Hypernikon Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1196114-140 More Than Conq...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1196114-140
More Than
Conquerors. Composed
by Jan Van der Roost.
Brilliant Marches.
Concert March. Score
Only. Composed 2019. 23
pages. De Haske
Publications #DHP
1196114-140. Published by
De Haske Publications
(BT.DHP-1196114-140).
English-German-French-
Dutch.
The Greek
word
‘hypernikon’
roughly translates as
‘More Than
Conquerors’, the
motto of Gordon College
in Wenham, Massachusetts
the commissioner of this
piece. The work is
inspired by David
Rox’s very own
name the first two
letters of his name, D
and A, sets the first
theme is in D major, with
these notes being the
tonic and dominant of the
scale. After the stately
intrada, the tempo
accelerates and the
festive feel of the march
emerges. The trio melody
serves as a beautiful
contrast before finally
ending with the opening
theme in a grand
tutti.
Het
Griekse woord
‘hypernikon’
betekent zoveel als
‘meer dan
veroveraars’ en
More Than
Conquerors is de
lijfspreuk van het Gordon
College in Wenham,
Massachussets (VS). Het
eerste thema is gebaseerd
op de noten die in de
naam David Rox terug te
vinden zijn. Na deze
plechtige intrada
wordt het tempo
opgedreven en komt de
mars op gang met
feestelijke klanken. De
triomelodie contrasteert
mooi met dit alles: aan
het slot wordt het
openingsthema hernomen in
een groots
tutti.
Das
griechische Wort
hypernikon“
bedeutet grob
übersetzt mehr als
Eroberer“, was auch
das Motto Auftraggebers,
das Gordon College in
Wenham, Massachussets
(USA), ist. Das erste
Thema basiert auf Noten,
die man in David Rox'
Namen findet. Nach einer
imposanten Intrada
wird das Tempo schneller
und ein festlicher Marsch
erklingt. Die
Trio-Melodie bildet einen
wunderschönen
Kontrast, bevor das
Stück schließlich
mit dem Anfangsthema in
einer großen
Tutti-Orchestrierung
wiederkehrt.
Hypernikon Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1196114-010 More Than Conq...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1196114-010
More Than
Conquerors. Composed
by Jan Van der Roost.
Brilliant Marches.
Concert March. Set (Score
& Parts). Composed 2019.
De Haske Publications
#DHP 1196114-010.
Published by De Haske
Publications
(BT.DHP-1196114-010).
English-German-French-
Dutch.
The Greek
word
‘hypernikon’
roughly translates as
‘More Than
Conquerors’, the
motto of Gordon College
in Wenham, Massachusetts
the commissioner of this
piece. The work is
inspired by David
Rox’s very own
name the first two
letters of his name, D
and A, sets the first
theme is in D major, with
these notes being the
tonic and dominant of the
scale. After the stately
intrada, the tempo
accelerates and the
festive feel of the march
emerges. The trio melody
serves as a beautiful
contrast before finally
ending with the opening
theme in a grand
tutti.
Het
Griekse woord
‘hypernikon’
betekent zoveel als
‘meer dan
veroveraars’ en
More Than
Conquerors is de
lijfspreuk van het Gordon
College in Wenham,
Massachussets (VS). Het
eerste thema is gebaseerd
op de noten die in de
naam David Rox terug te
vinden zijn. Na deze
plechtige intrada
wordt het tempo
opgedreven en komt de
mars op gang met
feestelijke klanken. De
triomelodie contrasteert
mooi met dit alles: aan
het slot wordt het
openingsthema hernomen in
een groots
tutti.
Das
griechische Wort
hypernikon“
bedeutet grob
übersetzt mehr als
Eroberer“, was auch
das Motto Auftraggebers,
das Gordon College in
Wenham, Massachussets
(USA), ist. Das erste
Thema basiert auf Noten,
die man in David Rox'
Namen findet. Nach einer
imposanten Intrada
wird das Tempo schneller
und ein festlicher Marsch
erklingt. Die
Trio-Melodie bildet einen
wunderschönen
Kontrast, bevor das
Stück schließlich
mit dem Anfangsthema in
einer großen
Tutti-Orchestrierung
wiederkehrt.
