SKU: HL.4003293

UPC: 884088864217. 9.0x12.0x0.096 inches.

Written in a driving fast tempo, this exciting work by Michael Oare incorporates the metric grouping of 3+3+2 as a recurring motif. At times superimposing layers of simple meter feel along with more complex patterns, Uproar generates energy and excitement while using a variety of textures and colors within the wind and percussion sections. An impressive-sounding work for young players. Dur: 3:30.

SKU: BT.1891-12-140-MS

9x12 inches. English-German-French-Dut ch.

You Raise Me Up is a concert band arrangement of one of the most popular ballads of all time by Takashi Hoshide. Composed by Rolf Løvland, who, inspired by traditional Irish melodies, asked Irish author and lyricist Brendan Graham to provide lyrics, the song has become a worldwide hit through pop artists such as Josh Groban and Westlife. Featuring a solo for euphonium or baritone player.

De Noor Rolf Løvland van de groep Secret Garden componeerde een werk dat hij oorspronkelijk de titel Silent Story gaf. Het was gebaseerd op de melodie van de Ierse traditional Danny Boy. Løvland vroeg de Ierse tekst- en liedschrijverBrendan Graham woorden te bedenken bij zijn melodie. Het resultaat is You Raise Me Up dat in de vertolkingen van Josh Groban, de Ierse band Westlife en vele andere artiesten wereldwijd succes boekte. Takashi Hoshide maakte ereen roerende versie voor blaasorkest van.

Der Norweger Rolf Løvland von der Gruppe Secret Garden komponierte ein Stück, das er ursprünglich Silent Story nannte, nach der Melodie des irischen Traditionals Danny Boy und bat den irischen Schriftsteller und Liedtexter Brendan Graham um einen Text zu seiner Melodie. Das Resultat, You Raise Me Up, wurde mit Josh Groban, der irischen Band Westlife und anderen Künstlern zu einem weltweiten Erfolg. Takashi Hoshide setzte die gefühlvolle Ballade in ein Solostück für Euphonium/Bariton und Blasorchester um.

Le norvégien Rolf Løvland, membre du groupe Secret Garden, composa d’après un air traditionnel irlandais (Danny Boy), une chanson qu’il intitula dans un premier temps Silent Story. Il sollicita le parolier irlandais Brendan Graham d’écrire un texte pour cette mélodie. Le fantastique résultat, You Raise Me Up, est aujourd’hui la portée de tout orchestre gr ce l’émouvant arrangement réalisé par Takashi Hoshide pour euphonium solo et orchestre d’harmonie.

Il norvegese Rolf Løvland, membro del gruppo Secret Garden compone, ispirato da un’aria tradizionale irlandese (Danny Boy), una canzone che intitola in un primo tempo Silent Story. Chiede al paroliere irlandese Brendan Graham di scrivere un testo per questa melodia. Il fantastico risultato, You Raise Me Up, è oggi accessibile a tutte le orchestre di fiati grazie al coinvolgente arrangiamento firmato Takashi Hoshide.

SKU: BT.1891-12-010-MS

9x12 inches. English-German-French-Dut ch.

You Raise Me Up is a concert band arrangement of one of the most popular ballads of all time by Takashi Hoshide. Composed by Rolf Løvland, who, inspired by traditional Irish melodies, asked Irish author and lyricist Brendan Graham to provide lyrics, the song has become a worldwide hit through pop artists such as Josh Groban and Westlife. Featuring a solo for euphonium or baritone player.

De Noor Rolf Løvland van de groep Secret Garden componeerde een werk dat hij oorspronkelijk de titel Silent Story gaf. Het was gebaseerd op de melodie van de Ierse traditional Danny Boy. Løvland vroeg de Ierse tekst- en liedschrijverBrendan Graham woorden te bedenken bij zijn melodie. Het resultaat is You Raise Me Up dat in de vertolkingen van Josh Groban, de Ierse band Westlife en vele andere artiesten wereldwijd succes boekte. Takashi Hoshide maakte ereen roerende versie voor blaasorkest van.

Der Norweger Rolf Løvland von der Gruppe Secret Garden komponierte ein Stück, das er ursprünglich Silent Story nannte, nach der Melodie des irischen Traditionals Danny Boy und bat den irischen Schriftsteller und Liedtexter Brendan Graham um einen Text zu seiner Melodie. Das Resultat, You Raise Me Up, wurde mit Josh Groban, der irischen Band Westlife und anderen Künstlern zu einem weltweiten Erfolg. Takashi Hoshide setzte die gefühlvolle Ballade in ein Solostück für Euphonium/Bariton und Blasorchester um.

