Move to the Groove Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1125260-010 Composed by Peter...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1125260-010
Composed by Peter Kleine
Schaars. Applause Series.
Original Light Music. Set
(Score & Parts). Composed
2011. De Haske
Publications #DHP
1125260-010. Published by
De Haske Publications
(BT.DHP-1125260-010).
9x12 inches.
English-German-French-Dut
ch.
In this
three-part piece, Peter
Kleine Schaars uses the
initials of the German
concert band association
otherwise known as the
Bund Deutscher
Blasmusikverbände
(BDB). With
‘B’ equating
to a B flat, various
themes based on this
sequence of notes follow
one another: a funky
fanfare, a comical waltz
and a soulful set in a
Mowtown style. With this
much variety your
audience will soon be in
the groove!
B, D
en B? Dat zijn de
initialen van de Bund
Deutscher
Blasmusikverbände, de
opdrachtgever van dit
werk! Maar we vinden deze
letters natuurlijk ook
terug op de notenbalk.
Peter Kleine Schaars
gebruikte ze in deze
driedelige compositieals
volgt: Bes-D-Bes. U hoort
achtereenvolgens een
funky fanfare, een
komische wals en een
‘motownachtigeâ€
™ soul. Voer uw publiek
mee in diverse
‘grooves’
met deze compositie vol
afwisseling!
Peter
Kleine Schaars verwendete
in dieser dreiteiligen
Komposition die Initialen
seines Auftraggebers, dem
Bund Deutscher
Blasmusikverbände
(BDB). Auf dieser
Tonfolge beruhend
erklingen nacheinander
eine funkige Fanfare, ein
komischer Walzer und ein
souliger Satz im
Motown-Stil“. Viel
Abwechslung, die das
Publikum sich bald im
Groove“ bewegen
lässt!
Per questo brano
in tre movimenti, Peter
Kleine Schaars ha
utilizzato le iniziali
della societ
commissionante, la Bund
Deutscher
Blasmusikverbaende (BDB).
Una sequenza melodica che
si sviluppa attorno alle
tre note BDB (vale a dire
si-re-si), in uno stile
quasi funky, per
proseguire con un valzer
molto particolare, e poi
terminare con un motivo
soul & blues. Un brano
che delizier il vostro
pubblico.
Move to the Groove Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1125260-140 Composed by Peter...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1125260-140
Composed by Peter Kleine
Schaars. Applause Series.
Original Light Music.
Score Only. Composed
2011. 24 pages. De Haske
Publications #DHP
1125260-140. Published by
De Haske Publications
(BT.DHP-1125260-140).
9x12 inches.
English-German-French-Dut
ch.
In this
three-part piece, Peter
Kleine Schaars uses the
initials of the German
concert band association
otherwise known as the
Bund Deutscher
Blasmusikverbände
(BDB). With
‘B’ equating
to a B flat, various
themes based on this
sequence of notes follow
one another: a funky
fanfare, a comical waltz
and a soulful set in a
Mowtown style. With this
much variety your
audience will soon be in
the groove!
B, D
en B? Dat zijn de
initialen van de Bund
Deutscher
Blasmusikverbände, de
opdrachtgever van dit
werk! Maar we vinden deze
letters natuurlijk ook
terug op de notenbalk.
Peter Kleine Schaars
gebruikte ze in deze
driedelige compositieals
volgt: Bes-D-Bes. U hoort
achtereenvolgens een
funky fanfare, een
komische wals en een
‘motownachtigeâ€
™ soul. Voer uw publiek
mee in diverse
‘grooves’
met deze compositie vol
afwisseling!
Peter
Kleine Schaars verwendete
in dieser dreiteiligen
Komposition die Initialen
seines Auftraggebers, dem
Bund Deutscher
Blasmusikverbände
(BDB). Auf dieser
Tonfolge beruhend
erklingen nacheinander
eine funkige Fanfare, ein
komischer Walzer und ein
souliger Satz im
Motown-Stil“. Viel
Abwechslung, die das
Publikum sich bald im
Groove“ bewegen
lässt!
