. UPC:
680160914708. 9 x 12
inches.
This
beginning band
arrangement of Pop Goes
the Weasel is designed to
teach and perform basic
3/4 rhythms. The tempo
will be determined by the
ability of the group.
Begin rehearsing at a
slow tempo and gradually
increase the speed until
reaching the marked
allegro. Performance
Time: 1:30. This
beginning band
arrangement of Pop Goes
the Weasel is designed to
teach and perform basic
3/4 rhythms. The tempo
will be determined by the
ability of the
group.Begin rehearsing at
a slow tempo and
gradually increase the
speed until reaching the
marked
allegro.Performance Time:
1:30.
Risoluto Orchestre d\'harmonie [Conducteur et Parties séparées] Southern Music Ltd
For Symphonic Band. Composed by James Barnes. LKM Music. Concert, Contest. Sof...(+)
For Symphonic Band.
Composed
by James Barnes. LKM
Music.
Concert, Contest.
Softcover.
Southern Music Company
#S1005CB. Published by
Southern Music Company
Stille Nacht.
Composed by Franz Xaver
Gruber. Arranged by
Lorenzo Bocci. Christmas
Collection. Festive and
Solemn Music. Score Only.
Composed 2012. 12 pages.
De Haske Publications
#DHP 1125069-140.
Published by De Haske
Publications
(BT.DHP-1125069-140).
9x12 inches.
English-German-French-Dut
ch.
When the song
Silent Night was
fi_x001F_rst heard, at
Christmas 1818 in the
village church of
Oberndorf, near Salzburg
in Austria, no one could
have dreamt of the
success this Christmas
carol would enjoy the
world over. The village
schoolteacher and
organist Franz Gruber -
the 150th anniversary of
whose death is marked in
2013 - composed the
melody for a poem by
Franz Mohr shortly before
Christmas. Today,
Silent Night is
sung in over 300
languages
worldwide.
Oberdor
f-Salzburg, Kerstmis
1818. Het lied Stille
Nacht van de
dorpsleraar en organist
Franz Gruber klinkt voor
de allereerste keer. Toen
zal niemand gedacht
hebben dat dit lied, dat
gebaseerd is op een
gedicht Franz Mohr, een
van de bekendste
kerstliedjes ter wereld
zou worden, vertaald in
meer dan 300 talen.
Lorenzo Bocci maakte een
mooie, pure bewerking van
dit lied, dat speelbaar
is voor elk orkest.
Als an
Weihnachten 1818 in der
Dorfkirche zu Oberndorf
bei Salzburg
(Österreich) das Lied
Stille Nacht
erstmals erklang, ahnte
wohl niemand, dass dieses
festliche Lied einmal
buchstäblich
weltberühmt werden
würde. Der
Dorfschullehrer und
Organist Franz Gruber,
dessen Todestag sich 2013
zum 150. Mal jährt,
hatte die Melodie kurz
vor Weihnachten zu einem
Gedicht von Franz Mohr
komponiert. Heute wird
Stille Nacht in
mehr als 300 Sprachen
weltweit
gesungen.
Quando
le inconfondibili note di
Stille Nacht
risuonarono la prima
volta nel 1818 nella
chiesa di Oberndorf nei
pressi di Salisburgo,
nessuno immaginava
l’enorme successo
che questo canto
natalizio avrebbe avuto
in tutto il mondo. Franz
Gruber, insegnante in un
villaggio, scrisse la
melodia poco prima di
Natale per accompagnare
una poesia di Franz Mohr.
Da allora Stille
Nacht è cantata in
oltre 300 idiomi nel
mondo intero.
Stille Nacht.
Composed by Franz Xaver
Gruber. Arranged by
Lorenzo Bocci. Christmas
Collection. Festive and
Solemn Music. Set (Score
& Parts). Composed 2012.
De Haske Publications
#DHP 1125069-010.
Published by De Haske
Publications
(BT.DHP-1125069-010).