Le norvégien Rolf Løvland, membre du groupe Secret Garden, composa d’après un air traditionnel irlandais (Danny Boy), une chanson qu’il intitula dans un premier temps Silent Story. Il sollicita le parolier irlandais Brendan Graham d’écrire un texte pour cette mélodie. Le fantastique résultat, You Raise Me Up, est aujourd’hui la portée de tout orchestre gr ce l’émouvant arrangement réalisé par Takashi Hoshide pour euphonium solo et orchestre d’harmonie.

Il norvegese Rolf Løvland, membro del gruppo Secret Garden compone, ispirato da un’aria tradizionale irlandese (Danny Boy), una canzone che intitola in un primo tempo Silent Story. Chiede al paroliere irlandese Brendan Graham di scrivere un testo per questa melodia. Il fantastico risultato, You Raise Me Up, è oggi accessibile a tutte le orchestre di fiati grazie al coinvolgente arrangiamento firmato Takashi Hoshide.

SKU: AP.WBCB9416C

UPC: 029156084597. English.

There's something inside us that 'loves a parade,' and George Gershwin's Strike Up The Band moves the pulse a bit quicker in everyone. Jerry Brubaker presents this playable, yet sparkling version for today's concert band or wind ensemble. Rousing, it is! (2:30).

SKU: HL.4007365

UPC: 196288015543. 9.0x12.0x0.025 inches.

Recorded by Rick Astley in 1987, this familiar rock hit has remained popular due in part to its prank value! Whether you choose to Rick-Roll your audience or just play it for fun, this is guaranteed to bring a smile.

SKU: HL.4008643

ISBN 9798350114997. UPC: 196288189664.

Durin g his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing” exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.

SKU: HL.4007483

UPC: 196288058175.

Durin g his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing” exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.

SKU: HL.44012271

UPC: 888680057664. English-German-French-Dut ch.

Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and was part of a tour programme they gave in May 2012, a tour which included many areas that had been devastated by the 2011 earthquake and tsunami.The theme of the piece is the powerful ability of mankind to overcome such disasters and look forward to a positive future; it opens in an appropriately optimistic mood, featuring bright orchestral colours and extensive syncopation. A chorale-like fanfare is soon introduced on horns and euphonium, answered by chirpy woodwinds. The mood subsides until an alto saxophone introduces a brief quotation from the composer's The Sun Will RiseAgain, which was written to raise funds for victims of the 2011 disaster. The mood soon changes and the horns introduce a noble theme under woodwind flourishes. This leads to the main Vivo section of the piece which is characterised again by strong syncopations as part of a florid theme in the low woodwinds. This melody undergoes varied development by all sections of the band until the horn fanfare returns triumphally on the brass. This is extended and leads to a faster coda which brings together previous material in counterpoint to close the work in optimistic mood.

Looking Up, Moving On is gecomponeerd in opdracht van het Tokyo Kosei Wind Orchestra. Het werk maakte deel uit van een programma uit mei 2012, dat werd uitgevoerd tijdens een tournee waarbij veel regio's werden bezocht die waren verwoest door de aardbeving en tsunami van 2011.Het thema van het werk is het buitengewone vermogen van de mens om dergelijke rampen te boven te komen en vooruit te kijken naar een positieve toekomst. De opening is dan ook optimistisch van karakter, met heldere orkestrale kleuren en een rijkelijke syncopering. Al snel wordt er een koraalachtige fanfare geintroduceerd door de hoorns en het euphonium, waarop een levendig antwoord volgt in dehoutblazerssectie. De sfeer wordt dan steeds kalmer totdat een altsaxofoon een kort citaat laat horen uit een eerder werk van de componist, The Sun Will Rise Again, dat werd geschreven om geld in te zamelen voor de slachtoffers van de ramp uit 2011. De stemming slaat vlug weer om: de hoorns introduceren een nobel thema, dat weerklinkt onder versieringen in het hout. Dit leidt naar het Vivo, het hoofdgedeelte, dat eveneens wordt gekenmerkt door sterke syncoperingen, als onderdeel van een sierlijk thema in het lage hout. De melodie ondergaat een gevarieerde ontwikkeling binnen alle secties van het orkest, totdat de hoornfanfare op triomfantelijke wijze terugkeert in het koper. De fanfare wordt vervolgens verder uitgewerkt en voert ons mee naar een snellere coda, die voorafgaand materiaal in contrapunt samenbrengt en de compositie in optimistische stemming afsluit.

