Swingin' at the Riverside Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Curnow Music
Concert Band/Harmonie and Saxophone Solo - Grade 2 SKU: BT.CMP-0991-06-010(+)
Concert Band/Harmonie and
Saxophone Solo - Grade 2
SKU:
BT.CMP-0991-06-010
Composed by Stephen
Bulla. Young Band. Set
(Score & Parts). Composed
2006. Curnow Music #CMP
0991-06-010. Published by
Curnow Music
(BT.CMP-0991-06-010).
9x12
inches.
Feature
anywhere from one
Saxophone up to the
entire Sax section in
Stephen Bulla’s
jazzy new arrangement
titled Swingin’ at
the Riverside. The quick,
rhythmic swing-style
music is catchy to say
the least! It’s
the perfect opportunity
to “lighten
up†during the next
concert performance. In
addition, it’s a
good piece to program
just before or after that
large work that’s
taxing for the Brass
players. It’s lots
of fun for Brasses to
play but gives them
plenty of short rests
throughout so they can
refresh their chops.
Now’s the time to
let the Saxes
shine!Light-hearted
and fun!
Dit
is een lekker vlot en
swingend werk waarin een
hoofdrol is weggelegd
voor de saxofoon. De
interactie tussen het
orkest en de solist(en)
is leuk en boeiend voor
zowel de muzikanten als
het publiek. De titel
Swingin’at the
Riversideis
natuurlijk een zinspeling
op de alom bekende
spiritual Down by the
Riverside, die te
horen is terwijl de
muziek zich ontvouwt. Een
levendige aanvulling op
uw eerstvolgende
concertprogramma!
Rücken Sie einen
Saxophonisten oder auch
das ganze Register ins
Rampenlicht - mit Stephen
Bullas jazzigen Titel
Swingin’ at the
Riverside haben Sie
die Wahl! Die flotte,
swingende rhythmische
Musik ist absolut
eingängig, ein
strahlendes Highlight
für jedes
Konzertprogramm!
Idealerweise planen Sie
dieses Stück nach
einem für die
Blechbläser
anstrengenden
Programmpunkt ein, da sie
hier zwar auch jede Menge
Spaß, aber auch
genügend Pausen haben.
Nun sind die Saxophone
dran!
Questo brano di
Stephen Bulla nasce dallo
swing e combina con
originalit uno dei più
grandi successi del jazz
di New Orleans, Down
by the Riverside.
L’accompagnamento
è brillante ed i
solisti semplicemente
sfavillanti!
Tone Builders 2 (Grade 2 to 4 - Score and Parts). By James Curnow. For Concert B...(+)
Tone Builders 2 (Grade 2
to 4 - Score and Parts).
By James Curnow. For
Concert Band. Curnow
Music Concert Band. Grade
2-4. Curnow Music
#046501. Published by
Curnow Music
Nordanvind Orchestre d'harmonie - Intermédiaire Carl Fischer
Band concert band - Grade 4.5 SKU: CF.SPS71 Composed by Carl Strommen. Se...(+)
Band concert band - Grade
4.5
SKU: CF.SPS71
Composed by Carl
Strommen. Set of Score
and Parts. With Standard
notation.
2+16+4+8+8+8+4+4+2+4+4+4+
4+6+6+6+4+4+4+4+6+6+6+6+4
+8+3+2+12+2+4+28 pages.
Duration 6 minutes, 26
seconds. Carl Fischer
Music #SPS71. Published
by Carl Fischer Music
(CF.SPS71).
ISBN
9781491143544. UPC:
680160901043. Key: G
minor.
Nordanvind
is a tour de force
symphonic rhapsody that
is built on three
Scandinavian folk songs.
Composer Carl Strommen
has composed these
Viking-influenced
melodies into a concert
setting that brings out
all of the history of the
Scandinavian people. The
piece is at times bold
and aggressive, at other
times beautiful. Carl
employs all of the
instrumental colors of
the concert band to
create a new work for
more advanced
ensembles. Modern
Scandinavians are
descendants of the
Vikings, an adventuresome
people who were known for
their love of the sea,
their naval prowess, and
as fierce fighters . The
Scandinavian Vikings were
warriors from Denmark,
Norway, and Sweden who
traded, raided and
settled in various parts
of Europe, Russia, the
North Atlantic islands,
and the northeastern
coast of North America
.Starting around 1850,
over one million Swedes
left their homeland for
the United States in
search of religious
freedom and open farm
land . Augustana College
was founded in 1860 by
graduates of Swedish
universities and is
located on the
Mississippi River in Rock
Island, Illinois . Home
of the
“Vikings,â€
Augustana College is the
oldest Swedish- American
institution of higher
learning in the United
States . This powerful
and lively piece takes
inspiration from Swedish
history and from Swedish
folk songs and hymns
.Havsdrake (Dragon of the
Sea)The Nordanvind or
“North Windâ€
blows a cold wind during
a journey of a group of
courageous Viking rowers
. The
“Dragon-shipâ€
or long ships designed
for raiding and war was a
sophisticated, fast ship
able to navigate in very
shallow water . To
musically portray these
magnificent seafaring
vessels, the director is
encouraged to use an
Ocean Drum (or a rain
stick) during the
introduction . Wind
players may consider
blowing air through their
instruments to suggest
the North wind . Adding
men’s voices to
accompany the haunting
low brass and percussive
“rowerâ€
sounds can be helpful in
creating the dark and
ominous portrayal of
Viking adventurers
.Slangpolska efter Byss -
KalleIn Sweden, a
“polska†is a
partner dance where the
dancers spin each other
(släng in Swedish
“to sling or
tossâ€) .
