Concert Band/Harmonie - Grade 4

SKU: BT.AMP-149-140

Composed by Paul Ryan. Arranged by Philip Sparke. Anglo Music Midway Series. Pop & Rock. Score Only. Composed 2006. Anglo Music Press #AMP 149-140. Published by Anglo Music Press (BT.AMP-149-140).

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

Paul and Barry Ryan were identical twin sons of 1950’s pop singer Marion Ryan and were born on 24th October 1948. They were groomed for stardom and had started singing as a duo before their fifteenth birthday. They were signed by Decca in 1965 and brilliantly marketed as clean-cut fashion icons. Their first single ‘Don’t Bring Me Your Heartaches’ reached the UK top twenty but their success as twin performers lasted only three years. In 1968 Barry embarked on a solo career while Paul concentrated on writing and producing. Eloise with its melodramatic vocal style and heavily orchestrated backing was an early success of this new collaboration and went on to be covered by a variety ofartists, including punk legends The Damned.

De eeneiige tweelingbroers Paul en Barry Ryan vormden al een zangduo voor hun vijftiende verjaardag. In 1965 tekenden ze een contract bij Decca en werden ze op een briljante manier voor het voetlicht gebracht als keurige mode-idolen,maar hun succes als tweelingartiesten duurde slechts drie jaar. In 1968 begon Barry aan een solocarrière terwijl Paul zich concentreerde op het schrijver- en producerschap. Eloise, een stevig georkestreerd, melodramatischgezongen nummer, was een vroege en succesvolle vrucht van deze samenwerking. De song werd in de loop der tijd vertolkt door diverse artiesten.

Paul und Barry Ryan waren die Zwillingssöhne der 50er-Jahre-Popsängerin Marion Ryan. Den beiden Brüdern war eine Zukunft als Popstars in die Wiege gelegt. Bereits vor ihrem 15. Geburtstag traten sie als Duo auf. Später verlegte sich Paul jedoch aufs Songschreiben und Barry trat solo auf. Der Hit Eloise mit seinem melodramatischen Gesangsstil und dem stark orchestrierten Hintergrund ist ein Resultat dieser erfolgreichen Zusammenarbeit und wurde in der Folge von zahlreichen Künstlern neu interpretiert. Philip Sparke machte den Pop-Evergreen nun auch für Blasorchester spielbar.

Paul et Barry Ryan étaient jumeaux, nés le 24 octobre 1948, fils de la chanteuse pop des années 1950 Marion Ryan. Formés pour la célébrité, ils ont commencé chanter en duo avant l’ ge de quinze ans. En 1965 ils ont signé un contrat d’enregistrement avec Decca qui a commercialisé leur image soignée d’icônes de la mode. Leur premier single Don’t Bring Me Your Heartaches est parvenu au top 20 du hit-parade britannique, mais leur succès deux n’a duré que trois ans. En 1968, Barry a entrepris une carrière solo tandis que Paul s’est concentré sur la composition et la production. Eloise, avec son style vocal mélodramatique et son accompagnement très orchestral, étaitun succès précoce pour cette nouvelle collaboration. De nombreux artistes l’ont depuis reprise, telles que les légendes du punk The Damned.

Figli gemelli di Marion Ryan, celebre cantante pop degli anni ’50, Paul e Barry Ryan si esibivano insieme gi prima di aver compiuto quindici anni.Nel 1965 firmano un contratto con la casa discografica Decca e commercializzano con successo la loro immagine di icone della moda. Il primo single entra nelle top 20 britanniche. Nel 1968, Barry si lancia nella carriera di solista, mentre Paul si concentra sulla composizione e la produzione. Eloise, una canzone dallo stile vocale melodrammatico che si sviluppa su un importante accompagnamento orchestrale, è uno dei primi successi della collaborazione tra i due fratelli.

Concert Band/Harmonie - Grade 4

SKU: BT.AMP-149-010

Composed by Paul Ryan. Arranged by Philip Sparke. Anglo Music Midway Series. Pop & Rock. Set (Score & Parts). Composed 2006. Anglo Music Press #AMP 149-010. Published by Anglo Music Press (BT.AMP-149-010).