9x12 inches.
English-German-French-Dut
ch.
When the song
Silent Night was
fi_x001F_rst heard, at
Christmas 1818 in the
village church of
Oberndorf, near Salzburg
in Austria, no one could
have dreamt of the
success this Christmas
carol would enjoy the
world over. The village
schoolteacher and
organist Franz Gruber -
the 150th anniversary of
whose death is marked in
2013 - composed the
melody for a poem by
Franz Mohr shortly before
Christmas. Today,
Silent Night is
sung in over 300
languages
worldwide.
Oberdor
f-Salzburg, Kerstmis
1818. Het lied Stille
Nacht van de
dorpsleraar en organist
Franz Gruber klinkt voor
de allereerste keer. Toen
zal niemand gedacht
hebben dat dit lied, dat
gebaseerd is op een
gedicht Franz Mohr, een
van de bekendste
kerstliedjes ter wereld
zou worden, vertaald in
meer dan 300 talen.
Lorenzo Bocci maakte een
mooie, pure bewerking van
dit lied, dat speelbaar
is voor elk orkest.
Als an
Weihnachten 1818 in der
Dorfkirche zu Oberndorf
bei Salzburg
(Österreich) das Lied
Stille Nacht
erstmals erklang, ahnte
wohl niemand, dass dieses
festliche Lied einmal
buchstäblich
weltberühmt werden
würde. Der
Dorfschullehrer und
Organist Franz Gruber,
dessen Todestag sich 2013
zum 150. Mal jährt,
hatte die Melodie kurz
vor Weihnachten zu einem
Gedicht von Franz Mohr
komponiert. Heute wird
Stille Nacht in
mehr als 300 Sprachen
weltweit
gesungen.
Quando
le inconfondibili note di
Stille Nacht
risuonarono la prima
volta nel 1818 nella
chiesa di Oberndorf nei
pressi di Salisburgo,
nessuno immaginava
l’enorme successo
che questo canto
natalizio avrebbe avuto
in tutto il mondo. Franz
Gruber, insegnante in un
villaggio, scrisse la
melodia poco prima di
Natale per accompagnare
una poesia di Franz Mohr.
Da allora Stille
Nacht è cantata in
oltre 300 idiomi nel
mondo intero.
Portrait of a Clown Orchestre d'harmonie [Conducteur] - Facile Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for middle
school and high school
bands. Level: Grade 2.
Conductor Full Score.
Duration 2:45. Published
by Manhattan Beach Music.
Symphonette Orchestre d'harmonie - Avancé Curnow Music
Concert Band - Grade 5 SKU: BT.CMP-0749-03-040 Composed by Stephen Bulla....(+)
Concert Band - Grade 5
SKU:
BT.CMP-0749-03-040
Composed by Stephen
Bulla. Signature Series.
Concert Piece. Set (Score
& Parts). Composed 2003.
Curnow Music #CMP
0749-03-040. Published by
Curnow Music
(BT.CMP-0749-03-040).
This three
movement work, modeled on
his earlier work
Rhapsody for
Brass, develops from
and mirrors the earlier
work, but with more
modern tonal outlines and
original melodic
material. The first
movement opens with
several fanfare-like
figures, which recur at
various times in
different instrumental
combinations. With
development, this music
takes on a carnival-like
atmosphere before
concluding with an upward
flourish. The second
movement commences
quietly with a slower
theme shared by several
solo instruments and
develops into an extended
study on The Water is
Wide, a folk song
which seems to have its
beginnings in the United
Kingdom as O Waley,
Waley. Thethird
movement reverts to the
rhapsodic format with a
lively theme marked
‘in a playful
manner’. This
substantial work is a gem
in the concert band
repertoire.