Looking Up, Moving Down wurde vom Tokyo Kosei Wind Orchestra in Auftrag gegeben und war Teil des Konzertprogramms einer Tour im Mai 2012, welche viele Gebiete einschloss, die vom Erdbeben und Tsunami im Jahr 2011 zerstort worden waren. Thema dieses Stuckes ist die gewaltige Fahigkeit der Menschheit, uber solche Katastrophen hinwegzukommen und voll Optimismus in die Zukunft zu blicken; es beginnt dementsprechend in einer positiven Stimmung mit strahlenden Orchesterfarben und einer ausgepragten Synkopierung. Schon bald wird eine choralartige Fanfare auf den Hornern und im Euphonium vorgestellt, die von munteren Holzblasern beantwortet wird. Die Stimmung flaut ab, bis einAltsaxophon ein kurzes Zitat aus The Sun Will Rise Again anspielt, das der Komponist zur Spendenbeschaffung fur die Opfer des Unglucks 2011 geschrieben hatte. Kurz darauf folgt ein Stimmungswechsel und die Horner prasentieren ein stattliches Thema, begleitet von Fanfaren in den Holzblasern. Dies fuhrt zum mit Vivo uberschriebenen Hauptteil des Stuckes, der wiederum von starken Synkopierungen gepragt ist, die Teil eines bluhenden Themas in den tiefen Holzblasern sind. Diese Melodie durchlauft eine vielgestaltige Entwicklung durch alle Instrumentengruppen des Blasorchesters, bis das Blech mit der Hornfanfare triumphal zuruckkehrt. Dies wird erweitert und fuhrt zu einer schnelleren Coda, in dem verschiedenes zuvor gehortes Material kontrapunktisch zusammenkommt, um das Werk in einer optimistischen Stimmung zu beenden.

Looking Up, Moving On est une commande du Tokyo Kosei Wind Orchestra. Cette piece faisait partie du programme de la tournee effectuee par l'orchestre en mai 2012, qui s'est produit dans de nombreuses regions devastees par le tremblement de terre et le tsunami de 2011.La composition a pour theme l'immense capacite humaine a surmonter de telles catastrophes et envisager l'avenir de facon positive. Elle debute justement dans un climat optimiste comportant de vives couleurs orchestrales et des passages syncopes. Les cors et les euphonium introduisent bientot une fanfare en forme de choral a laquelle repondent des bois petillants. L'ambiance s'apaise jusqu'a ce qu'unsaxophone alto introduise un court extrait de The Sun Will Rise Again, du meme compositeur, une piece ecrite pour collecter des fonds en faveur des victimes du desastre de 2011. Le climat change hativement lorsque les cors introduisent un theme noble par-dessus des fioritures executees par les bois. Vient ensuite la principale section vivo de la piece, qui se caracterise, encore une fois, par des syncopes tres marquees dans le cadre d'un theme fleuri assure dans le registre grave des bois. Cette melodie fait l'objet de divers developpements par tous les pupitres de l'orchestre jusqu'au retour triomphant de la fanfare soutenue par les cuivres. Celle-ci se prolonge pour mener a une coda plus rapide qui rassemble les elements precedents en contrepoint pour clore la piece dans un climat optimiste.

SKU: PR.465000130

ISBN 9781598064070. UPC: 680160600144. 9x12 inches.

Following a celebrated series of wind ensemble tone poems about national parks in the American West, Dan Welcher’s Upriver celebrates the Lewis & Clark Expedition from the Missouri River to Oregon’s Columbia Gorge, following the Louisiana Purchase of 1803. Welcher’s imaginative textures and inventiveness are freshly modern, evoking our American heritage, including references to Shenandoah and other folk songs known to have been sung on the expedition. For advanced players. Duration: 14’.
In 1803, President Thomas Jefferson sent Meriwether Lewis and William Clark’s Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies.Ihave been a student of the Lewis and Clark expedition, which Thomas Jefferson called the “Voyage of Discovery,” for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri — and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs — hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing — and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes.Ihave written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesn’t try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jefferson’s vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III .The music includes several quoted melodies, one of which is familiar to everyone as the ultimate “river song,” and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzatte’s fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis’ journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), V’la bon vent, Soldier’s Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune “Beech Spring”) and Fisher’s Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jefferson’s Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

SKU: PR.46500013L

UPC: 680160600151. 11 x 14 inches.