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

Paul and Barry Ryan were identical twin sons of 1950’s pop singer Marion Ryan and were born on 24th October 1948. They were groomed for stardom and had started singing as a duo before their fifteenth birthday. They were signed by Decca in 1965 and brilliantly marketed as clean-cut fashion icons. Their first single ‘Don’t Bring Me Your Heartaches’ reached the UK top twenty but their success as twin performers lasted only three years. In 1968 Barry embarked on a solo career while Paul concentrated on writing and producing. Eloise with its melodramatic vocal style and heavily orchestrated backing was an early success of this new collaboration and went on to be covered by a variety ofartists, including punk legends The Damned.

De eeneiige tweelingbroers Paul en Barry Ryan vormden al een zangduo voor hun vijftiende verjaardag. In 1965 tekenden ze een contract bij Decca en werden ze op een briljante manier voor het voetlicht gebracht als keurige mode-idolen,maar hun succes als tweelingartiesten duurde slechts drie jaar. In 1968 begon Barry aan een solocarrière terwijl Paul zich concentreerde op het schrijver- en producerschap. Eloise, een stevig georkestreerd, melodramatischgezongen nummer, was een vroege en succesvolle vrucht van deze samenwerking. De song werd in de loop der tijd vertolkt door diverse artiesten.

Paul und Barry Ryan waren die Zwillingssöhne der 50er-Jahre-Popsängerin Marion Ryan. Den beiden Brüdern war eine Zukunft als Popstars in die Wiege gelegt. Bereits vor ihrem 15. Geburtstag traten sie als Duo auf. Später verlegte sich Paul jedoch aufs Songschreiben und Barry trat solo auf. Der Hit Eloise mit seinem melodramatischen Gesangsstil und dem stark orchestrierten Hintergrund ist ein Resultat dieser erfolgreichen Zusammenarbeit und wurde in der Folge von zahlreichen Künstlern neu interpretiert. Philip Sparke machte den Pop-Evergreen nun auch für Blasorchester spielbar.

Paul et Barry Ryan étaient jumeaux, nés le 24 octobre 1948, fils de la chanteuse pop des années 1950 Marion Ryan. Formés pour la célébrité, ils ont commencé chanter en duo avant l’ ge de quinze ans. En 1965 ils ont signé un contrat d’enregistrement avec Decca qui a commercialisé leur image soignée d’icônes de la mode. Leur premier single Don’t Bring Me Your Heartaches est parvenu au top 20 du hit-parade britannique, mais leur succès deux n’a duré que trois ans. En 1968, Barry a entrepris une carrière solo tandis que Paul s’est concentré sur la composition et la production. Eloise, avec son style vocal mélodramatique et son accompagnement très orchestral, étaitun succès précoce pour cette nouvelle collaboration. De nombreux artistes l’ont depuis reprise, telles que les légendes du punk The Damned.

Figli gemelli di Marion Ryan, celebre cantante pop degli anni ’50, Paul e Barry Ryan si esibivano insieme gi prima di aver compiuto quindici anni.Nel 1965 firmano un contratto con la casa discografica Decca e commercializzano con successo la loro immagine di icone della moda. Il primo single entra nelle top 20 britanniche. Nel 1968, Barry si lancia nella carriera di solista, mentre Paul si concentra sulla composizione e la produzione. Eloise, una canzone dallo stile vocale melodrammatico che si sviluppa su un importante accompagnamento orchestrale, è uno dei primi successi della collaborazione tra i due fratelli.

By Mark Williams. Concert Band. Concert Band. Accent on Achievement. Contemporary; TV. Grade 1. Conductor Score and Parts. 128 pages. Duration 2:00:00

Full Score Concert Band (Score) - Grade 4

SKU: HL.44007313

Composed by Paul Ryan. Arranged by Philip Sparke. Anglo Music Concert Band. Concert. Score Only. Composed 2006. Anglo Music Press #AMP149. Published by Anglo Music Press (HL.44007313).

UPC: 884088245092. 9x12 inches. English-German-French-Dut ch.

Paul and Barry Ryan were identical twin sons of 1950's pop singer Marion Ryan and were born on 24th October 1948. They were groomed for stardom and had started singing as a duo before their fifteenth birthday. They were signed by Decca in 1965 and brilliantly marketed as clean-cut fashion icons. Their first single 'Don't Bring Me Your Heartaches' reached the UK top twenty but their success as twin performers lasted only three years. In 1968 Barry embarked on a solo career while Paul concentrated on writing and producing. Eloise with its melodramatic vocal style and heavily orchestrated backing was an early success of this new collaboration and went on to be covered by a variety ofartists, including punk legends The Damned.