Slangpolska efter Byss -
Kalle is attributed to
Byss-Kalle, who was a
notable Swedish folk
musician, specifically a
nyckelharpa player .
Slangpolska efter Byss -
Kalle is a traditional
“polskaâ€
dance song most often
played on the Nyckelharpa
or keyed fiddle and is
commonly heard in pubs
and at festive events
throughout Sweden .
Approximately 10,000
nyckelharpa players live
in Sweden today, and the
Swedish and the American
Nyckelharpa Associations
are dedicated to this
Swedish National
instrument . The director
is encouraged to share
video and audio examples
of the nyckelharpa
playing the original
Slangpolska efter Byss -
Kalle .Tryggare Kan Ingen
Vara (Children of the
Heavenly Father)Tryggare
Kan Ingen Vara Is a
traditional Swedish
melody, possibly of
German roots, and was
believed to be arranged
as a hymn by the Swedish
hymn writer, Karolina
Wilhelmina Sandell-Berg
(1832–1903) . As a
daughter of a Swedish
Lutheran minister, she
began writing poems as a
teenager and is said to
have written over 1,700
different texts . There
are two different
accounts as to the
inspiration for this hymn
. The first story is that
Lina (as she was called)
wrote the hymn to honor
her father and to say
thank you to him for
raising her and
protecting her . A second
belief is of her
witnessing the tragic
death of her father . She
and her father were on a
boat, when a wave threw
her father overboard . It
was said that the
profound effect of
watching her father drown
is what caused Lina to
write the text to this
hymn . Although this is a
treasured song to people
of Swedish descent
everywhere, it speaks to
all people about a father
tending and nourishing
his children, and
protecting them from evil
.SPS71FThe Augustana
College Concert
BandFounded in 1874, the
Augustana Band program is
one of the oldest
continuously active
collegiate band programs
in the country . The
Concert Band is one of
two bands on campus and
was formed more than
thirty years ago . The
Concert Band attracts
students of every skill
level and from a wide
variety of majors .
Students in the ensemble
play a large part in
choosing their music for
performance, which
include works from the
standard repertoire,
orchestral
transcriptions, and the
latest compositions from
leading composers .Rick
Jaeschke began his
musical career as a
clarinet player in the
1st US Army Band . He
received a Bachelor of
Music degree from
Susquehanna University, a
Masters of Music from
James Madison University,
and a doctorate from
Columbia University in
New York . He was also
fortunate to study
conducting with Donald
Hunsburger and with
Frederick Fennell .Dr .
Jaeschke taught band and
choir at Great Mills High
School in Southern
Maryland, and for fifteen
years, he was the
district Music Supervisor
in Armonk, New York,
where he taught high
school concert and jazz
bands, beginning band,
and music technology .
During that time, the
music program flourished,
and the high school band
consistently received
Gold Medals in the New
York State Festivals, as
well as in national, and
international festivals .
As a clarinet and
saxophone player, Dr .
Jaeschke performed in the
New York metropolitan
area with the Rockland
Symphony Orchestra, the
Putnam Symphony
Orchestra, Fine Arts
Symphony Orchestra, and
served as the concert
master for the Hudson
Valley Wind Symphony .For
several years, Dr .
Jaeschke served as the
Fine Arts Coordinator for
the District 204 schools
in Naperville, IL, a
district selected as One
of the Best 100 Schools
in America for Music .
Currently, Dr . Jaeschke
is an Associate Professor
at Augustana College
where he teaches music
and music education
courses, and directs the
Concert Band . He has
served on various
educational boards, is a
National edTPA scorer,
and has presented at
state, national and
international music
conferences . He lives
with his family in
Bettendorf Iowa, and
enjoys any opportunity to
explore the open water in
his sea kayak .
Style Studies Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Curnow Music
Essentials of Musicianship Grade 2-4 - Score and Parts. By James Curnow/James L....(+)
Essentials of
Musicianship Grade 2-4 -
Score and Parts. By James
Curnow/James L. Hosay.
Curnow Concert Band Full
Set. Size 9x12 inches.
Published by Curnow
Music.
Concert Band/Harmonie and Percussion Solo - Grade 2 SKU: BT.CMP-0618-02-140(+)
Concert Band/Harmonie and
Percussion Solo - Grade 2
SKU:
BT.CMP-0618-02-140
Percussion Section
Feature. Composed by
James Curnow. Soloworks
Series. Original Light
Music. Score Only.
Composed 2002. 20 pages.
Curnow Music #CMP
0618-02-140. Published by
Curnow Music
(BT.CMP-0618-02-140).