Per questo brano
in tre movimenti, Peter
Kleine Schaars ha
utilizzato le iniziali
della societ
commissionante, la Bund
Deutscher
Blasmusikverbaende (BDB).
Una sequenza melodica che
si sviluppa attorno alle
tre note BDB (vale a dire
si-re-si), in uno stile
quasi funky, per
proseguire con un valzer
molto particolare, e poi
terminare con un motivo
soul & blues. Un brano
che delizier il vostro
pubblico.
Highlights From Chicago Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Scomegna Edizioni Musicali
A medley including: Overture, And all that Jazz, Funny Honey, When you're good M...(+)
A medley including:
Overture, And all that
Jazz, Funny Honey, When
you're good Mama, Cell
Block Tango, I move on.
By John Kander. Arranged
by Giancarlo Gazzani.
Concert band. Film Music,
Musical. Level: Grade
3.5. Score and set of
parts. Duration 8:00.
Published by Scomegna
Edizioni Musicali
(Italian import).
Tara's Theme Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1043663-010 From Gone with the WInd...(+)
Concert Band/Harmonie -
Grade 3
SKU: BT.DHP-1043663-010
From Gone with the WInd.
Arranged by Lorenzo
Bocci. DHP Pop, Film and
Show. Festive and Solemn
Music. Set (Score and
Parts). Composed 2004. De
Haske Publications #DHP
1043663-010. Published by
De Haske Publications
(BT.DHP-1043663-010).
Max Steiner was born in
Vienna in 1888, and grew
up surrounded by music.
He was a student of the
Imperial Academy of
Music, having among his
teachers Gustav Mahler.
In 1936 he signed an
agreement with Warner.
Steiner, considered the
father of symphonic music
in Hollywood style. One
of his most famous and
popular masterworks is,
without any doubt, Gone
with the Wind (1939). The
movie was an immediate
success and won ten
Academy Awards. In spite
of the years passed, this
movie still moves young
audiences around the
world. Lorenzo Bocci has
chosen the song Tara?s
Theme from this movie and
turned the romantic music
into an arrangement for
concert band.
Vom Winde verweht ist
einer der Filme, der
heute noch Generationen
vor dem Fernseher
vereint. Oft gezeigt,
wird jeder doch immer
wieder mitgerissen von
der tragischen
Liebesgeschichte inmitten
der Kriegswirren. Einen
nicht unwichtigen Anteil
an der bewegenden
Atmosphäre des
Filmklassikers hat die
großartige Musik von Max
Steiner, der als Urvater
der sinfonischen
Filmmusik im
Hollywoodstil gilt und
neben Vom Winde verweht
noch zahlreiche weitere
erfolgreiche Filme
vertonte. Lorenzo Bocci
wählte aus der Musik
Tara's Theme und
bearbeitete die
romantische Musik zu
einem Arrangement für
Blasorchester.
Gefühlvoll und
mitreißend!
Concert band (ST KPL) - intermediate SKU: HL.49012046 From the Oratori...(+)
Concert band (ST KPL) -
intermediate
SKU:
HL.49012046
From
the Oratorio Saul.
Composed by George
Frideric Handel. Arranged
by Norbert Studnitzky.
This edition: Folding.
Sheet music. Schott
Harmonie Serie (Concert
Band). Classical. Set of
Parts. Duration 13'.
Schott Music #SHS
1006-70. Published by
Schott Music
(HL.49012046).
ISBN
9790001100793.
8.25x11.75x0.692
inches.
Handel's
Oralorio Saul, composed
in 1739, contains a
series of instrumental
movements which provide
commentary on the action.
Composers have often
written works in the form
of suites from these
movements. Handel's
blocks of polyphonic
music are also
particularly suitable for
wind band. His orchestral
suites were usually
performed in Ihe open
air. Many of his themes
rank among the great
inventions of musical
history. They give his
music dignity and
greatness and at the same
time they remain popular
in character. The
instrumental movements
from 'Saul' are suitable
for concerts, including
those in churches, for
serenades and for
contests from
intermediate to advanced
level.