Dit
werk is opgedragen aan
wijlen Sir Dean Goffin en
in grote lijnen gevormd
naar de structuur van
diens Rhapsody in
Brass. Het eerste
deel opent met
fanfareachtige motieven,
die terugkeren in
verschillende
instrumentgroepen.Deel
twee begint met een
langzaam thema dat in
diverse solo-instrumenten
naar voren komt. De
muziek ontwikkelt zich
hier tot een etude over
het Amerikaanse lied
The Water is Wide.
In het levendige derde
deel gebruikte
Bulla,refererend aan
Goffin’s afkomst,
het Maori-lied Shout
the Sound. Na een
majestueuze herhaling van
de opening van het deel
wordt het werk afgesloten
met een presentatie van
technisch
kunnen.
In drei
unterschiedlichen
Sätzen entwickelt
dieses Werk die
Rhapsody in Brass
von Sir Dean Goffin
weiter, dem die
Symphonette auch
gewidmet wurde. Fanfare
ähnliche Figuren
eröffnen den ersten
Satz, der dann eine
ausgelassene Stimmung
entfaltet. Im zweiten
Satz wird ein langsameres
Thema von verschiedenen
Soloinstrumenten
präsentiert. Er
entwickelt sich zu einer
Studie über ein altes
englisches Volkslied. Im
letzten, rhapsodischen
Satz folgte Bulla Goffins
Wurzeln, indem er ein
Lied der Maori aus
Neuseeland verarbeitete.
Ein grandioses Werk, das
viele einzelne Facetten
Ihres Blasorchesters,
aber auch dessen
Können als Ensemble
beleuchtet.
Portrait of a Clown Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for middle school and high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for middle
school and high school
bands. Level: Grade 2.
Conductor score and set
of parts. Duration 2:45.
Published by Manhattan
Beach Music.
Polonaise Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-0960684-010 Composed by Anton...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-0960684-010
Composed by Antonin
Dvorak. Arranged by Wil
van der Beek. The Great
Classics. Set (Score &
Parts). Composed 1996. De
Haske Publications #DHP
0960684-010. Published by
De Haske Publications
(BT.DHP-0960684-010).
The year 2004
marked the 100th
anniversary ofthe death
of Antonin Dvorák. In
1879 Dvorákwrote this
Polonaise as a commission
for thecommittee
organising the
festivities for
theirfamous national
dance festival. Many
famousCzech composers
wrote dances specially
for thisevent. This
Polonaise in three
movements, with itsfine
melody lines, deserves to
be more than just
anoccasional work,
however. Wil van der
Beek’sconcert band
arrangement does justice
to theoriginal
piece.
Antonin
Dvorák, dessen
Todestag sich im Jahr
2004 zum 100. Mal
jährt, schrieb 1879
die Polonaise im Auftrag
des Komitees, welches die
Festlichkeiten zu der
damals weithin
berühmten
Veranstaltung, die
Vaterländischen
Tanzfeste, vorbereitete.
Nur die besten und
bekanntesten
tschechischen Komponisten
wurden um einem Beitrag
gebeten. Die dreiteilige
Polonaise mit
ihren schönen
melodischen Linien ist
weit mehr als nur eine
Gelegenheitskomposition.
Wil van der Beeks
Bearbeitung für
Blasorchester macht dem
Original alle Ehre und
wird auch Ihr Publikum
überzeugen!
Concert band Piano And concert band - Grade 5 SKU: BF.BM397-SCORE Opus...(+)
Concert band Piano And
concert band - Grade 5
SKU:
BF.BM397-SCORE
Opus 10. Composed
by Sergei Prokofiev.
Arranged by Douglas
McLain. Baton Music
instrumental series. Opus
10. Full score. Duration
16:00. Baton Music
#BM397-SCORE. Published
by Baton Music
(BF.BM397-SCORE).