A vibrant and
attentive percussion
section is crucial to the
success of any concert
band. However, they play
a supporting role so much
of the time that it can
be difficult to keep your
best players excited
about their music. Oneof
the best ways to beat
that problem is to
program an occasional
feature piece. James
Curnow's BLOCKBUSTER
PERCUSSION is just the
arrangement you need when
it's time to let the
percussion section show
off a bit. Bold,
excitingthemes and a
well-crafted rhythmic
modal concept keep the
parts interesting for all
the players in the band -
and audiences love the
energy that only the
percussion section can
deliver! Give everyone a
treat by
programmingBLOCKBUSTER
PERCUSSION.
Auld Lang Syne Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000776-140 Arranged by Menn...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000776-140
Arranged by Menno
Haantjes. Score Only.
Gobelin Music
Publications #GOB
000776-140. Published by
Gobelin Music
Publications
(BT.GOB-000776-140).
Whereas ‘Auld
Lang Syne’ may be
considered the best-known
Scottish song ever, yet
at the same time it is an
obscure one, for there
are but few people who
know the complete text by
heart. After the
familiar ‘Should auld
acquaintance be forgot
.....‘ many people take
their refuge to lyrics
like ‘rum tee dum ta
dee ..... lah, lah, lah
........... for auld lang
syne’. Even in
Scotland only a handful
of persons know the
entire text and are able
to give a correct
rendering of it. The
current lyrics have been
attributed to the
Scottish poet Robert
Burns. Burns, however, he
did not write the whole
poem : after he had heard
an old man sing the
centuries-old
Scotchballad, he wrote it
down and added a number
of stanzas (1788).
Historical research
teaches us that the
ballad served many
purposes, both political
and religious.
Nowadays, ‘Auld Lang
Syne’ is sung as a
Christmas Carol and it is
also sung on New Year’s
Eve at the turning of the
year. Apart from that,
though, the song is also
sung on many other
occasions sometimes with
different lyrics, which
usually have Love,
Friendship and/or Parting
as their themes, as these
go well with the
fascinating melody.
In this arrangement
a low-sounding solo
instrument is central.
The harmonization in the
accompaniment fits in
perfectly with the
sentiments this song will
evoke.
Should
auld acquaintance be
forgot And never
brought to mind?
Should auld acquintance
be forgot. And days
of auld lang syne?
For auld lang syne, my
dear, For auld lang
syne, We’ll take a
cup of kindness yet,
For auld lang syne.
Misschien wel het
meest bekende Schotse
lied, maar tegelijkertijd
ook het minst bekende, er
zijn er maar weinig
mensen die de tekst mee
kunnen zingen. Na het
bekende ‘Should auld
acquaintaintance be
forgot and .....‘
vervallenvelen in ‘rum
tee dum ta dee ..... lah,
lah, lah ........... for
auld lang syne’.
Zelfs in Schotland is
maar een enkeling in
staat de tekst correct
weer te geven. De
huidige versie wordt
toegeschreven aan de
Schotse dichterRobert
Burns. Burns heeft echter
niet de hele tekst
gemaakt. Toen hij de
eeuwen oude Schotse
ballade door een oude man
hoorde zingen, heeft hij
enkele verzen toegevoegd
(1788). Historisch
onderzoek leert dat de
ballade voorveel
doeleinden gebruikt werd,
voor politieke als ook
religieuze doelen.
Tegenwoordig wordt
‘Auld Lang Syne’
gebruikt als Christmas
Carol en wordt het
gezongen tijdens de
jaarwisseling op
oudejaarsavond.Het lied,
soms meteen andere tekst,
wordt echter op veel meer
plaatsen gebruikt.
Liefde, Vriendschap en
Afscheid zijn dan meestal
de sentimenten die
gecombineerd worden met
de meeslepende
melodie.
In dit
arrangement staat een
‘laag’
solo-instrumentcentraal.<
br> De harmonisatie in de
begeleiding sluit
naadloos aan bij deze
gevoelens die dit lied
oproepen.
Should
auld acquaintance be
forgot And never
brought to mind?
Should auld acquintance
beforgot And days of
auld lang syne? For
auld lang syne, my
dear, For auld lang
syne, We’ll take a
cup of kindness yet,
For auld lang syne.
Auld Lang Syne Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000776-010 Arranged by Menn...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000776-010
Arranged by Menno
Haantjes. Set (Score &
Parts). 81 pages. Gobelin
Music Publications #GOB
000776-010. Published by
Gobelin Music
Publications
(BT.GOB-000776-010).
Whereas ‘Auld
Lang Syne’ may be
considered the best-known
Scottish song ever, yet
at the same time it is an
obscure one, for there
are but few people who
know the complete text by
heart. After the
familiar ‘Should auld
acquaintance be forgot
.....‘ many people take
their refuge to lyrics
like ‘rum tee dum ta
dee ..... lah, lah, lah
........... for auld lang
syne’. Even in
Scotland only a handful
of persons know the
entire text and are able
to give a correct
rendering of it. The
current lyrics have been
attributed to the
Scottish poet Robert
Burns. Burns, however, he
did not write the whole
poem : after he had heard
an old man sing the
centuries-old
Scotchballad, he wrote it
down and added a number
of stanzas (1788).