(2 Floten,
1 Oboe ad lib., 1 Fagott
ad lib., 1 Klarinette in
Es ad lib., 3 Klarinetten
in B, 2 Alt-Saxophone in
Es, 1 Tenor-Saxophon in
B, 3 Horner in F, 3
Trompeten in B, 3
Posaunen, 2 Flugelhorner
(Kornette) in B, 1
Tenorhorn in B, 1
Bariton, 2 Tuben, Pauken,
Schlagzeug: Glockenspiel,
kleine Trommel, grosse
Trommel, Becken).
Condensed Score.
Composed by George
Frideric Handel. Arranged
by Norbert Studnitzky.
This edition: Saddle
stitching. Sheet music.
Schott Harmonie Serie
(Concert Band).
Classical. Condensed
Score. 40 pages. Duration
13'. Schott Music
#SHS1006-10. Published by
Schott Music
(HL.49012045).
ISBN
9790001113205. UPC:
073999296280.
8.25x11.75x0.202
inches.
Handel's
Oralorio Saul, composed
in 1739, contains a
series of instrumental
movements which provide
commentary on the action.
Composers have often
written works in the form
of suites from these
movements. Handel's
blocks of polyphonic
music are also
particularly suitable for
wind band. His orchestral
suites were usually
performed in Ihe open
air. Many of his themes
rank among the great
inventions of musical
history. They give his
music dignity and
greatness and at the same
time they remain popular
in character. The
instrumental movements
from 'Saul' are suitable
for concerts, including
those in churches, for
serenades and for
contests from
intermediate to advanced
level.
(2 Floten,
1 Oboe ad lib., 1 Fagott
ad lib., 1 Klarinette in
Es ad lib., 3 Klarinetten
in B, 2 Alt-Saxophone in
Es, 1 Tenor-Saxophon in
B, 3 Horner in F, 3
Trompeten in B, 3
Posaunen, 2 Flugelhorner
(Kornette) in B, 1
Tenorhorn in B, 1
Bariton, 2 Tuben, Pauken,
Schlagzeug: Glockenspiel,
kleine Trommel, grosse
Trommel, Becken).
3 wind instruments - intermediate SKU: HL.49016231 Composed by Richard Ze...(+)
3 wind instruments -
intermediate
SKU:
HL.49016231
Composed
by Richard Zettler. Sheet
music. Schott Harmonie
Serie (Concert Band).
Classical. Playing score.
28 pages. Schott Music
#SHS 6004. Published by
Schott Music
(HL.49016231).
ISBN
9790001101196.
8.25x11.5x0.105
inches.
This
collection consists
mainly of unknown dance
movements from northern,
western and southern
Europe, intermingled with
original movements by
Richard Zettler and
written for small groups
of players. The music is
arranged so that it can
be played by woodwind or
brass instruments in
various keys. Thus many
combinations of
Instruments can be used
as desired.
3 wind instruments - intermediate SKU: HL.49016229 Composed by Richard Ze...(+)
3 wind instruments -
intermediate
SKU:
HL.49016229
Composed
by Richard Zettler. This
edition: Saddle
stitching. Sheet music.
Schott Harmonie Serie
(Concert Band).
Classical. Playing score.
27 pages. Schott Music
#SHS 6002. Published by
Schott Music
(HL.49016229).
ISBN
9790001101172.
This
collection consists
mainly of unknown dance
movements from northern,
western and southern
Europe, intermingled with
original movements by
Richard Zettler and
written for small groups
of players. The music is
arranged so that it can
be played by woodwind or
brass instruments in
various keys. Thus many
combinations of
instruments can be used
as desired.
3 wind instruments - intermediate SKU: HL.49012079 Composed by Richard Ze...(+)
3 wind instruments -
intermediate
SKU:
HL.49012079
Composed
by Richard Zettler. Sheet
music. Schott Harmonie
Serie (Concert Band).