Hypernikon Orchestre d'harmonie - Intermédiaire De Haske Publications
Score & Parts Concert Band (SCORE+PARTS) - Grade 4 SKU: HL.4005854 Mor...(+)
Score & Parts Concert
Band (SCORE+PARTS) -
Grade 4
SKU:
HL.4005854
More
Than Conquerors.
Composed by Jan Van der
Roost. De Haske Concert
Band. Concert, March.
Softcover. Duration 225
seconds. Published by De
Haske Publications
(HL.4005854).
UPC:
888680932435. 9.0x12.0
inches.
The Greek
word
“hypernikonâ€
roughly translates as
“More Than
Conquerors,†the
motto of Gordon College
in Wenham, Massachusetts
-- the commissioner of
this piece. The work is
inspired by David Rox's
very own name -- the
first two letters of his
name, D and A, sets the
first theme is in D
major, with these notes
being the tonic and
dominant of the scale.
After the stately
intrada, the tempo
accelerates and the
festive feel of the march
emerges. The trio melody
serves as a beautiful
contrast before finally
ending with the opening
theme in a grand
tutti.
La Terre Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000851-140 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000851-140
Composed by Rob Goorhuis.
Score Only. 61 pages.
Gobelin Music
Publications #GOB
000851-140. Published by
Gobelin Music
Publications
(BT.GOB-000851-140).
In the
composition 'La terre'
several aspects of Earth
have been translated into
sounds in an associative
manner. The first part
depicts Nature, Mother
Earth, stability, the
soil which is the source
of life. Earth symbolizes
tradition, rituals,
fertility. In the music
of the composition this
can be heard in tonic and
ostinato passages.
Furthermore, human
emotions such as
gladness, sorrow, wonder,
resignation, hope and
despair, indissolubly
connected as they are to
mankind's life on earth,
are musically reflected
in sudden gusts of
expression. Earth for us
human beings is the solid
ground on which
everything in life takes
place. In the second part
different moodsare evoked
in a sort of toccata. Now
and then the music sounds
fragmented, at other
times as a solid whole.
The robustness of the
music in this part has
its roots in the earth,
originates from it. It
reflects stability and
strength, but love and
nostalgia are also
present in soft and
fragile tones. 'La terre'
is a musical narrative
about Earth, in which
music has been given
ample room to show its
many-sided beauty.
In het werk La
terre worden op een
associatieve manier
allerlei elementen in
klanken vertaald. De
grondstoffen voor de
instrumenten zijn de
bouwstoffen voor de
compositie. Het eerste
gedeelte schildert de
natuur, moeder aarde,
houvast,de grond, waaruit
alles voortkomt. De grond
staat voor traditie,
rituelen, vruchtbaarheid.
In de muziek vertaalt
zich dit in grondtonige
passages, ostinato, maar
ook de windvlagen van de
inspiratie. De reflecties
van menselijkeemoties,
verbonden aan de aarde,
het leven op de aarde,
zijn o.a.: blijdschap,
verdriet, verwondering,
berusting, hoop, wanhoop.
De aarde is de vaste
grond, waarop alles zich
voltrekt. In het tweede
deel wordt gespeeld met
destemmingen in een soort
toccata. Soms
verbrokkelt, dan weer als
een massief geheel. De
robuustheid van de klank
is gegrond op de aarde,
komt er uit voort. Er
klinkt houvast en kracht
in door, maar ook de
liefde en nostalgie
wordtervaren in de zachte
en broze klanken. La
terre is het verhaal van
de aarde, waaruit muziek
oprijst in zijn
veelzijdige
schoonheid.
La Terre Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000851-010 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000851-010
Composed by Rob Goorhuis.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000851-010. Published by
Gobelin Music
Publications
(BT.GOB-000851-010).
In the
composition 'La terre'
several aspects of Earth
have been translated into
sounds in an associative
manner. The first part
depicts Nature, Mother
Earth, stability, the
soil which is the source
of life. Earth symbolizes
tradition, rituals,
fertility. In the music
of the composition this
can be heard in tonic and
ostinato passages.