I n 1803, President Thomas Jefferson sent Meriwether Lewis and William Clarks Corps of Discovery to find a water route to the Pacific and explore the uncharted West. He believed woolly mammoths, erupting volcanoes, and mountains of pure salt awaited them. What they found was no less mind-boggling: some 300 species unknown to science, nearly 50 Indian tribes, and the Rockies. I have been a student of the Lewis and Clark expedition, which Thomas Jefferson called the Voyage of Discovery, for as long as I can remember. This astonishing journey, lasting more than two-and-a-half years, began and ended in St. Louis, Missouri and took the travelers up more than a few rivers in their quest to find the Northwest Passage to the Pacific Ocean. In an age without speedy communication, this was akin to space travel out of radio range in our own time: no one knew if, indeed, the party had even survived the voyage for more than a year. Most of them were soldiers. A few were French-Canadian voyageurs hired trappers and explorers, who were fluent in French (spoken extensively in the region, due to earlier explorers from France) and in some of the Indian languages they might encounter. One of the voyageurs, a man named Pierre Cruzatte, also happened to be a better-than-average fiddle player. In many respects, the travelers were completely on their own for supplies and survival, yet, incredibly, only one of them died during the voyage. Jefferson had outfitted them with food, weapons, medicine, and clothing and along with other trinkets, a box of 200 jaw harps to be used in trading with the Indians. Their trip was long, perilous to the point of near catastrophe, and arduous. The dream of a Northwest Passage proved ephemeral, but the northwestern quarter of the continent had finally been explored, mapped, and described to an anxious world. When the party returned to St. Louis in 1806, and with the Louisiana Purchase now part of the United States, they were greeted as national heroes. I have written a sizeable number of works for wind ensemble that draw their inspiration from the monumental spaces found in the American West. Four of them (Arches, The Yellowstone Fires, Glacier, and Zion) take their names, and in large part their being, from actual national parks in Utah, Wyoming, and Montana. But Upriver, although it found its voice (and its finale) in the magnificent Columbia Gorge in Oregon, is about a much larger region. This piece, like its brother works about the national parks, doesnt try to tell a story. Instead, it captures the flavor of a certain time, and of a grand adventure. Cast in one continuous movement and lasting close to fourteen minutes, the piece falls into several subsections, each with its own heading: The Dream (in which Jeffersons vision of a vast expanse of western land is opened); The Promise, a chorale that re-appears several times in the course of the piece and represents the seriousness of the presidential mission; The River; The Voyageurs; The River II ; Death and Disappointment; Return to the Voyage; and The River III . The music includes several quoted melodies, one of which is familiar to everyone as the ultimate river song, and which becomes the through-stream of the work. All of the quoted tunes were either sung by the men on the voyage, or played by Cruzattes fiddle. From various journals and diaries, we know the men found enjoyment and solace in music, and almost every night encampment had at least a bit of music in it. In addition to Cruzatte, there were two other members of the party who played the fiddle, and others made do with singing, or playing upon sticks, bones, the ever-present jaw harps, and boat horns. From Lewis journals, I found all the tunes used in Upriver: Shenandoah (still popular after more than 200 years), Vla bon vent, Soldiers Joy, Johnny Has Gone for a Soldier, Come Ye Sinners Poor and Needy (a hymn sung to the tune Beech Spring) and Fishers Hornpipe. The work follows an emotional journey: not necessarily step-by-step with the Voyage of Discovery heroes, but a kind of grand arch. Beginning in the mists of history and myth, traversing peaks and valleys both real and emotional (and a solemn funeral scene), finding help from native people, and recalling their zeal upon finding the one great river that will, in fact, take them to the Pacific. When the men finally roar through the Columbia Gorge in their boats (a feat that even the Indians had not attempted), the magnificent river combines its theme with the chorale of Jeffersons Promise. The Dream is fulfilled: not quite the one Jefferson had imagined (there is no navigable water passage from the Missouri to the Pacific), but the dream of a continental destiny.

SKU: BT.DHP-1084339-015

9x12 inches. English-German-French-Dut ch.