Classical. Playing score.
27 pages. Schott Music
#SHS 6001. Published by
Schott Music
(HL.49012079).
ISBN
9790001101165.
8.25x11.75x0.098
inches.
This
collection consists
mainly of unknown dance
movements from northern,
western and southern
Europe, intermingled with
original movements by
Richard Zettler and
written for small groups
of players. The music is
arranged so that it can
be played by woodwind or
brass instruments in
various keys. Thus many
combinations of
instruments can be used
as desired.
3 wind instruments - intermediate SKU: HL.49016230 Composed by Richard Ze...(+)
3 wind instruments -
intermediate
SKU:
HL.49016230
Composed
by Richard Zettler. Sheet
music. Schott Harmonie
Serie (Concert Band).
Classical. Playing score.
27 pages. Schott Music
#SHS 6003. Published by
Schott Music
(HL.49016230).
ISBN
9790001101189.
This
collection consists
mainly of unknown dance
movements from northern,
western and southern
Europe, intermingled with
original movements by
Richard Zettler and
written for small groups
of players. The music is
arranged so that it can
be played by woodwind or
brass instruments in
various keys. Thus many
combinations of
Instruments can be used
as desired.
By Christina Aguilera and Maroon 5. By Adam Levine, Ammar Malik, Benjamin Levin,...(+)
By Christina Aguilera and
Maroon 5. By Adam Levine,
Ammar Malik, Benjamin
Levin, and Johan
Schuster. Arranged by
James Kazik. For Concert
Band (Score and Parts).
Discovery Plus Concert
Band. Grade 2. Published
by Hal Leonard
The Valencian Widow Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Baton Music
(Large Suite (five movements)). By Aram Ilyich Khachaturian (1903-1978). Arrange...(+)
(Large Suite (five
movements)). By Aram
Ilyich Khachaturian
(1903-1978). Arranged by
Erik Somers. For Concert
Band. Grade 5. Full score
and set of parts.
Duration 17:30
The Valencian Widow Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Baton Music
(Small Suite (three movements)). By Aram Ilyich Khachaturian (1903-1978). Arrang...(+)
(Small Suite (three
movements)). By Aram
Ilyich Khachaturian
(1903-1978). Arranged by
Erik Somers. For Concert
Band. Grade 5. Full score
and set of parts.
Duration 9:30
Concert Band - Grade 1 SKU: AP.42141S I. Fanfare, II. Hornpipe, III. F...(+)
Concert Band - Grade 1
SKU: AP.42141S
I. Fanfare, II.
Hornpipe, III.
Finale. Composed by
George Frideric Handel.
Arranged by Douglas E.
Wagner. Concert Band;
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles. Belwin Beginning
Band. Form:
Transcription. Baroque;
Masterwork Arrangement.
Score. 16 pages. Duration
2:15. Belwin Music
#00-42141S. Published by
Belwin Music (AP.42141S).
UPC: 038081479248.
English.
Three
brief movements from
Handel's most famous and
most frequently performed
work have been set in
B-flat for your beginners
without the need for
accidentals. It is a joy
to be able to offer
first-hand sections of
this revered classic
(2:15) This title is
available in MakeMusic
Cloud.
(I. Fanfare, II. Hornpipe, III. Finale). Composed by George Frideric Handel (168...(+)
(I. Fanfare, II.
Hornpipe, III. Finale).
Composed by George
Frideric Handel
(1685-1759). Arranged by
Douglas E. Wagner.
Concert Band. Concert
Band; Masterworks;
Part(s); Score;
SmartMusic. Belwin
Beginning Band. Form:
Transcription. Baroque;
Masterwork Arrangement.
Grade 1. 132 pages.
Published by Belwin Music
Concert band - intermediate SKU: HL.49016215 Movements aus dem Oratori...(+)
Concert band -
intermediate
SKU:
HL.49016215
Movements aus dem
Oratorium Saul.