De eeneiige tweelingbroers Paul en Barry Ryan vormden al een zangduo voor hun vijftiende verjaardag. In 1965 tekenden ze een contract bij Decca en werden ze op een briljante manier voor het voetlicht gebracht als keurige mode-idolen,maar hun succes als tweelingartiesten duurde slechts drie jaar. In 1968 begon Barry aan een solocarriere terwijl Paul zich concentreerde op het schrijver- en producerschap. Eloise, een stevig georkestreerd, melodramatischgezongen nummer, was een vroege en succesvolle vrucht van deze samenwerking. De song werd in de loop der tijd vertolkt door diverse artiesten.

Paul und Barry Ryan waren die Zwillingssohne der 50er-Jahre-Popsangerin Marion Ryan. Den beiden Brudern war eine Zukunft als Popstars in die Wiege gelegt. Bereits vor ihrem 15. Geburtstag traten sie als Duo auf. Spater verlegte sich Paul jedoch aufs Songschreiben und Barry trat solo auf. Der Hit Eloise mit seinem melodramatischen Gesangsstil und dem stark orchestrierten Hintergrund ist ein Resultat dieser erfolgreichen Zusammenarbeit und wurde in der Folge von zahlreichen Kunstlern neu interpretiert. Philip Sparke machte den Pop-Evergreen nun auch fur Blasorchester spielbar.

Paul et Barry Ryan etaient jumeaux, nes le 24 octobre 1948, fils de la chanteuse pop des annees 1950 Marion Ryan. Formes pour la celebrite, ils ont commence a chanter en duo avant l'age de quinze ans. En 1965 ils ont signe un contrat d'enregistrement avec Decca qui a commercialise leur image soignee d'icones de la mode. Leur premier single Don't Bring Me Your Heartaches est parvenu au top 20 du hit-parade britannique, mais leur succes a deux n'a dure que trois ans. En 1968, Barry a entrepris une carriere solo tandis que Paul s'est concentre sur la composition et la production. Eloise, avec son style vocal melodramatique et son accompagnement tres orchestral, etaitun succes precoce pour cette nouvelle collaboration. De nombreux artistes l'ont depuis reprise, telles que les legendes du punk The Damned.

Figli gemelli di Marion Ryan, celebre cantante pop degli anni '50, Paul e Barry Ryan si esibivano insieme gia prima di aver compiuto quindici anni.Nel 1965 firmano un contratto con la casa discografica Decca e commercializzano con successo la loro immagine di icone della moda. Il primo single entra nelle top 20 britanniche. Nel 1968, Barry si lancia nella carriera di solista, mentre Paul si concentra sulla composizione e la produzione. Eloise, una canzone dallo stile vocale melodrammatico che si sviluppa su un importante accompagnamento orchestrale, e uno dei primi successi della collaborazione tra i due fratelli.

Concert band - Grade 3

SKU: MH.1-59913-054-8

Composed by Bob Margolis. Suitable for advanced middle school, high school, community and college bands. Conductor score and set of parts. Duration 4:45. Published by Manhattan Beach Music (MH.1-59913-054-8).

ISBN 9781599130545.

Roya l Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half- step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.

Concert band (Flute 1/Piccolo, Flute 2, Oboe 1/2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Eb Alto Clarinet (optional), Bb Bass Clarinet, Bassoon 1/2, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Cornet 1, Bb Cornet 2, Bb Cornet 3, Bb Trumpet 1/2, Ho) - grade 4

SKU: CN.S11042

Composed by George Lloyd. Band Music. Score only. Duration 10:00. Published by G & M Brand Music Publishers (CN.S11042).

This symphonic sketch for concert band is packed full different motives thrown around the ensemble hinting at the programmatic leitmotifs of Wagner. Every section of the ensemble gets a workout in this delightful 10-minute work.