Furthermore, human
emotions such as
gladness, sorrow, wonder,
resignation, hope and
despair, indissolubly
connected as they are to
mankind's life on earth,
are musically reflected
in sudden gusts of
expression. Earth for us
human beings is the solid
ground on which
everything in life takes
place. In the second part
different moodsare evoked
in a sort of toccata. Now
and then the music sounds
fragmented, at other
times as a solid whole.
The robustness of the
music in this part has
its roots in the earth,
originates from it. It
reflects stability and
strength, but love and
nostalgia are also
present in soft and
fragile tones. 'La terre'
is a musical narrative
about Earth, in which
music has been given
ample room to show its
many-sided beauty.
In het werk La
terre worden op een
associatieve manier
allerlei elementen in
klanken vertaald. De
grondstoffen voor de
instrumenten zijn de
bouwstoffen voor de
compositie. Het eerste
gedeelte schildert de
natuur, moeder aarde,
houvast,de grond, waaruit
alles voortkomt. De grond
staat voor traditie,
rituelen, vruchtbaarheid.
In de muziek vertaalt
zich dit in grondtonige
passages, ostinato, maar
ook de windvlagen van de
inspiratie. De reflecties
van menselijkeemoties,
verbonden aan de aarde,
het leven op de aarde,
zijn o.a.: blijdschap,
verdriet, verwondering,
berusting, hoop, wanhoop.
De aarde is de vaste
grond, waarop alles zich
voltrekt. In het tweede
deel wordt gespeeld met
destemmingen in een soort
toccata. Soms
verbrokkelt, dan weer als
een massief geheel. De
robuustheid van de klank
is gegrond op de aarde,
komt er uit voort. Er
klinkt houvast en kracht
in door, maar ook de
liefde en nostalgie
wordtervaren in de zachte
en broze klanken. La
terre is het verhaal van
de aarde, waaruit muziek
oprijst in zijn
veelzijdige
schoonheid.
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.
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.
Band Concert Band - Grade 2 SKU: CF.YPS82 Composed by Alan Lee Silva. Car...(+)
Band Concert Band - Grade
2
SKU: CF.YPS82
Composed by Alan Lee
Silva. Carl Fischer Young
Performance Series. Set
of Score and Parts. With
Standard notation.
16+4+8+8+4+4+10+4+4+8+8+8
+12+4+6+6+6+1+4+12+20
pages. Carl Fischer Music
#YPS82. Published by Carl
Fischer Music (CF.YPS82).
ISBN 9780825870286.
UPC: 798408070281. Key:
Bb major.
A
contrast between heroic
trumpet melodies and
lyrical woodwind lines
highlight this effective
new composition from Alan
Lee Silva. Bands will
sound their best and love
doing it with this
distinctive new piece
that is suitable for
concert or
contest. Staccato
brass figures along with
woodwind trills and runs
highlight the powerful
opening of Legend of the
Lake. The trumpet states
the heroic main theme at
m. 10. The dynamics
soften in m. 18 for a
lyrical flute solo,
playing the B-melody. The
full woodwind section is
featured at m. 26 in a
reprise of the B-melody.
The trumpets proclaim the
A-melody again at m. 34
with full band
accompaniment, plus
woodwind fills and
background lines. The
interlude at m. 42
features each section of
the band independently as
well as the entire
ensemble in concerted
rhythms.The reiteration
of the introduction
material at m. 49 builds
to a slow maestoso
treatment of the A-theme.
A short contrapuntal
interlude, featuring
woodwinds at m. 61, leads
to an ending statement
with the complete group
at m. 66. Measure 68 is a
percussion feature that
builds to the explosive
final tonic chord and
staccato unison
ending.
Chorales and Warm-up Exercises for Tone, Technique, and Rhythm. Composed ...(+)
Chorales and Warm-up
Exercises for Tone,
Technique, and
Rhythm. Composed by
Peter Boonshaft; Chris
Bernotas. Band Method;
Method/Instruction; NAMM
Best Tools for Schools;
SmartMusic; Technique
Musicianship; Warm-Ups.