Composed by George
Frideric Handel. Sheet
music. Edition Schott.
Classical. Score. Schott
Music #SHS1006. Published
by Schott Music
(HL.49016215).
Score Only Concert Band (Score) - Grade 2 SKU: HL.4005975 Composed by Per...(+)
Score Only Concert Band
(Score) - Grade 2
SKU:
HL.4005975
Composed
by Percy Aldridge
Grainger. Arranged by
Michael Sweeney.
Flex-Band Grade 3.
Concert. Softcover. 28
pages. Published by Hal
Leonard (HL.4005975).
UPC: 888680947897.
9.0x12.0x0.06
inches.
Featuring
two of the most popular
movements from Percy
Grainger's cornerstone
work for band, this mini
suite of Horkstow Grange
and The Lost Lady Found
is the perfect
introduction to
Grainger's music for
smaller or incomplete
ensembles.
When Hearts Tremble Orchestre d'harmonie - Intermédiaire/avancé Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS75 Composed by Brant Karrick. SW...(+)
Band concert band - Grade
4.5
SKU: CF.SPS75
Composed by Brant
Karrick. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
3+12+12+6+12+12+12+6+6+6+
6+6+6+9+9+9+6+6+9+9+9+9+6
+12+6+9+3+9+9+40 pages.
Duration 6 minutes, 44
seconds. Carl Fischer
Music #SPS75. Published
by Carl Fischer Music
(CF.SPS75).
ISBN
9781491147702. UPC:
680160905201. 9 x 12
inches. Key: F
major.
When Hearts
Tremble is an emotion
packed piece dedicated to
musician friends lost all
to soon. This beautiful
composition by Brant
Karrick reflects on the
fragility of human
existence, joyous
memories of loved ones
and their effect on
everyone around them, and
maintaining hope for what
the future will hold when
all feels lost. This tour
de force piece perfectly
displays Karrick's
polished compositional
craft with impeccable
scoring, beautiful
melodic writing, and
exceptional
orchestrational
color. While the
day-to-day grind of our
lives can be filled with
overwhelming obligations,
goals and commitments, it
is sometimes very easy to
forget just how precious
and fragile life is . It
is so easy to get caught
up in our own personal
feelings and worries that
we sometimes don’t
realize and appreciate
the many blessings we
have, especially
friendships . On
Wednesday, November 18,
2015 the Jefferson High
School Band in Jefferson,
Georgia lost two of its
members to a fatal car
accident . The victims
were brothers . Music was
a constant part of their
lives, and the boys were
talented percussionists
in the marching band . To
help with the grieving
process the school and
community commissioned
this piece to celebrate
the lives of William and
Alex Trimble .As a
father, I cannot imagine
losing a child, let alone
two, and beginning this
piece was very difficult
as I felt extreme
anguish, especially for
the parents . But it was
decided the piece should
primarily reflect the
enthusiasm, youthful
spirits and positive
influence these two young
men demonstrated as they
were deeply loved by
their band mates,
community and family .
There are four main
themes, each representing
the feelings and emotions
that are certain to occur
after a loss of loved
ones . The first theme is
a short, introductory
fanfare, strong and bold,
to stand for courage . A
second dance-like melody
features a liltingly
mixed meter to portray a
youthful and carefree
innocence . This soon
changes into a third more
song-like, and stately
theme intended to provide
encouragement as we move
forward through life .The
middle of the piece
includes a soft
transition as two snare
drummers give voice to
the boys, allowing them
to thank their friends
and assuring them that it
will be okay . This moves
directly into a slow
melody introduced by the
saxophones (Alex, the
younger brother was also
a saxophonist) and is a
time for reflection and
allows for feelings of
sadness at losing beloved
friends . However, a
second statement of the
same theme, now at full
volume with a strong
percussion cadence,
intends to lift the
spirits and allows all
friends to unite in
joyous celebration of
life . Both the
enthusiastic dance theme
and stately lyrical theme
return, now in different
keys, and work their way
toward the highly
energetic burst of
glorious sound in the
short and wild coda .