Veel dirigenten hebben de uitstekende gewoonte elke repetitie te beginnen met een klankstudie. Het is echter net zo belangrijk om regelmatig de ritmische vaardigheden van de muzikanten te bevorderen. Hiervoor is Rhythmic Warp-upsideaal.Met Rhythmic Warm-ups hebt u voor elk orkest op elk niveau een groot aantal efficiënte oefeningen. U kunt de 10 moderne vijfstemmige harmonisaties (A t/m J) combineren met de 36 ritmische patronen - zo hebt u360 oefeningen tot uw beschikking. Uitbreiding is mogelijk door de verschillende stemmen (1-5) verschillende ritmische patronen te laten spelen. Sommige oefeningen worden bijna kleine songs op zich. Verder is het uiteraard mogelijkde harmonisaties te combineren met specifieke ritmische patronen (die u bijvoorbeeld selecteert uit het repertoire waar u aan werkt). Door het gebruik van patronen met straight eighths en in swing (rechte achtsten en swing-achtsten)kunt u het orkest trainen in alle ritmische facetten van de lichte muziek. Door de notatie van hetzelfde ritmische swingpatroon in zowel de 4/4- als 12/8-maatsoort bieden deze Rhythmic Warm-ups u de mogelijkheid om zelfshet meest klassiek georiënteerde orkest binnen enkele repetities enig swinggevoel bij te brengen en meer thuis te laten raken in Latijns-Amerikaanse ritmes. Met Rhythmic Warm-ups krijgt u uw orkest ritmisch in conditie!Ook leverbaar voor brassband

Viele Dirigenten haben es sich zur löblichen Routine gemacht, jede Probe mit einer Tonübung zu beginnen. Genauso wichtig ist auch die Förderung der rhythmischen Fähigkeiten der Musiker. Rhyhmic Warm-ups ist hier eine gute Ergänzung der wöchentlichen Überoutine.Rhyhmic Warm-ups bietet effziente Übungen für jedes Blasorchester, unabhängig vom Spielniveau. Kombiniert mit 36 rhythmischen Mustern, ergeben die zehn modernen fünfstimmigen Harmoniefolgen ein Repertoire von 360 Übungen, die teilweise wie kleine Lieder klingen. Auch andere Rhythmusmuster können Sie mit den Harmoniefolgen kombinieren, z. B. aus dem Repertoire, das Sie geradeeinstudieren.Mithil fe von Rhythmusmustern, die mit straight eights und in swing bezeichnet sind, werden alle rhythmischen Facetten populärer Musik abgedeckt. Durch die Notierung der gleichen Swing-Muster sowohl im 4/4- als auch im 12/8-Takt eröffnen die Rhyhmic Warm-ups die Möglichkeit, sogar einem absolut klassisch ausgerichteten Blasorchester innerhalb von ein paar Proben etwas Swing-Feel zu vermitteln. Auch lateinamerikanische Rhythmen können geübt werden.Mit Rhyhmic Warm-ups kriegen Sie ihr Blasorchester rhythmisch fit!

De nombreux chefs on ajouté une excellente routine leurs séances de répétition en effectuant un travail préliminaire sur le son. Certains utilisent un choral, d’autres choisissent une pièce solennelle du répertoire profane. Après avoir effectué ce travail préliminaire, la répétition suit son schéma habituel : l’étude des œuvres au programme.Si vous souhaitez développer la structuration rythmique de votre formation, chaque semaine, insérer une étude de rythme après la phase de travail du son.Rhythmic Warm-ups (“Échauffement rythmique”) contient une série d’exercices efficaces pour toutes les formations, quel que soit le niveau. En combinant les 10 pièces cinqvoix (A J) avec les 36 motifs rythmiques, vous disposez de 360 exercices de rythme. Pour élargir votre champ d’action, il vous suffit d’attribuer un motif rythmique différent chacune des cinq voix (1-5). Si la ligne de basse (voix 5) joue un rythme unique, les exercices se transforment en de petites pièces harmonieuses. Il est également possible de combiner les cinq voix avec des rythmes de votre choix (des rythmes extraits d’œuvres au programme, par exemple).En exploitant des motifs rythmiques en croches régulières et des motifs en croches irrégulières (swing), vos musiciens se familiariseront avec toutes les facettes rythmiques de la musique pop. Le fait de disposer d’un même motif rythmique en 4/4 et en 12/8 permet de développer le sens du swing (même chez les musiciens les plus classiques !), en quelques séances seulement. La percussion peut accompagner les motifs rythmiques 1 24 avec des rythmes pop ou latino-américains, condition de jouer ces rythmes en croches régulières. Les motifs rythmiques 25 36 doivent être soutenus par un « groove » swing. Plusieurs exemples de motifs pour la percussion ont été insérés.Il est conseillé de terminer chaque exercice avec un point d’orgue (une ronde).Je vous souhaite, vous et vos musiciens, une pleine réussite et beaucoup de satisfaction dans l’utilisation des Rhythmic