Sound Innovations for
Concert Band: Ensemble
Development. Score. 232
pages. Alfred Music
#00-40709. Published by
Alfred Music (AP.40709).
Cap Tonic Orchestre d'harmonie - Facile Martin, Robert
Concert band - Grade 2 SKU: RM.NAUL02598-CO Composed by Jerome Naulais. P...(+)
Concert band - Grade 2
SKU:
RM.NAUL02598-CO
Composed by Jerome
Naulais. Parade.
Orchestra. Conductor's
score. Editions Robert
Martin #NAUL02598-CO.
Published by Editions
Robert Martin
(RM.NAUL02598-CO).
Long Road Orchestre d'harmonie - Intermédiaire Peters
Concert Band - Grade 4 SKU: PE.0300761775 Arranged for Concert Band(+)
Concert Band - Grade 4
SKU: PE.0300761775
Arranged for Concert
Band. Composed by
Eriks Esenvalds. Arranged
by Phillip Littlemore.
Concert Band. Edition
Peters. Hymn; Living
Composer. Score and
Part(s). 166 pages.
Edition Peters
#98-0300761775. Published
by Edition Peters
(PE.0300761775).
ISBN
9790300761770.
Long
Road is a setting of a
love poem by Paulina
Barda (widow of the
eminent poet Fricis
Barda), who died in 1983
at the age of
ninety-three; set in the
original Latvian, it was
Ešenvalds'
contribution to Love
madrigals, a collection
of new commissions to
celebrate the twentieth
anniversary of the
remarkable youth choir
Kamer . . . , and this
English version was
specially made for
Stephen Layton and
Polyphony, to whom it is
dedicated. It has the
plain sincerity of a
hymn, being homophonic
throughout, and its
thorough-going
diatonicism is
straightforward yet lush.
At the midway point, a
gentle susurration of
bell-sounds and ocarinas
appears unexpectedly,
there is a brief
downwards shift of a
third, followed by an
elated return to the home
key, decorated by
soloistic descants,
before sustained vocalise
and a return of the
evanescent tinkling
ushers the piece to its
close. (5:10) Original
Item: EP68714-CMPST.
Takayama-No
In-Sho. Composed by
Jan Van der Roost.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score and
Parts). Composed 2019. De
Haske Publications #DHP
1196070-010. Published by
De Haske Publications
(BT.DHP-1196070-010).
English-German-French-
Dutch.
This piece
was written to celebrate
the fiftieth anniversary
of the Takayama Wind
Orchestra, who also
commissioned it. The
historic city of Takayama
draws numerous visitors
from home and abroad, not
just to see its
well-preserved old houses
and buildings but also
because every year
several historic
processions take place,
with beautiful floats.
When these ride through
the city, age-old
melodies are heard played
on wooden flutes,
accompanied by muted
drums. This image is
evoked at the beginning
of the work, followed by
an archaic sounding
melody in a typically
Japanese pentatonic
sequence, that develops
throughout. In this
challenging piece Eastern
and Western influences
alternate,creating a
sensational and
overwhelming musical
effect!
Dit werk
is geschreven ter
gelegenheid van het
vijftigjarig bestaan van
het Takayama Wind
Orchestra, dat tevens de
opdrachtgever was. De
historische stad Takayama
trekt jaarlijks talloze
bezoekers uit binnen- en
buitenland, niet alleen
vanwege de goed bewaarde
oude huizen en gebouwen
die de stad rijk is, maar
ook omdat er elk jaar een
aantal historische
optochten plaatsvinden.
Wanneer die door de stad
trekken, weerklinken
eeuwenoude melodieën,
gespeeld op houten
fluiten en begeleid door
doffe trommen. Dit beeld
wordt opgeroepen aan het
begin van het werk,
gevolgd door een archa
sch klinkende melodie in
een typisch Japanse
pentatonische tonenreeks,
die zich in de loop van
het werkverder zal
ontwikkelen. In dit
pittige werk wisselen
oosterse en westerse
invloeden elkaar af, met
als resultaat een
meeslepend en
overweldigend muzikaal
effect!