Historical research
teaches us that the
ballad served many
purposes, both political
and religious.
Nowadays, ‘Auld Lang
Syne’ is sung as a
Christmas Carol and it is
also sung on New Year’s
Eve at the turning of the
year. Apart from that,
though, the song is also
sung on many other
occasions sometimes with
different lyrics, which
usually have Love,
Friendship and/or Parting
as their themes, as these
go well with the
fascinating melody.
In this arrangement
a low-sounding solo
instrument is central.
The harmonization in the
accompaniment fits in
perfectly with the
sentiments this song will
evoke.
Should
auld acquaintance be
forgot And never
brought to mind?
Should auld acquintance
be forgot. And days
of auld lang syne?
For auld lang syne, my
dear, For auld lang
syne, We’ll take a
cup of kindness yet,
For auld lang syne.
Misschien wel het
meest bekende Schotse
lied, maar tegelijkertijd
ook het minst bekende, er
zijn er maar weinig
mensen die de tekst mee
kunnen zingen. Na het
bekende ‘Should auld
acquaintaintance be
forgot and .....‘
vervallenvelen in ‘rum
tee dum ta dee ..... lah,
lah, lah ........... for
auld lang syne’.
Zelfs in Schotland is
maar een enkeling in
staat de tekst correct
weer te geven. De
huidige versie wordt
toegeschreven aan de
Schotse dichterRobert
Burns. Burns heeft echter
niet de hele tekst
gemaakt. Toen hij de
eeuwen oude Schotse
ballade door een oude man
hoorde zingen, heeft hij
enkele verzen toegevoegd
(1788). Historisch
onderzoek leert dat de
ballade voorveel
doeleinden gebruikt werd,
voor politieke als ook
religieuze doelen.
Tegenwoordig wordt
‘Auld Lang Syne’
gebruikt als Christmas
Carol en wordt het
gezongen tijdens de
jaarwisseling op
oudejaarsavond.Het lied,
soms meteen andere tekst,
wordt echter op veel meer
plaatsen gebruikt.
Liefde, Vriendschap en
Afscheid zijn dan meestal
de sentimenten die
gecombineerd worden met
de meeslepende
melodie.
In dit
arrangement staat een
‘laag’
solo-instrumentcentraal.<
br> De harmonisatie in de
begeleiding sluit
naadloos aan bij deze
gevoelens die dit lied
oproepen.
Should
auld acquaintance be
forgot And never
brought to mind?
Should auld acquintance
beforgot And days of
auld lang syne? For
auld lang syne, my
dear, For auld lang
syne, We’ll take a
cup of kindness yet,
For auld lang syne.
Composed by Larry Clark.
Young Band (YPS). Set of
Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+6+6+2+2+4+10+20+4
pages. Duration 3
minutes, 39 seconds. Carl
Fischer Music #YPS212.
Published by Carl Fischer
Music (CF.YPS212).
ISBN 9781491152317.
UPC: 680160909810. Key: C
minor.
Taking its
title from a poem about
grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Composed by Larry Clark.
Young Band (YPS). Full
score. With Standard
notation. 20 pages. Carl
Fischer Music #YPS212F.
Published by Carl Fischer
Music (CF.YPS212F).
ISBN 9781491152997.
UPC:
680160910496.
Takin
g its title from a poem
about grief and loss by
Chrissie Pinney, Live
On honors the life of
band director Linda Mann,
to whom the piece is
dedicated. The piece
begins with a pensive
intro before shifting to
a whimsical theme that
brings about happy
thoughts of a life
well-lived. After a
return to the poignant
opening material, the
music surges to a
triumphant conclusion
based on an augmented
version of the whimsical
theme. Live On was
commissioned by Diplomat
Middle School's staff,
faculty and students, in
Cape Coral, Florida, and
is dedicated to the
memory of their Director
of Bands, Linda Mann.
Director of Orchestras,
Roland Forti, championed
the commissioning of this
piece to honor the life
of Linda after her
untimely passing in
February of
2017. Linda
Mann’s impact on
the field of music
education was profound
and wide-reaching. She
was a beloved member of
the staff at Diplomat
Middle School, as well as
the music community of
Cape Coral and the state
of Florida. Linda was
highly respected
throughout the state,
serving as recent
past-president of the
Florida Bandmasters
Association.In discussing
the type of piece the
school wanted to honor
Ms. Mann, they indicated
the piece should
“depict
Linda’s
personality: dynamic,
sassy, yet thoughtful and
almost
mentor-like.†They
wanted a piece that was
upbeat, yet still had
moments that were
thoughtful, portraying
the grief that the
Diplomat Middle School
community has suffered
from the sudden loss of
such a beloved
teacher.After
contemplating their
thoughts, I did some
research to find
inspiration for the
piece. This led me to
poetry about grief and
loss. In time, I stumbled
upon a short, yet
poignant poem that I felt
perfectly depicted the
sentiment that I wanted
the piece to convey.Â
That poem is entitled
Live On by Chrissie
Pinney.Live OnNow as I
live onWithout youI hope
to keepThe pieces of
youThat I loved so
dearlyYour mannerismsAnd
compassionate
characterAnd smiles
through struggleSo that
youMay live on
too -Chrissie PinneyI
reached out to Ms.