It’s Raining Again was pop band Supertramp’s second largest hit, following closely behind The Logical Song. Thanks to Peter Kleine Schaars’ arrangement, you can now perform one of Supertramp’s most popular hits at your next concert. Your audience will be ecstatic!

Naast The Logical Song is It’s Raining Again een van de grootste hits van de popgroep Supertramp. Met dit arrangement van Peter Kleine Schaars kunt u nu ook deze tweede grote hit van Supertramp toevoegen aan uw repertoire. Uw publiekis u vast en zeker dankbaar…!

< I>It’s Raining Again ist neben The Logical Song einer der größten Hits der Gruppe Supertramp - und einer der größten, dauerhaftesten Hits der Popgeschichte überhaupt. Mit Peter Kleine Schaars’ Arrangements dieses Songs für Blasorchester können Sie nun auch den zweiten großen Supertramp-Hit in Ihr Repertoire aufnehmen. Das Publikum wird es Ihnen danken!

It’s Raining Again est après The Logical Song, l’un des plus gros tubes du groupe de rock progressif britannique Supertramp, fondé en 1969. L’arrangement de Peter Kleine Schaars du deuxième plus grand standard de ce groupe subjuguera tous les amateurs de poprock de votre auditoire.

It’s Raining Again è assieme a The Logical Song uno dei grandi successi dei Supertramp, leggendaria band americana. Un evergreen, ora disponibile in un eccellente arrangiamento per banda firmato Peter Kleine Schaars.

SKU: BT.AMP-465-010

English-German-French- Dutch.

These 30 Original Chorales and Warm-Ups have been designed to develop the most important aspects of band playing, by providing material that can be used at the start of a rehearsal to test balance, dynamics, tuning, flexibility and articulation. Band directors are encouraged to adapt them to address the specific needs and challenges of their ensembles. Dynamics and tempo indications are not given and should be chosen by the director as required. All the chorales are strictly four-part. This multi-purpose collection is an essential purchase for every ambitious band!

30 Original Chorales and Warm-Ups is ontwikkeld om belangrijke vaardigheden van het spelen in een blaasorkest te ontwikkelen door middel van materiaal dat kan worden gebruikt om bij de start van een repetitie aan de balans, dynamiek, zuiverheid, flexibiliteit en articulatie te werken. Dirigenten kunnen de koralen en warming-ups naar wens aanpassen door zich te richten op specifieke muzikale aspecten. Er worden geen aanwijzingen voor dynamiek en tempo gegeven, die bepaalt de dirigent naar eigen inzicht. Alle koralen zijn vierstemmig. Een veelzijdig toepasbare bundel die onmisbaar is voor elk ambitieus blaasorkest!

Die 30 Original Chorales and Warm-Ups wurden konzipiert, um die wichtigsten Aspekte des Blasorchesterspiels zu erarbeiten. Mithilfe des umfangreichen Materials kann man zu Beginn einer Probe Balance, Dynamik, Stimmung, Flexibilität und Artikulation üben. Orchesterleiter können das Material an die Bedürfnisse ihres jeweiligen Orchesters anpassen, indem sie sich auf bestimmte musikalische Herausforderung konzentrieren. Es gibt keine Angaben zu Dynamik und Tempo, da dies vom Orchesterleiter entsprechend gewählt werden soll. Die Choräle sind alle vierstimmig. Eine vielseitige Sammlung, die unverzichtbar für jedes anspruchsvolle Orchester ist!

30 Original Chorales and Warm-Ups a été conçu pour développer les aspects importants du jeu d’ensemble en offrant des morceaux qui permettent d’évaluer la balance, les nuances, l’intonation, la flexibilité et l’articulation. Idéal pour l’usage lors du début d’une répétition, tous les chorals sont quatre voix. Ce recueil usages multiples est indispensable chaque orchestre ambitieux !

