Inspired by THE PIRATE-Your band in black eye-patches gaudy finger-rings and golden ear-hoops? With cutlasses in their teeth? Arrrrgh ! Maybe not but they wouldn't look too out of place when they play MARINERS OF FORTUNE. Inspired by Sir Walter Scott's historical novel 'THE PIRATE' this accessible Grade 2 'swashbuckler' works for concert and contest alike. Make a bold statement with your young band by programming the dramatic MARINERS OF FORTUNE!

Par HANNICKEL MIKE. Two melodies in the Scottish style meet head-on in this energetic new arrangement. Your students will love the “bagpipe sound” and rhythmic color of the Scottish “snap”. This arrangement can also be used with young bands as a lesson in the concept of counterpoint. Each of the two main themes is clearly stated on its own, but remarkable things happen when they are played together. Through skillful selection of themes and contrapuntal composition, Mike Hannickel does a masterful job of melding these contrasting songs into a unified and energetic adventure into the Highlands. Fun to play, and a great style study! / Niveau : 2.5 / Répertoire / Concert Band ou Harmonie

Two melodies in the Scottish style meet head-on in this energetic new arrangement. Your students will love the ?bagpipe sound? and rhythmic color of the Scottish ?snap?. This arrangement can also be used with young bands as a lesson in the concept of counterpoint. Each of the two main themes is clearly stated on its own but remarkable things happen when they are played together. Through skillful selection of themes and contrapuntal composition Mike Hannickel does a masterful job of melding these contrasting songs into a unified and energetic adventure into the Highlands.Fun to play and a great style study!

Watch your students light up when they recognize this melody originally a Bolivian folk song now used as the favorite 2nd tune of many current dance hits. If you can play a B-flat scale you can play this!

Par DE HAAN JACOB. The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one, and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion, ” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together. ” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals. ” His vision is rejected, and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury, ” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep, ” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In the second movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world. ” Orc is fed at Enitharmon’s breast, which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race. The Web, third movement of The Book of Urizen is now available: DHP 1125252 / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie

In Greek mythology Boreas is the God of the North Wind. When thinking of the north wind we particularly think of the bleak wind coming from the freezing cold north but in Homers' work we see a more varied picture. As shown in the following two stories Boreas often does play the role of a storm wind that blows forth heavy dark clouds while whipping up the dark waves of the tempestuous sea to mountainous heights. When the stake of the fallen Patroclos refuses to burn Achilles begs for some wind. When Iris the swift messenger of the Gods asks the winds for assistance they raise themselves up with tremendous roaring and rush to Troy. Upon theirarrival they blow the divine fire of Patroclos' stake far up into the sky. When Troy was destroyed the Greeks returned home. After many wanderings Odysseus however ends up with the beautiful nymph Calypso who keeps him as a prisoner. As ordered by Zeus Calypso frees him and sends him off on a handmade wooden raft. At sea Odysseus is threatened by the aggressive sea god Poseidon who stirs up the winds and thrashes the waves with his trident. The goddess Athena stems the violence of all the winds except for the north wind and thus it is Boreas who sends Odysseus to the land of the hospitable Phaiakes. Jan Bosveld composed Boreas for OLTO a music association in Loenen The Netherlands for which he had served as conductor for many years. Turbulent movement in both tempo and dynamics characterize this composition. The result is a whirling piece that races by in a positive manner. Boreas is in de Griekse mythologie de god van de noordenwind. Bij noordenwind denken wij vooral aan de gure wind uit het ijskoude noorden bij Homerus echter zien we een meer gevariëerd beeld. Natuurlijk speelt Boreas zoals uit de twee onderstaande verhalen blijkt meestal de rol van de stormwind die de zware zwarte wolken voor zich uit blaast en de donkere golven van de onstuimige zee torenhoog opzwiept.

‘Circus Delight’ is a five-part suite which is set how could it be otherwise in a big circus tent. The suite starts with a part called ‘Entrance’. The orchestra positioned above the entrance of the ring asks for the attention of the audience and then the ring announcer enters. The show can begin! The elephants play a central role in the first act. These colossal grey animals are rather slow and perform their tricks in a moderate tempo. (‘Elephant Blues’) How different are ‘The Acrobats’. At high speed they run jump and fly through the ring until ....... It gets very exciting. Fortunately all’s well that ends well and they take their leave of the audienceat a trot. Everyone knows and yet it is mostly not spoken about that when a clown has taken off his red nose and rubbed off his make-up his face off-stage is not always a happy one. (‘Tears of the Clown’) The piece ends on a cheerful note with ‘The Parade’ in which all the artists make their entrance in the ring once again to gratefully acknowledge the audience’s overwhelming applause.

Slip-slidin’ 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!

All right. Admit it. When you were a kid some of your favorite music came from cartoonland. Who knows? It may have been cartoons that first introduced you to your favorite classical masters. Would Rossini's 'William Tell Overture' be what it is today had there been no cartoons? Isn't the glissando the REAL reason your Trombone section decided to play that particular instrument? Treat yourself your band and your audience to some good old animated goofiness a few merry melodies and a lot of slapstick fun. They'll love it. What could be more fun than Stephen Bulla's CARTOON CAPERS?

Explorer Level (correlates with Book 1 p. 11) Using nothing faster than a quarter note (8ths in percussion) Paul Lavender has done a masterful job of creating a fun and effective blues feature for beginning bands. When yourstudents complain about too much homework at least now they can play a tune about it!

This exciting medley of American spirituals is sure to please! Mike Hannickel's carefully crafted THREE AMERICAN SPIRITUALS helps young bands develop those all-important listening skills. They'll hear how each tune contrasts and complements the others when ?Go Tell It On The Mountain? ?Swing Low Sweet Chariot? and ?Who did Swallow Jo-Jo-Jonah? all come together in rousing counterpoint! THREE AMERICAN SPIRITUALS works wonderfully with the unpredictable instrumentation of so many youth bands while it's contrapuntal nature allows every section to shine. THREE AMERICAN SPIRITUALS allows each parent to say honestly to their child 'I HEARD you play your part!'

A Grade 1 rock anthem! It?s a perfect way to keep your beginners motivated while you drill them on that new concept called ?eighth notes.? Lots of repetition of simple eighth note figures will help your young band players enter the fascinating world of the divided beat with ease.This solid minor key rock-type piece will also help to keep your audience attentive by letting them hear a bit of a style they are so accustomed to. The overwhelming rhythmic nature of the piece also makes it a possible choice for use with an elementary level massed band. When faced with more than 100 beginners at a time one likes to do music that has a beat they can hang on to! Whether it?s for asmall one-school band or a giant massed group this one is sure to work for you.

A Grade 1 rock anthem! It?s a perfect way to keep your beginners motivated while you drill them on that new concept called ?eighth notes.? Lots of repetition of simple eighth note figures will help your young band players enter the fascinating world of the divided beat with ease.This solid minor key rock-type piece will also help to keep your audience attentive by letting them hear a bit of a style they are so accustomed to. The overwhelming rhythmic nature of the piece also makes it a possible choice for use with an elementary level massed band. When faced with more than 100 beginners at a time one likes to do music that has a beat they can hang on to! Whether it?s for asmall one-school band or a giant massed group this one is sure to work for you.