Prokofiev
composed his first piano
concerto while at the
Conservatory, in 1911 and
1912, and premiered it
himself on August 7,
1912. The concerto is a
single movement divided
into clearly marked
sections. Prokofiev could
in this way keep the
typical fast-slow-fast
structure of the usual
three-movement concerto,
yet use some of the same
thematic elements
throughout all of his
sections. Throughout the
work, Prokofiev
demonstrates his penchant
for bright, percussive
textures. The
glockenspiel takes on a
uniquely soloistic role,
often teaming up with the
piano to sparkle above
the orchestral fray. With
its bravura solos and
daring harmonies,
Prokofiev's first
'mature' composition
announces him as a
musical force to be
reckoned with.
Castle Creek Orchestre d'harmonie Theodore Presser Co.
Band Concert Band SKU: PR.465000110 Composed by Dan Welcher. Arranged by ...(+)
Band Concert Band
SKU:
PR.465000110
Composed
by Dan Welcher. Arranged
by Paul Bissell. Large
Score. With Standard
notation. Composed 1989.
Duration 5 minutes.
Theodore Presser Company
#465-00011. Published by
Theodore Presser Company
(PR.465000110).
ISBN
9781598062090. UPC:
680160575442.
Castl
e Creek was written by
Dan Welcher in
celebration of the Aspen
Music Festival's 40th
anniversary, and served
as a special tribute to
the Festival's longtime
President, Gordon Hardy.
Castle Creek itself is a
tributary of the Roaring
Fork River on which the
Aspen Music Festival
campus (as well as
Hardy's home) is built.
Gordon's initials
(G.A.H.) are used as the
musical basis for the
fanfare, which is
centered on the ascending
pitches G, A and B, and
reflects the upward
motion and positivity of
the Aspen Music Festival
itself. For advanced
players. Duration:
5'. Program Note by
the ComposerThere is no
“secret
program†or hidden
meaning in this lively,
five-minute work: it was
intended as a celebration
of the 40th anniversary
of the Aspen Music
Festival, and as a
special tribute to the
Festival’s
longtime President,
Gordon Hardy. The title
CASTLE CREEK refers to a
tributary of the Roaring
Fork River on which the
Aspen Music Festival
campus (as well as Mr.
Hardy’s home) is
built.The work pays
homage to Gordon Hardy by
utilizing his initials
(“G.A.H.â€) as
a musical motive: the
three letters correspond
to the pitches G, A, and
B). This three-note group
forms the basis of the
fanfare that opens the
work, and it also serves
as an ostinato, a bass
line, and a general means
of organizing the
work’s tonal
centers. Because the
three notes are in
ascending order, the
ever-upward direction of
the Aspen Music Festival
and the positive energy
of Gordon Hardy are
readily evident.The
athletic fanfare that
begins the work (marked
“noble, but
energeticâ€) is
scored for brass and
percussion alone, and may
be played as a separate
piece. The rest of the
ensemble joins at the
conclusion of the
fanfare, and a spirited
tune in 9/8 issues from
the woodwinds. After this
is given a thorough
workout, a middle section
in faster 3/4 time
provides machine-like
energy. Perhaps it is the
energy of the Festival,
in high gear. At the
height of this, the music
of the fanfare returns in
broad open notes in the
brass, with the machine
still pulsing in support.
The overture ends in a
burst of motion, with the
three-note motive in its
highest transposition.My
colleague and former
student Paul Bissell made
this excellent
transcription from the
orchestral original.
The Charmer Orchestre d'harmonie Brolga Music Publishing Company
Composed by Lyall McDermott. Brolga Music Young Band Series. Score and set of pa...(+)
Composed by Lyall
McDermott. Brolga Music
Young Band Series. Score
and set of parts.
Duration 3:00. Published
by Brolga Music
Publishing Company
(BL.BMC027).
Golden Jubilee Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By John Philip Sousa. Edited by Frederick Fennell. By John Philip Sousa / ed. Fr...(+)
By John Philip Sousa.
Edited by Frederick
Fennell. By John Philip
Sousa / ed. Frederick
Fennell. For Concert
Band. Concert Band.