Dieses
Stück wurde aus Anlass
des 50-jährigen
Jubiläums des Takayama
Wind Orchestra
geschrieben, das dieses
Werk auch in Auftrag
gegeben hat. Die Altstadt
von Takayama zieht jedes
Jahr zahlreiche Besucher
aus dem In- und Ausland
an, nicht nur wegen der
gut erhaltenen alten
Häuser und Gebäude,
sondern auch wegen der
historischen
Festumzüge, die dort
stattfinden. Wenn diese
durch die Stadt ziehen,
erklingen uralte
Melodien, die auf
Holzflöten gespielt
und von gedämpften
Trommeln begleitet
werden. Dieses Bild wird
zu Beginn des Werks
hervorgerufen, darauf
folgt eine archaisch
klingende Melodie mit
einer typisch japanischen
pentatonischen Sequenz,
die sich im Laufe des
Werkesweiterentwickelt.
In diesem anspruchsvollen
Werk wechseln sich
östliche und westliche
Einflüsse ab und
erzeugen einen
sensationellen und
überwältigenden
musikalischen Effekt!
Composed
by Philip Sparke. Anglo
Music Concert Band.
Softcover. Composed 2015.
Anglo Music Press
#AMP443140. Published by
Anglo Music Press
(HL.44012759).
Reflections
on an Old Japanese Folk
Song is based on the
tune Suiryo-Bushi,
which comes from the
shamisen tradition and
opens with two
contrasting statements of
the melody followed by
several variations each
in an own style based
uponthe same tune, or
sometimes only fragments
of it. In one of the
variants, the pentatonic
scale is used. The final
section is in the form of
a scherzo, which
eventually forms the
accompaniment to a final
presentation of the folk
tune.
Reflectio
ns on an Old Japanese
Folk Song is
gebaseerd op het liedje
Suiryo-Bushi, dat
afkomstig is uit de
shamisen-traditie en
opent met twee
contrasterende statements
van de betreffende
melodie, gevolgd door
verschillende
variatieshierop, in
diverse stijlen, steeds
gebaseerd op hetzelfde
liedje of fragmenten
eruit. In een van de
variaties wordt de
pentatonische toonladder
gebruikt. Het
slotgedeelte begint met
een scherzo, dat
uiteindelijk de
begeleiding vormt van een
laatsteuiteenzetting van
het
volksliedje.
Das
Stuck Reflections on
an Old Japanese Folk
Song basiert auf der
Melodie des Volksliedes
Suiryo-Bushi, das
in der Tradition des
japanischen
Saiteninstruments
Schamisen steht. Es
beginnt mit zwei
gegensatzlichen
Darstellungen derMelodie,
gefolgt von verschiedenen
Variationen: jede in
einem eigenen Stil, aber
alle auf der gleichen
Melodie oder auf
Fragmenten der Melodie
beruhend. In einer
Variation wird auch die
pentatonische Tonleiter
verwendet. Im
Scherzo,
demSchlussteil des
Stuckes, erklingt das
Volkslied schliesslich
zum letzten
Mal.
Reflection
s on an Old Japanese Folk
Song est base sur la
melodie
Suiryo-Bushi, qui
est issue de la tradition
de shamisen. L'oeuvre
commence par deux
versions differentes de
la melodie, suivies par
plusieurs variations sur
le theme enentier ou en
partie, chacune dans son
propre style. La section
finale est dans la forme
d'un scherzo, qui
prend le role
d'accompagnement a la
fin, lors de la derniere
presentation du theme
folklorique.
Re
flections on an Old
Japanese Folk Song,
basata su un motivo di
Suiryo-Bushi,
originariamente concepito
per shamisen, strumento a
corde tipico della
tradizione musicale
giapponese. La struttura
del brano e del tutto
peculiare, basata
sulladalla reiterazione
melodica di un tema o
frammenti di esso, con
l'inserimento di brevi
variazioni. In una delle
varianti, e usata la
scala pentatonica. La
sezione finale e nella
forma dello scherzo.