When Hearts Tremble was
written to celebrate the
joys of youth and life,
and should remind us that
our friends and loved
ones are precious, and we
should live each day to
bring more joy into the
world and into the lives
of others .
Studio-Pop Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1043668-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2
SKU:
BT.DHP-1043668-015
Composed by Kees Vlak.
Flexible 4 Series.
Original Light Music. Set
(Score & Parts). Composed
2004. De Haske
Publications #DHP
1043668-015. Published by
De Haske Publications
(BT.DHP-1043668-015).
Studio-Pop
consists of five
movements. The
firstmovement, entitled
Marching on a String, is
anenergetic rock march in
a modern rhythm. Next,the
charming Dreaming of
Summer has beencomposed
in three-four time -
which is quiteunusual in
modern pop music. The
inspiration forthe third
movement, Chicken-Charley
was a youngman selling
chicken legs from a
stall. His supple,dancing
movements can be
recognised in the
music.The fourth
movement, Candlelight is
a modern,attractive
ballad. Finally,
Discoteca takes us along
ona night visit to a
Spanish discotheque. The
typicallySpanish chords
and the stirring,
high-spirited
rhythmprovide an
exuberant closing to
Studio-Pop.
Een
temperamentvol werk in
popstijl dat bestaat uit
vijf verschillende delen.
Een energieke rockmars in
een modern ritme wordt
gevolgd door een charmant
deel in driekwartsmaat -
in de moderne popmuziek
is dat vrij
uitzonderlijk.
Daaropvolgt een stukje
soepele dansmuziek. In
een moderne, sfeervolle
ballad zijn de
samenklanken vervolgens
spannend, maar ze lossen
steeds weer op in een
romantische stemming. Ten
slotte zorgen typisch
Spaanse akkoorden en een
opzwependritme voor een
uitbundige
afsluiting.
Ein
temperamentvolles Werk in
fünf Sätzen im
Pop-Stil. Ein
energiereicher Marsch in
einem modernen Rhythmus
wird gefolgt von einem
charmanten Satz im -
für Popmusik
ungewöhnlichen -
Dreivierteltakt. Der
dritte Satz wurde
inspiriert von einem
Hähnchenverkäufer
an der Riviera,
wohingegen der vierte,
eine moderne, romantische
Ballade gut als
Hintergrund zu einem
lauschigen Abendessen
dienen könnte.
Abgeschlossen wird dieses
unterhaltsame Werk von
einem nächtlichen
Besuch einer spanischen
Diskothek. Einfache
Musik, in der viel
steckt!
Westwood Trail Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Belwin
(Concert March). By Douglas E. Wagner. Concert Band. Concert Band. Belwin Young ...(+)
(Concert March). By
Douglas E. Wagner.
Concert Band. Concert
Band. Belwin Young Band.
Grade 2. Conductor Score
and Parts. 232 pages.
Duration 2:10. Published
by Belwin Music
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.
Music Orchestre d'harmonie - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 3 SKU: BT.AMP-046-010 Composed by John Mile...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-046-010
Composed by John Miles.
Arranged by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2002.
Anglo Music Press #AMP
046-010. Published by
Anglo Music Press
(BT.AMP-046-010).
9x12
inches.
Born in
Jarrow, northeast
England, in 1949, John
Miles was something of a
child prodigy, learning
the piano from the age of
five. In the early '60s
he persuaded his father
to buy him a guitar and
by the end of the decade
he had joined
asemi-professional band,
The Influence. The group
soon disbanded and by
1969 Miles was recording
with his own group, The
John Miles Band,
releasing a dozen singles
in the early '70s. In
1975 Miles decided to
move to London and
secured a dealwith Decca
Records. By October that
year, a newly formed
band, John Miles and Co,
had released their debut
single, Highfly,
but their greatest hit,
which stormed the British
charts in March 1976, was
Music.