Fennell Edition Marches
for Band. Level: 3
(Medium Easy) (grade 3).
Conductor Score and
Parts. 180 pages.
Duration 3:29:00.
Published by Alfred
Publishing.
Clarinet Solo and Wind Band SKU: IS.WE6180EM Composed by Malcolm Arnold. ...(+)
Clarinet Solo and Wind
Band
SKU:
IS.WE6180EM
Composed
by Malcolm Arnold.
Arranged by Alex Steurs.
Ensembles - Wind Band.
Metropolis Music
Publishers #WE6180EM.
Published by Metropolis
Music Publishers
(IS.WE6180EM).
ISBN
9790365061808.
Engl
ish composer Malcolm
Arnold wrote this compact
sonatina in 1951 and it
has since become one of
his most popular
instrumental works. As
always with Arnold, it is
impeccably crafted: the
first movement, with it's
wide leaps, the
occasional incursion of a
six-eight bar into the
prevailing four-four, and
the lightest of jazzy
touches, lives up to its
marking of Allegro con
brio; while the second
demonstates Arnold's love
at this period of a
gentle cantabile style
where no shadows yet
lurk. The finale is a
wild dance in three-four
time marked Furioso, and
it is a distant cousin of
the Czech Furiant. With
its vigorous rhythms and
cascading semiquavers, it
has something of the
open-air quality of
Dvorak at his most
buccolic - not a frequent
influence on Malcolm
Arnold, but a highly
appropriate one in this
charming (and
challenging) little work.
This version for clarinet
solo with wind band has
been arranged by
saxophone player Alex
Steurs.
Grade 4 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2008. 56
pages. Anglo Music Press
#AMP244. Published by
Anglo Music Press
(HL.44010385).
2008 marked the
400th anniversary of the
1608 founding of Quebec
City in Canada. The Band
of Les Voltigeurs de
Quebec, an infantry
regiment of the Canadian
forces, commissioned this
piece as part of the
anniversary
celebrations.
The
folk songs of Quebec
share, for obvious
reasons, a history with
the folk songs of France,
but many can also claim
to originate in Canada.
All three movements of
this suite use different
settings of the evocative
“La'-haut sur ces
montagnes” as an
introduction, and are
then based on two popular
folk songs. The first
movement uses
“Veillée
rustique” and
“Petit Jean,”
the second uses
“À la claire
fontaine” and
“Vive les
matelots,” and the
third is based on
“C'est
l'aviron” and
“Au
cabaret.&rdquo.
By Peter Ilyich Tchaikovsky. Arranged by Michael Story. By Peter Ilyich Tchaikov...(+)
By Peter Ilyich
Tchaikovsky. Arranged by
Michael Story. By Peter
Ilyich Tchaikovsky / arr.
Michael Story. For
Concert Band. Concert
Band. Belwin Beginning
Band. Level: 1 (Very
Easy) (grade 1).
Conductor Score and
Parts. 120 pages.
Duration 1:45. Published
by Alfred Publishing.
Concert Band SKU: YM.GTW01101607 Arranged by Toru Kanayama. New Sounds in...(+)
Concert Band
SKU:
YM.GTW01101607
Arranged by Toru
Kanayama. New Sounds in
Brass. City Pop. Score
and parts. Yamaha Music
Media #GTW01101607.
Published by Yamaha Music
Media (YM.GTW01101607).
ISBN 9784636112986.
8.25 x 11.75
inches.
Japanese
New Music movement from
the 1970s and 1980s has
recently gained attention
from music lovers around
the world, and has become
established as city pop.
Among these many famous
songs, we have created a
medley of 5 songs that
are popular among the
younger generation and
overseas. Please enjoy
the nostalgic yet
sophisticated melodies.