Pinney, and she
graciously agreed to
allow me to quote her
powerful poem in these
notes. She expressed
that she was deeply
touched that her work
would inspire me to write
a piece in honor of Linda
Mann.The piece begins
with a poignant, pensive
opening section. The use
of the musical interval
of a tritone between the
first two openly voiced
chords are used to
represent the sadness we
all feel from this type
of loss. When I sat in
front of my piano and
started to work on this
piece, my hands seemed to
naturally and immediately
play these first two
chords, which set the
process in motion of
composing the piece.After
the somber opening, the
piece shifts to a
whimsical theme that I
hope brings about happy
thoughts of Linda and her
personality. It was also
my intent, however, to
include some musical
dissonance in the theme
that still reflected the
bittersweet loss at the
same time. The piece
develops into a secondary
theme that is a quasi
inversion of the main
fast theme. This
section is followed by a
return of the opening
material, with snippets
of the fast theme
intertwined, before the
piece builds to a
triumphant, augmented
presentation of the main
theme in a lush form to
complete the work.It is
my hope that in some
small way, this piece
will bring comfort to
those affected by the
loss of Linda Mann, and
that the music will allow
her memory to Live
On.–Larry
ClarkLakeland, FL
2017.
Blockbuster Percussion Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Curnow Music
Concert Band/Harmonie and Percussion Solo - Grade 2 SKU: BT.CMP-0618-02-010(+)
Concert Band/Harmonie and
Percussion Solo - Grade 2
SKU:
BT.CMP-0618-02-010
Percussion Section
Feature. Composed by
James Curnow. Soloworks
Series. Original Light
Music. Set (Score &
Parts). Composed 2002.
Curnow Music #CMP
0618-02-010. Published by
Curnow Music
(BT.CMP-0618-02-010).
A vibrant and
attentive Percussion
section is crucial to the
success of any concert
band. However, the
Percussionists play a
supporting role so much
of the time that it can
be difficult to keep your
best players excited
about their music. One of
the best ways to beat
that problem is to
program an occasional
feature piece.James
Curnow’s
BLOCKBUSTER PERCUSSION is
just the arrangement you
need when it’s
time to let the
Percussion section
“show off†a
bit. Bold, exciting
themes and a well-crafted
rhythmic modal concept
keep the parts
interesting for all the
players in the band. AND,
audiences love the energy
that only the Percussion
section can deliver! Give
everyone a treatby
programming BLOCKBUSTER
PERCUSSION soon!
Concert Band; Orchestra
2+Picc.2+EH.2.2:
4.2+2.3.1:
Timp.Perc(5-6): Str
(9-8-7-6-5 in set): Banda
ad lib [0.0.0.0: 4.2.2.2:
Perc(3-4)]
SKU:
AP.36-A217602
Arranged by Peter Ilyich
Tchaikovsky and ed./arr.
by Martin Schmeling. Full
Orchestra, Conductor
Score & Parts. Kalmus
Orchestra Library. Score
and Part(s).
LudwigMasters
Publications #36-A217602.
Published by
LudwigMasters
Publications
(AP.36-A217602).
UPC:
659359654565.
English.
Among the
most frequently performed
and well-known of P. I.
Tchaikovsky's (1840-1893)
works, The Year 1812,
Solemn Overture, Op. 49
(more commonly known as
the 1812 Overture) was
written in 1880 to
commemorate the 1812
defeat of Napoleon's
invading French army by
the Russians. Despite the
composer's lack of
enthusiasm about the
project at its inception,
claiming that he wrote it
without any warm and
loving feelings,
Tchaikovsky acknowledged
later that he did well in
its composition, saying I
absolutely do not know
whether my overture (The
Year 1812) is good or
bad, but I rather think
it is the former (pardon
my immodesty). It
premiered on August 20,
1882, in Moscow at the
Art & Industry
Exhibition, Ippolit
Altani conducting. Famous
for its use of cannons in
the Finale, the Finale
also calls for the
inclusion of a military
brass band, which is
labelled as open
instrumentation in the
original. This edition by
Martin Schmeling spells
out specific
instrumentation options
for the banda.
Instrumentation:
2+Picc.2+EH.2.2:
4.2+2.3.1:
Timp.Perc(5-6): Str
(9-8-7-6-5 in set): Banda
ad lib [0.0.0.0: 4.2.2.2:
Perc(3-4)].
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Concert Band; Orchestra
2+Picc.2+EH.2.2:
4.2+2.3.1:
Timp.Perc(5-6): Str
(9-8-7-6-5 in set): Banda
ad lib [0.0.0.0: 4.2.2.2:
Perc(3-4)]
SKU:
AP.36-A217642
Arranged by Peter Ilyich
Tchaikovsky and ed./arr.
by Martin Schmeling. Full
Orchestra, Banda. Kalmus
Orchestra Library.