Questi 30 Original Chorales and Warm-Ups (30 corali originali e pezzi di riscaldamento) sono stati pensati per sviluppare gli aspetti più importanti del suonare in banda, quali equilibrio, dinamiche, intonazione, flessibilit e articolazione. Tutti i corali sono rigorosamente a quattro parti. Questa collezione è un acquisto essenziale per ogni banda che vuole migliorare!

SKU: HL.44012270

UPC: 888680057657. English-German-French-Dut ch.

Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and featured in their concert programme in their May 2012 tour, which took in many areas destroyed by the earthquake and tsunami in 2011. The timeless message of thismoving work is the belief in the tremendous capacity of humankind to recover from such disasters and look optimistically to the future.

Looking Up, Moving On was commissioned by the Tokyo Kosei Wind Orchestra and featured in their concert programme in their May 2012 tour, which took in many areas destroyed by the earthquake and tsunami in 2011.

The timeless message of this moving work is the belief in the tremendous capacity of humankind to recover from such disasters and look optimistically to the future.

SKU: KJ.WB299

ISBN 9788402700544. UPC: 8402700543.

Introdu ce your students to program music with this light-hearted, whimsical piece that paints a musical picture of a playful puppy!

About Standard of Excellence in Concert

Th e Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.

Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz.

SKU: BT.AMP-142-140

9x12 inches.

Over a period of four decades Jimmy Webb (b. 1946) has written hits for a number of singers including Glen Campbell, Art Garfunkel, Frank Sinatra, Willie Nelson, Johnny Cash and Linda Ronstadt. His songs are often epic in character and include By the Time I Get to Phoenix; Up, Up and Away; Didn’t We; Wichita Lineman and Galveston. MacArthur Park (1968) was unlike anything that had gone before it. Running at over 7 minutes, it is 2 or 3 times the length of most pop songs and has an extended orchestral interlude. Richard Harris’ seminal recording topped the music charts in Europe, while peaking at number two on the U.S. charts. Philip Sparke has made this excellentarrangement for concert band, which is sure to become a regular feature on your concert programme.

MacArthur Park van Jimmy Webb, een nummer dat uitkwam in 1968, was niet te vergelijken met alles wat daarvoor was gemaakt. Met een duur van meer dan zeven minuten is deze song twee of drie keer zo lang als de meeste popsongs,ook het orkestraal tussenspel is bijzonder. Richard Harris’ originele opname stond bovenaan in de hitparades van Europa en op nummer 2 in de Verenigde Staten. Philip Sparke schreef een fantastisch arrangement dat zowel uw muzikantenals uw publiek zal aanspreken.

Jimmy Webbs Musik kennt jeder: sei es als Musik zur Fernsehserie Emergency Room oder als einen der Hits von großen Stars wie Frank Sinatra, Johnny Cash, Linda Ronstadt und vielen anderen. Mit dem Popsong MacArthur Park gelang Webb ein Riesenhit im Jahr 1968. Das Lied über eine verlorene Liebe ist ungewöhnlich lang für einen Popsong und enthält ein ausgearbeitetes Orchester-Zwischenspiel. Grund genug für Philip Sparke, diesen Hit für Blasorchester zu bearbeiten.

Pendan t plus de quarante ans, Jimmy Webb (1946) a composé des chansons succès pour divers artistes tels que Glen Campbell, Art Garfunkel, Frank Sinatra, Willie Nelson, Johnny Cash et Linda Ronstadt. En 1968, il écrit MacArthur Park, une chanson complètement novatrice. D’une durée de plus de sept minutes, elle est deux trois fois plus longue que la plupart des succès pop et contient un grand interlude orchestral. La version d’anthologie de MacArthur Park, interprétée et enregistrée par Richard Harris, s’est classée en tête des hit-parades européens et numéro 2 aux États-Unis.

Pe r oltre quarant’ anni, Jimmy Webb (1946) ha composto canzoni di successo per artisti come Glen Campbell, Art Garfunkel, Frank Sinatra, Willie Nelson, Johnny Cash e Linda Ronstadt. Nel 1968, scrive MacArthur Park, una canzone totalmente innovativa. Di una durata di oltre sette minuti, è da due a tre volte più lunga della maggior parte dei successi pop e contiene un interludio orchestrale. La versione d’antologia di MacArthur Park, interpretata ed incisa da Richard Harris, è stata in testa alle hit-parade europee e seconda negli Stati Uniti.