In
1976 bestormde het nummer
Music van de band
John Miles and Co de
hitparades. Music,
vaak bekritiseerd als
pompeus en hoogdravend in
een periode die steeds
meer de kant van de punk
opging, was in feite
typisch Britsetechnopop
en daarbij een bepalende
plaat voor die tijd,
samen met nummers als
Queen’s
Bohemian Rhapsody.
Met veel gevoel voor
dynamiek en dramatiek
werkt deze ode aan de
muziek nog altijd
aanstekelijk.
Musi
k war meine erste Liebe-
so beginnt der Text
dieses Pop-Klassikers aus
den Siebzigern von John
Miles, der mit dieser
Zeile damit damals und
heute den Nerv aller
begeisterten Musiker und
Musikfans der Welt traf.
Leise undlaut,
gefühlvoll und
dramatisch, zieht diese
schöne
Liebeserklärung an die
Musik in der
Blasorchester-Bearbeitung
von Philip Sparke noch
immer Musiker und
Zuhörer unweigerlich
in ihren
Bann.
Orchestra Concert Band SKU: PR.416413660 For Violin and Orchestra....(+)
Orchestra Concert Band
SKU: PR.416413660
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Perfect. Contemporary.
Full score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366.
Published by Theodore
Presser Company
(PR.416413660).
ISBN
9781598063578. UPC:
680160601899. 9x12
inches.
Trained as
a violinist in his native
Tehran, composer Behzad
Ranjbaran eagerly drew
inspiration from the
traditional Persian
kamancheh and its
delicate, lyrical sound
when creating his
profoundly luscious and
brilliant Concerto for
Violin and Orchestra.
This work was completed
in 1994 and premiered in
England by Joshua Bell,
who also gave the first
American and Canadian
performances. The
Concerto for Violin and
Orchestra is the
recipient of the Rudolf
Nissim Award from ASCAP,
and it was supported in
part by a grant from The
National Endowment for
the Arts. The solo part
with a piano reduction as
well as a large score are
available on custom
print. For advanced
players. Duration:
31'. From my early
years studying violin at
the Tehran Music
Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Applause! Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1063948-140 Composed by Takam...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1063948-140
Composed by Takamasa
Sakai. Applause Series.
Score Only. Composed
2006. 28 pages. De Haske
Publications #DHP
1063948-140. Published by
De Haske Publications
(BT.DHP-1063948-140).
9x12 inches.
English-German-French-Dut
ch.
This piece was
inspired by a variety of
music such as Broadway
musicals, French cancan,
and circus marches. A
special rhythm pattern
called
“Ipponjimeâ€
(or
“Sanbonjimeâ€)
is played by the
percussion (3 + 3 + 3 +
1) in the first four
measures.This is how
people freely clap their
hands when ceremonies or
parties end in Japan.
This custom of clapping
hands reflects Japanese
people’s spirit to
readily move on to the
next step. As the
infectious work comes to
its exciting conclusion
every player shouts
“yeah!â€ensuri
ng you will definitely
hear rapturous
applause!
Aan dit
werk liggen diverse
muzikale
inspiratiebronnen ten
grondslag, zoals
Broadwaymusicals, de
Franse cancan en
circusmarsen. Een Japans
ritmepatroon komt in de
eerste vier maten naar
voren in het slagwerk.
Het centrale deel
bevatsolo’s voor
xylofoon en piccolo, die
in de smaak zullen vallen
bij uw publiek, zeker
wanneer de solisten al
improviserend een aantal
technische staaltjes
laten horen. Indien
gewenst kan de
instrumentatie worden
gewijzigd. Na
hetsologedeelte komt het
eerste thema terug en
volgt er een opbouw naar
een opwindend slot, waar
iedere speler
“yeah!â€
roept. Met wat
aanvullende showelementen
zal het applaus nog
uitbundiger
zijn.
Zu diesem
Werk ließ sich der
Japaner Takamasa Sakai
von einer breiten Palette
an unterhaltsamen
Musikstilen inspirieren,
wie z.B.