(Teutonic Tales, Mvt.
III). Composed by
Robert W. Smith. Concert
Band. Extra full score.
Composed 2011. Opus III
Wind Orchestra
Publications
#012-4249-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4249-01).
Band
accompaniment for
Movement 3 of Robert W.
Smith's Teutonic Tales
for solo tuba. The band
parts are reproductions
of the composer's
original working
parts.
(Teutonic Tales, Mvt.
I). Composed by
Robert W. Smith. Concert
Band. Extra full score.
Composed 2011. Opus III
Wind Orchestra
Publications
#012-4248-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4248-01).
Band
accompaniment for
Movement 1 of Robert W.
Smith's Teutonic Tales
for solo tuba. The band
parts are reproductions
of the composer's
original working
parts.
Ministry of Winds Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band (Score & Parts) - Grade 3 SKU: HL.44011055 Composed by Jacob...(+)
Concert Band (Score &
Parts) - Grade 3
SKU:
HL.44011055
Composed
by Jacob De Haan. De
Haske Concert Band.
Concert Piece. Set (Score
& Parts). Composed 2010.
De Haske Publications
#1104939010. Published by
De Haske Publications
(HL.44011055).
Ministry of
Winds provides some
interesting food for
thought that Jacob de
Haan translates into
music. What if there was
a Ministry of Winds? It
would be in charge of the
advancement and
dissemination of music
throughout the nation, as
well as strengthening the
state through music and
providing its citizens
with entertainment,
support, comfort and joy.
All these aspects are
mirrored in Jacob de
Haan's composition,
culminating in all the
joy and happiness the
creation of this ministry
has provided to the
people.
Ministr
y of Winds is een
interessant hersenspinsel
van Jacob de Haan dat hij
omzette in muziek: hoe
zou het zijn, als we een
ministerie van
blaasmuziek hadden? Met
als taak de promotie en
de verspreiding van
muziek in het land?Zo'n
ministerie zou het land
een echt groepsgevoel
kunnen geven en de
burgers amusement,
kracht, trots en geluk
brengen. Al deze aspecten
komen terug in deze
compositie van Jacob de
Haan. Een compositie
waarin het volk
jubeltover het geluk dat
hen ten deel is gevallen
door de inspanningen van
het
ministerie!
Minist
ry of Winds ist ein
interessantes
Gedankenspiel, das Jacob
de Haan in Musik
umsetzte: Was ware, wenn
es ein Ministerium
für Blasmusik gabe?
Dessen Aufgabe ware die
Forderung und Verbreitung
der Musik im Staat, aber
auch durch die Musik den
Staat zu festigen und den
Bürgern
Unterhaltung, Kraft,
Trost und Glück zu
bringen. All diese
Aspekte spiegeln sich in
Jacob de Haans
Komposition wider, an
deren Ende das Volk
über das
Glück, das ihnen
durch das Schaff en des
Ministeriums zuteil
geworden ist,
jubelt!
The
Ministry of Winds est
une œuvre puissante
et solidement charpentee.
Elle alterne des passages
intenses et lyriques, et
un charmant theme baroque
qui se glisse avec
legerete a travers la
texture musicale.
L'œuvre contient
plusieurs motifs
recurrents. Peu a peu, la
trame prend la forme
d'une melodie
pentatonique
partiellement celtique.
Le tableau final est
eclatant.
Ministry of Winds
e un brano potente che
alterna passaggi intensi
e lirici a un piacevole
tema barocco che scivola
con leggerezza attraverso
la tessitura musicale. Il
brano contiene alcuni
motivi ricorrenti.
Procedendo
nell'esecuzione, la trama
assume la forma di una
melodia pentatonica dagli
accenti celtici, fino al
sorprendente finale.
Diversion Orchestre d'harmonie - Intermédiaire Southern Music Ltd
Composed by Bernhard Heiden (1910-2000). Edited by R. Mark Rogers. For Concert B...(+)
Composed by Bernhard
Heiden (1910-2000).