Part(s). LudwigMasters
Publications #36-A217642.
Published by
LudwigMasters
Publications
(AP.36-A217642).
ISBN
9798892700634. UPC:
659359532276.
English.
Among the
most frequently performed
and well-known of P. I.
Tchaikovsky's (1840-1893)
works, The Year 1812,
Solemn Overture, Op. 49
(more commonly known as
the 1812 Overture) was
written in 1880 to
commemorate the 1812
defeat of Napoleon's
invading French army by
the Russians. Despite the
composer's lack of
enthusiasm about the
project at its inception,
claiming that he wrote it
without any warm and
loving feelings,
Tchaikovsky acknowledged
later that he did well in
its composition, saying I
absolutely do not know
whether my overture (The
Year 1812) is good or
bad, but I rather think
it is the former (pardon
my immodesty). It
premiered on August 20,
1882, in Moscow at the
Art & Industry
Exhibition, Ippolit
Altani conducting. Famous
for its use of cannons in
the Finale, the Finale
also calls for the
inclusion of a military
brass band, which is
labelled as open
instrumentation in the
original. This edition by
Martin Schmeling spells
out specific
instrumentation options
for the banda.
Instrumentation:
2+Picc.2+EH.2.2:
4.2+2.3.1:
Timp.Perc(5-6): Str
(9-8-7-6-5 in set): Banda
ad lib [0.0.0.0: 4.2.2.2:
Perc(3-4)].
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Concert Band (SCORE) - Grade 2 SKU: HL.4003172 Composed by Johann Sebasti...(+)
Concert Band (SCORE) -
Grade 2
SKU:
HL.4003172
Composed
by Johann Sebastian Bach.
Arranged by Samuel R.
Hazo. MusicWorks Grade 2.
Baroque, Classical. 12
pages. Duration 840
seconds. Published by Hal
Leonard (HL.4003172).
UPC: 884088651480.
9.0x12.0x0.054
inches.
Introducing
your young musicians to
J.S. Bach's poignantly
familiar work is now
possible with this easy
arrangement by Samuel R.
Hazo. Treated in an
easy-to-grasp 3/4 time
signature, your students
will experience the
genius of Bach and the
alluring qualities of
this gorgeous theme. Each
section of the band gets
a turn at the melody, and
rhythmically there is
nothing faster than a
quarter note. Guaranteed
to sound great with
limited rehearsal time!
Dur: 1:45.
Concert Band; Orchestra
2+Picc.2+EH.2.2:
4.2+2.3.1:
Timp.Perc(5-6): Str
(9-8-7-6-5 in set): Banda
ad lib [0.0.0.0: 4.2.2.2:
Perc(3-4)]
SKU:
AP.36-A217601
Arranged by Peter Ilyich
Tchaikovsky and ed./arr.
by Martin Schmeling. Full
Orchestra, Conductor
Score. Kalmus Orchestra
Library. Score.
LudwigMasters
Publications #36-A217601.
Published by
LudwigMasters
Publications
(AP.36-A217601).
ISBN
9798892700627. UPC:
659359965340.
English.
Among the
most frequently performed
and well-known of P. I.
Tchaikovsky's (1840-1893)
works, The Year 1812,
Solemn Overture, Op. 49
(more commonly known as
the 1812 Overture) was
written in 1880 to
commemorate the 1812
defeat of Napoleon's
invading French army by
the Russians. Despite the
composer's lack of
enthusiasm about the
project at its inception,
claiming that he wrote it
without any warm and
loving feelings,
Tchaikovsky acknowledged
later that he did well in
its composition, saying I
absolutely do not know
whether my overture (The
Year 1812) is good or
bad, but I rather think
it is the former (pardon
my immodesty). It
premiered on August 20,
1882, in Moscow at the
Art & Industry
Exhibition, Ippolit
Altani conducting. Famous
for its use of cannons in
the Finale, the Finale
also calls for the
inclusion of a military
brass band, which is
labelled as open
instrumentation in the
original. This edition by
Martin Schmeling spells
out specific
instrumentation options
for the banda.
Instrumentation:
2+Picc.2+EH.2.2:
4.2+2.3.1:
Timp.Perc(5-6): Str
(9-8-7-6-5 in set): Banda
ad lib [0.0.0.0: 4.2.2.2:
Perc(3-4)].
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Grade 2 to 3 - Score Only. Composed by James Curnow/James L. Hosay. Curnow Music...(+)
Grade 2 to 3 - Score
Only. Composed by James
Curnow/James L. Hosay.
Curnow Music Concert
Band. Instruction,
Warm-up. Curnow Music
#30399140. Published by
Curnow Music
Composed by
Victor Herbert. Symphonic
Band (SPS). Full score.
With Standard notation.
40 pages. Carl Fischer
Music #SPS78F. Published
by Carl Fischer Music
(CF.SPS78F).
ISBN
9781491153239. UPC:
680160910731.
Festi
val March is presented in
a new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. About the
CompositionFestival March
by Victor Herbert was
written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 .