Broadway-Musicals,
französischem Cancan
und Zirkusmärschen.
Aufregende Soli für
Xylophon und Piccolo,
Gelegenheiten zur
Improvisation, ein
traditionelles
japanisches
Klatsch-Rhythmusmuster
sowie ein spannendes
Finale sind die Zutaten
zu einem Stück, das
dem Publikum mit
Sicherheit den im Titel
versprochenen Applaus
entlocken
wird!
Applause!
s’ispira a diversi
stili musicali quali le
commedie musicali di
Broadway, il celebre
cancan e marce circensi.
Lo sviluppo è
sorprendente, fresco e
piacevole per i musicisti
ed il pubblico.
Applause! Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1063948-010 Composed by Takam...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1063948-010
Composed by Takamasa
Sakai. Applause Series.
Set (Score & Parts).
Composed 2006. De Haske
Publications #DHP
1063948-010. Published by
De Haske Publications
(BT.DHP-1063948-010).
9x12 inches.
English-German-French-Dut
ch.
This piece was
inspired by a variety of
music such as Broadway
musicals, French cancan,
and circus marches. A
special rhythm pattern
called
“Ipponjimeâ€
(or
“Sanbonjimeâ€)
is played by the
percussion (3 + 3 + 3 +
1) in the first four
measures.This is how
people freely clap their
hands when ceremonies or
parties end in Japan.
This custom of clapping
hands reflects Japanese
people’s spirit to
readily move on to the
next step. As the
infectious work comes to
its exciting conclusion
every player shouts
“yeah!â€ensuri
ng you will definitely
hear rapturous
applause!
Aan dit
werk liggen diverse
muzikale
inspiratiebronnen ten
grondslag, zoals
Broadwaymusicals, de
Franse cancan en
circusmarsen. Een Japans
ritmepatroon komt in de
eerste vier maten naar
voren in het slagwerk.
Het centrale deel
bevatsolo’s voor
xylofoon en piccolo, die
in de smaak zullen vallen
bij uw publiek, zeker
wanneer de solisten al
improviserend een aantal
technische staaltjes
laten horen. Indien
gewenst kan de
instrumentatie worden
gewijzigd. Na
hetsologedeelte komt het
eerste thema terug en
volgt er een opbouw naar
een opwindend slot, waar
iedere speler
“yeah!â€
roept. Met wat
aanvullende showelementen
zal het applaus nog
uitbundiger
zijn.
Zu diesem
Werk ließ sich der
Japaner Takamasa Sakai
von einer breiten Palette
an unterhaltsamen
Musikstilen inspirieren,
wie z.B.
Broadway-Musicals,
französischem Cancan
und Zirkusmärschen.
Aufregende Soli für
Xylophon und Piccolo,
Gelegenheiten zur
Improvisation, ein
traditionelles
japanisches
Klatsch-Rhythmusmuster
sowie ein spannendes
Finale sind die Zutaten
zu einem Stück, das
dem Publikum mit
Sicherheit den im Titel
versprochenen Applaus
entlocken
wird!
Applause!
s’ispira a diversi
stili musicali quali le
commedie musicali di
Broadway, il celebre
cancan e marce circensi.
Lo sviluppo è
sorprendente, fresco e
piacevole per i musicisti
ed il pubblico.
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1002208-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.DHP-1002208-010
Composed by Jan Van der
Roost. Sovereign Series.
Concert Piece. Set (Score
& Parts). Composed 2000.
De Haske Publications
#DHP 1002208-010.
Published by De Haske
Publications
(BT.DHP-1002208-010).
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
second movement focuses
on ARPAD, the actual
founder of the Hungarian
State. It starts with an
atmospherical passage,
evoking his grandmother,
Emese, who dreamt about
his future destination.
One of Arpad’s
opponents, the Bulgarian
Prince Zalan, was chased
away after a fight. After
this, Arpad officially
named the territory
“Magyarorszag.â€
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.