Instrumentation:
Conductor×1; Piccolo×1;
1st Flute×1; 2nd
Flute×1; *Oboe×1;
*Bassoon×1; Clarinet in
E♭×1; 1st Clarinet in
B♭×3; 2nd Clarinet in
B♭×3; 3rd Clarinet in
B♭×3; *Alto Clarinet
in E♭×1; Bass Clarinet
in B♭×1; 1st Alto
Saxophone in E♭×1; 2nd
Alto Saxophone in
E♭×1; Tenor Saxophone
in B♭×1; Baritone
Saxophone in E♭×1; 1st
Trumpet in B♭×1; 2nd
Trumpet in B♭×1; 3rd
Trumpet in B♭×1; 1st &
2nd Horns in F×2; 3rd &
4th Horns in F×2; 1st
Trombone×1; 2nd
Trombone×1; 3rd
Trombone×1;
Euphonium×2; Tuba×2;
Electric Bass Guitar×1;
*Electric Guitar×1;
Drums×1; Timpani×1;
Vibra slap, Tambourine,
Cowbell & Wind Chime×1;
Conga, Claves & Bongo×1;
Xylophone &
Glockenspiel×2;
Vibraphone×1 The
composition can also be
performed without the
instruments marked with
*. Performance time:
Approximately 7 minutes
55 seconds Difficulty
Level: 3
Songs in
the medley: SPARKLE 〜
Plastic Love 〜 Kimi wa
Tennenshoku 〜 Fly-day
Chinatown 〜 Stay with
Me.
By Peter Ilyich Tchaikovsky. Arranged by Michael Story. By Peter Ilyich Tchaikov...(+)
By Peter Ilyich
Tchaikovsky. Arranged by
Michael Story. By Peter
Ilyich Tchaikovsky / arr.
Michael Story. For
Concert Band. Concert
Band. Belwin Beginning
Band. Level: Very Easy
(grade I). Conductor
Score. 12 pages.
Published by Alfred
Publishing.
Concert Band SKU: YM.GTW01101611 Composed by Ryuichi Sugimoto. Arranged b...(+)
Concert Band
SKU:
YM.GTW01101611
Composed by Ryuichi
Sugimoto. Arranged by
Eiji Suzuki. New Sounds
in Brass. J-Pop. Score
and parts. Yamaha Music
Media #GTW01101611.
Published by Yamaha Music
Media (YM.GTW01101611).
ISBN 9784636113020.
8.25 x 11.75
inches.
Tomorrow,
composed by Ryuichi
Sugimoto, which is the
ending theme for NHK's
Living Earth Journey and
has been widely popular
as a choral song for many
years, will be presented
by chorus and wind
orchestra arrengement.
The arrangement is
designed to allow
performances with a wind
orchestra or with a small
group of around 20
people.
Instrumentation:
Conductor×1; 1st & 2nd
Flutes×2; *Oboe×1;
*Bassoon×1; Clarinet in
1st Clarinet in B♭×3;
2nd Clarinet in B♭×3;
*3rd Clarinet in B♭×3;
*Alto Clarinet in
E♭×1; *Bass Clarinet
in B♭×1; 1st Alto
Saxophone in E♭×1; 2nd
Alto Saxophone in
E♭×1; Tenor Saxophone
in B♭×1; Baritone
Saxophone in E♭×1; 1st
Trumpet in B♭×1; 2nd
Trumpet in B♭×1; *3rd
Trumpet in B♭×1; 1st &
2nd Horns in F×2; *3rd &
4th Horns in F×2; 1st
Trombone×1; 2nd
Trombone×1; *3rd
Trombone×1;
Euphonium×2; Tuba×2;
Electric Bass Guitar×1;
Drums×1; Timpani×1;
Wind Chime & Suspended
Cymbal×1; Glockenspiel &
Xylophone×2; *Chorus×1
The composition can also
be performed without the
instruments marked with
*. Compatible with
small ensemble
Performance time:
Approximately 4 minutes
03 seconds Difficulty
Level: 2.