Edited by R. Mark Rogers.
For Concert Band (Score
and Parts). Southern
Music. Grade 4. Southern
Music Company #S938CB.
Published by Southern
Music Company
((Teutonic Tales, Mvt. II)). By R. W. Smith. Concert band. For concert band. Spo...(+)
((Teutonic Tales, Mvt.
II)). By R. W. Smith.
Concert band. For concert
band. Spotlight Series.
Audio recording available
separately (item
CL.WFR372). Grade 3.
Score and set of parts.
Composed 2011. Duration 3
minutes, 11 seconds.
Published by C.L.
Barnhouse
Soothsayer Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 3 SKU: AP.50877S Composed by Eric Rath. Concert Band...(+)
Concert Band - Grade 3
SKU: AP.50877S
Composed by Eric Rath.
Concert Band; Performance
Music Ensemble; Single
Titles. Young Symphonic.
Programmatic. Score.
Duration 2:55. Alfred
Music #00-50877S.
Published by Alfred Music
(AP.50877S).
ISBN
9781470668389. UPC:
038081587257.
English.
Soothsayer
, by Eric Rath, is a
study in contrast and
mood. Music with a
mystical and otherworldly
tone portrays a
soothsayer--an oracle,
fortune teller, or
diviner. Mostly in 3/4
time and primarily built
on the octatonic scale
(half and whole steps
alternating), the
percussionists also get
to have a heyday with
this one. Students not
only get to show off
their technical side but
work to develop smooth,
flowing lines and a
maturity to balance the
most important part at
any given moment. Enjoy
the ride! (2:55).
Soothsayer Orchestre d'harmonie - Facile Alfred Publishing
Concert Band - Grade 3 SKU: AP.50877 Composed by Eric Rath. Concert Band;...(+)
Concert Band - Grade 3
SKU: AP.50877
Composed by Eric Rath.
Concert Band; Performance
Music Ensemble; Single
Titles. Young Symphonic.
Programmatic. Score and
Part(s). Duration 2:55.
Alfred Music #00-50877.
Published by Alfred Music
(AP.50877).
ISBN
9781470668372. UPC:
038081587240.
English.
Soothsayer
, by Eric Rath, is a
study in contrast and
mood. Music with a
mystical and otherworldly
tone portrays a
soothsayer--an oracle,
fortune teller, or
diviner. Mostly in 3/4
time and primarily built
on the octatonic scale
(half and whole steps
alternating), the
percussionists also get
to have a heyday with
this one. Students not
only get to show off
their technical side but
work to develop smooth,
flowing lines and a
maturity to balance the
most important part at
any given moment. Enjoy
the ride! (2:55).
Concert Band Concert Band - Grade 3.5 SKU: FJ.B1806S Score Only. C...(+)
Concert Band Concert Band
- Grade 3.5
SKU:
FJ.B1806S
Score
Only. Composed by
Adrian B. Sims. Concert
Band. FJH Concert Band.
Score. The FJH Music
Company Inc #98-B1806S.
Published by The FJH
Music Company Inc
(FJ.B1806S).
English.
Filled
with excitement and
unpredictability, this
work takes listeners on a
journey through the inner
workings of the planet.
From musical depictions
of seismic activity
(characterized by swells
in the brass and
percussion) to the sounds
of an earthquake, the
piece reflects not only
destruction, but also the
resulting beautiful
landscapes, mountains,
and oceans. A powerful
work!
About FJH
Concert
Band
Desig
ned for high school
groups and upper-level
middle school groups.
Independence is
encouraged, but many
lines are cross-cued.
Usually includes an
expanded percussion
section. Grades 3 -
3.5
((Teutonic Tales, Mvt. II)). By R. W. Smith. Concert band. For concert band. Spo...(+)
((Teutonic Tales, Mvt.
II)). By R. W. Smith.
Concert band. For concert
band. Spotlight Series.
Audio recording available
separately (item
CL.WFR372). Grade 3.
Extra full score.
Composed 2011. Duration 3
minutes, 11 seconds.
Published by C.L.
Barnhouse