Composed by
Victor Herbert. Symphonic
Band (SPS). Set of Score
and Parts. With Standard
notation.
3+12+12+6+6+3+12+24+24+6+
6+8+8+6+6+9+18+18+27+8+8+
8+8+9+9+9+9+12+3+6+6+40+6
pages. Duration 7:37.
Carl Fischer Music
#SPS78. Published by Carl
Fischer Music (CF.SPS78).
ISBN 9781491152553.
UPC: 680160910052. Key:
Bb major.
Festival
March is presented in a
new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. Festival
March by Victor Herbert
was written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 .
Trombone Feature.
Composed by Mike
Hannickel. Young Band.
Score Only. Composed
2007. 20 pages. Curnow
Music #CMP 1108-07-140.
Published by Curnow Music
(BT.CMP-1108-07-140).
9x12 inches.
English.
Did you
ever find a baby
bumblebee and try to
bring it home? No
Place Like Home, The
Flight Of The Bumblebee
and The Arkansas
Traveler (the
bumblebee song melody)
combine to make this
Trombone feature unlike
any you’ve tried
before. It’s a
good idea to occasionally
give the Trombone section
a little time in the
limelight, and
it’s also a good
idea for your band to
have some fun. This one
works on both levels.
Pick one up today! (The
arrangement, Not the baby
bumblebee!)
Het
Engelse woord voor hommel
is
‘bumblebee’.
In het speelse,
fantasierijke Bumble
Bones, waarin de
trombonesectie de
hoofdrol speelt, wordt
het gezoem van de hommel
voornamelijk nagebootst
op de mondstukken. Dit
werk bevat No PlaceLike
Home, The Flight of the
Bumblebee en The Arkansas
Traveler (de melodie van
de ‘bumblebee
song’) en is een
aanrader voor wie een
werk wil uitvoeren dat
anders dan anders
is.
Ein beliebtes
amerikanisches Kinderlied
über eine Hummel wird
zur Melodie des
Volksliedes The
Arkansas Traveler
gesungen. Diese Melodie,
das Lied >No Place
Like Home und der
berühmte
Hummelflug sind
die drei Zutaten zu einem
heiteren Solostück
für das
Posaunenregister, wie es
die Welt noch nicht
gehört hat. Eine gute
Gelegenheit, Ihre
Posaunen ins Rampenlicht
zu rücken und zugleich
ein Riesenspaß für
alle Anwesenden!
Mondo Glissando Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Curnow Music
Concert Band/Harmonie and Trombone Trio - Grade 2.5 SKU: BT.CMP-0494-01-010(+)
Concert Band/Harmonie and
Trombone Trio - Grade 2.5
SKU:
BT.CMP-0494-01-010
Composed by Mike
Hannickel. Soloworks
Series. Set (Score &
Parts). Composed 2001.
Curnow Music #CMP
0494-01-010. Published by
Curnow Music
(BT.CMP-0494-01-010).
Slip-slidinâ
™ trombone smears in
this rip-snortin’
ragtime setting are sure
to tickle your ears and
put some tap in your
toes. The trombone
glissando is the happiest
sound around! Dedicated
to, and premiered by, the
Westchester Middle School
Band of Westchester,
Illinois, Mr. Jason
Kluge, director, MONDO
GLISSANDO targets that
most critical of wind
sections. When was the
last time you featured
your trombones? When was
the last time they felt
like STARS? Section
feature pieces are one of
the most important
techniques available for
keeping a section strong
and well represented.
MONDO GLISSANDO can even
be used as a trombone
SOLO piece, by having the
non-solo trombones play
from thetechnically
simpler euphonium
part.Either way, section
or solo, there’s
nothing like an exposed
part on an upcoming
performance to
reinvigorate a
musician’s
interest and encourage
that all-important
PRACTICE!
A Day at the Circus Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Curnow Music
Concert Band/Harmonie - Grade 2.5 SKU: BT.CMP-0221-98-010 Composed by Jam...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.CMP-0221-98-010
Composed by James Curnow.
Passport Plus Series. Set
(Score & Parts). Composed
1998. Curnow Music #CMP
0221-98-010. Published by
Curnow Music
(BT.CMP-0221-98-010).
The circus is
in town! Come and join
the fun, as we present
your band in a circus
extravaganza. A Day at
the Circus takes you on a
musical tour where you
will meet clowns who will
make you laugh,
breathtaking acrobats,
lion tamers and even the
Human Cannonball. So sit
back, relax and enjoy the
show.
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1074335-010 What God doe...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1074335-010
What God does, is well
done. Composed by
Severius Gastorius.
Arranged by Roland
Kernen. Musica Sacra.
Hymns & Chorals. Set
(Score & Parts). Composed
2007. De Haske
Publications #DHP
1074335-010. Published by
De Haske Publications
(BT.DHP-1074335-010).
9x12 inches.
English-German-French-Dut
ch.