Concert Band (optional solo piano) - intermediate SKU: AI.AMC-WB-003SSC C...(+)
Concert Band (optional
solo piano) -
intermediate
SKU:
AI.AMC-WB-003SSC
Composed by Francis
Johnson. Arranged by
Kenneth Amis. Music of
Black Composers and
Artists. Study score
only. Amis Musical Circle
#AMC-WB-003SSC. Published
by Amis Musical Circle
(AI.AMC-WB-003SSC).
8.5 x 11
inches.
The 1818
publication of Francis
Johnson's A Collection of
New Cotillions marks the
first known publication
of original music by a
black composer in the
United States. A prolific
composer,
instrumentalist, teacher
and conductor, Johnson
led a varied and
successful career in an
era in U.S. history that
was not inviting to black
professionals. His
musical interests ranged
from the contemporary
works of Johann Strauss
Jr. to traditional,
popular
dances.
The
cotillion is a French
country dance that was
popular in Europe and
America in the 18th
century. It was
originally danced by four
couples in square
formation and was an
important influence in
the development of the
square dance in the
United States. Francis
Johnson composed two sets
of six piano
accompaniments for this
dance. The original 1818
publication even included
movement instructions for
the eight dancers. The
short and charming
melodies that he composed
are a fitting example of
popular dance music of
the time.
This
transcription may be
performed as a piano
solo, with the piano as a
non-solistic instrument
within the ensemble or
without piano at all. If
it is to be a piano solo,
the other instruments
should not play the
passages marked
“opt. tacet
(optional tacet). If the
piano will not be treated
soloistically, the
conductor can have some
or all of the “opt.
tacet passages played at
their discretion. When
there is no piano
involved in the
performance ,all
instrumentalists should
ignore the “opt.
tacet instruction and
play everything.
Incidental Suite Orchestre d'harmonie - Intermédiaire/avancé Claude T. Smith Publications
Grade 4 SKU: CL.CTS-7712-01 For Concert Band. Composed by Claude T...(+)
Grade 4
SKU:
CL.CTS-7712-01
For
Concert Band.
Composed by Claude T.
Smith. Concert Band.
Extra full score.
Composed 1966. Claude T.
Smith Publications
#CTS-7712-01. Published
by Claude T. Smith
Publications
(CL.CTS-7712-01).
A delightful
three-movement work to
show off the bandâ??s
skill at playing
different styles. The
first movement marked
Tarantella, includes an
asymmetric 9/8 measure
and a woodwind fugato.
Nocturne features solos
for flute, oboe and alto
saxophone. Rondo begins
with a fierce percussion
section soli throughout
the movement, and a
reflection of
developmental material
from the Nocturne shows
up in this movement as
well. A challenging work,
but your group will learn
several musical concepts.
A concert band
classic.
Grade 1.5 SKU: CL.011-2081-01 Composed by G. Sebesky. Young Concert Band....(+)
Grade 1.5
SKU:
CL.011-2081-01
Composed by G. Sebesky.
Young Concert Band.
Command Series. Audio
recording available
separately (item
CL.WFR103). Extra score.
Composed 1988. C.L.
Barnhouse #011-2081-01.
Published by C.L.
Barnhouse
(CL.011-2081-01).
A most creative
young band novelty marked
by occasional bizarre
playing which challenges
each section of the band.
A sometimes rapid tempo
in 3/4 meter adds to the
elements of surprise and
an unpredictable
outcome.
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.
The Stars and Stripes Forever Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Willow Blossom Music
March. Composed by John Philip Sousa (1854-1932). Arranged by Keith Brion and Lo...(+)
March. Composed by John
Philip Sousa (1854-1932).
Arranged by Keith Brion
and Loras Schissel.
Concert Band. Sousa
Centennial. Audio
recording available
separately (items
CL.WFR137 and CL.WFR343).
March, Patriotic. Score
and set of parts.
Composed 1996. Duration 3
minutes, 26 seconds.
Published by Willow
Blossom Music