Roland Kernen
has succeeded in creating
a breathtaking
arrangementof the
well-known and popular
chorale Was Gott tut, das
ist wohlgetan.The song by
Severius Gastorius, a
cantor and composer in
the Germantown of Jena in
the 17th century, was
inspired by the
well-knowncomposers of
the time including
Pachelbel, Telemann and
JohannSebastian Bach. A
truly moving chorale
which will make a great
tranquilinterlude to any
concert.
De tekst
van het koraal Was
Gott tut, das ist
wohlgetan werd in
1674 geschreven door
Samuel Rodigast, die
werkte aan de
filosofische faculteit te
Jena en van wie geen
verdere dichtwerken
bekend zijn. Hij schreef
het gedichtvoor zijn
zieke vriend Severus
Gastorius, de
universiteitscantor, die
het vervolgens op muziek
zette. Het koraal werd al
snel opgenomen in
kerkelijke liedboeken en
het werd gebruikt door
zowel Bach als
Pachelbel.
Roland
Kernen schuf eine
gelungene Bearbeitung des
allseits bekannten und
beliebten Chorals Was
Gott tut, das ist
wohlgetan. Das Lied
von Severius Gastorius,
einem Kantor und
Komponisten in Jena im
17. Jahrhundert,
inspirierte bereits
große Komponisten wie
Pachelbel, Telemann und
Johann Sebastian Bach,
die die ergreifende
Melodie in ihren Werken
verarbeiteten.
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1074335-140 What God doe...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1074335-140
What God does, is well
done. Composed by
Severius Gastorius.
Arranged by Roland
Kernen. Musica Sacra.
Hymns & Chorals. Score
Only. Composed 2007. 16
pages. De Haske
Publications #DHP
1074335-140. Published by
De Haske Publications
(BT.DHP-1074335-140).
9x12 inches.
English-German-French-Dut
ch.
Roland Kernen
has succeeded in creating
a breathtaking
arrangementof the
well-known and popular
chorale Was Gott tut, das
ist wohlgetan.The song by
Severius Gastorius, a
cantor and composer in
the Germantown of Jena in
the 17th century, was
inspired by the
well-knowncomposers of
the time including
Pachelbel, Telemann and
JohannSebastian Bach. A
truly moving chorale
which will make a great
tranquilinterlude to any
concert.
Roland
Kernen schuf eine
gelungene Bearbeitung des
allseits bekannten und
beliebten Chorals Was
Gott tut, das ist
wohlgetan. Das Lied
von Severius Gastorius,
einem Kantor und
Komponisten in Jena im
17. Jahrhundert,
inspirierte bereits
große Komponisten wie
Pachelbel, Telemann und
Johann Sebastian Bach,
die die ergreifende
Melodie in ihren Werken
verarbeiteten.
By Robert W. Smith. Concert band. For concert band. Young Band. Command. Grade 3...(+)
By Robert W. Smith.
Concert band. For concert
band. Young Band.
Command. Grade 3. Score
and set of parts.
Composed 2009. Duration 2
minutes, 38 seconds.
Published by C.L.
Barnhouse
Concert Band - Grade 1 SKU: AP.BD9813 Featuring: Sweet Betsy from Pike...(+)
Concert Band - Grade 1
SKU: AP.BD9813
Featuring: Sweet Betsy
from Pike / The Streets
of Laredo / The Lone
Prairie / Little Brown
Jug. Arranged by
James D. Ployhar. Concert
Band; Performance Music
Ensemble; Single Titles.
Belwin Beginning Band.
Folk. Score and Part(s).
126 pages. Duration 2:04.
Belwin Music #00-BD9813.
Published by Belwin Music
(AP.BD9813).
UPC:
029156908336.
English.
From radio
to motion pictures to
television, all have
glamorized what we know
as The Wild West, but the
folk songs from that era
have lived on in an
unaltered state. They
tell stories of the
lives, loves, and losses
of the brave souls who
ventured into a then
uncharted landscape. Here
is a musical salute to
that time and its people,
featuring SWEET BETSY
FROM PIKE, THE STREETS OF
LAREDO, THE LONE PRAIRIE,
and LITTLE BROWN JUG.
Head 'em up and move 'em
out! (2:04).
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.
A Day at the Circus Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Curnow Music
Concert Band - Grade 2.5 SKU: BT.CMP-0221-98-040 Composed by James Curnow...(+)
Concert Band - Grade 2.5
SKU:
BT.CMP-0221-98-040
Composed by James Curnow.
Passport Plus Series.
Original Light Music. Set
(Score & Parts). Composed
1998. Curnow Music #CMP
0221-98-040. Published by
Curnow Music
(BT.CMP-0221-98-040).
Come and join
the fun as we present
your band in a circus
extravaganza! A Day at
the Circus takes you on a
musical tour where you
will meet clowns to make
you laugh, breathtaking
acrobats, lion tamers and
even the HumanCannonball.
So sit back, relax and
enjoy the
show.
The circus
is in town! Come and join
the fun, as we present
your band in a circus
extravaganza. A Day at
the Circus takes you on a
musical tour where you
will meet clowns who will
make you laugh,
breathtaking acrobats,
lion tamers and even the
Human Cannonball. So sit
back, relax and enjoy the
show.