A Symphonic Sketch for Concert Band. The resurgence of interest in George Lloyd's music must give us faith that such talent will ultimately prevail against sometimes unhappy circumstances. Lloyd was Cornish and showed precocious gifts at an early age - he had completed his first symphony by the age of nineteen. During the 1930s he completed two operas, one of which - The Serf - was produced at Covent Garden in 1938. He was set for a glittering career as a composer. The Second World War intervened and he was invalidad out of the Navy in a shell-shocked state, and having written very little serious music since 1937 went to Switzerland to recuperate, looked after by his wife, Nancy. Painfully, he began writing again - symphonies Nos. 4 and 5 - and then returned to England. He needed to earn a living and he set up a mushroom farm in Dorset. But slowly he began to compose again and drafted more symphonies in short score. By this time he was virtually unknown - despite being considered the equal of Walton, Britten, and other young stars of English music some 30 years earlier. Lloyd decided to embark on a series of recordings of his symphonies, and slowly popular acclaim enabled him to regain his position. The Forest of Arden was written in 1987 as a result of a commission by the Solihull Youth Wind Band. Although Lloyd's music feels instinctively written one should not be misled - it is carefully crafted, but the craft and structure are always subordinated to create a flow with a strongly melodic content. Instead of two or three themes, The Forest of Arden contains an abundance of ideas which can be described in two groups. The first group contains the opening rhythmic motif, quickly developed into a short rising quaver passage in the woodwinds, and later then a chromatic ostinato bass - only 8 bars at this stage but later expanded. The second group is broad and expansive, initially based on intervals of rising fifths introduced by euphonium, tubas, and baritone saxophone, immediately echoed by horns. Low brass and winds expand the theme into rising sixths and octaves. There is a hint of development, bit this is arrested as the music moves to a piu tranquillo section introduced by the alto saxophone which further develops the rising sixth theme. There follows a true development of the opening material, starting with the ostinato bass and gradually passing through different tonal centers until the rising fifths of the second theme group are heralded - fortissimo and poco piu largamente shortly before the end. The structure is almost Wagnerian (albeit on a much smaller scale), with themes being used as leitmotifs, but this is music which, even within the space of ten minutes is conceived on a grand design.

(BandQuest Series Grade 3). By Stephen Paulus. For Concert Band (Score). BandQuest. Grade 3. 21 pages. Published by American Composers Forum

Score and Parts Midway Series. By Philip Sparke. ANGLO MUSIC PRESS. Published by Anglo Music.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1063951-140

Fanfare. Composed by Satoshi Yagisawa. Inspiration Series. Score Only. Composed 2006. 16 pages. De Haske Publications #DHP 1063951-140. Published by De Haske Publications (BT.DHP-1063951-140).

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

This fantastic, stirring fanfare was written with the composer?s wish that the young musicians performing it would fly into the bright future like pheasants. The first part of the piece is a fanfare, which is suitable for opening ceremonies, and the second part is a lush chorale-like movement. Your band can perform both parts together or you could perform each one separately. This short opening work will start any concert in real style.

Aan dit werk liggen diverse muzikale inspiratiebronnen ten grondslag, zoals Broadwaymusicals, de Franse cancan en circusmarsen. Een Japans ritmepatroon komt in de eerste vier maten naar voren in het slagwerk. Het centrale deel bevatsolo’s voor xylofoon en piccolo, die in de smaak zullen vallen bij uw publiek, zeker wanneer de solisten al improviserend een aantal technische staaltjes laten horen. Indien gewenst kan de instrumentatie worden gewijzigd. Na hetsologedeelte komt het eerste thema terug en volgt er een opbouw naar een opwindend slot, waar iedere speler “yeah!” roept. Met wat aanvullende showelementen zal het applaus nog uitbundiger zijn.

Der japanische Komponist Yagisawa schrieb diese Fanfare zum 30jährigen Jubiläum einer Schule. Die ‘jungen Fasane’ im Titel sind ein Symbol für die Schüler, die ihrer Zukunft entgegen fliegen. Die Fanfare, die sich wunderbar als feierliches Eröffnungswerk eignet, tritt hauptsächlich im ersten Teil auf, während der zweite Teil einen choralähnlichen Charakter aufweist. Beide Sätze dieser bemerkenswerten Komposition können auch einzeln aufgeführt werden.

Cette fanfare brillante est commande du Lycée de Kashihara dans la Préfecture de Nara au Japon. L’emblème du lycée est un jeune faisan. l’écriture de cette pièce en deux mouvements, le compositeur a émis le vœu qu’ l’instar des faisans, les étudiants puissent voler vers un avenir radieux. Les deux parties peuvent s’enchaîner ou, au contraire, être interprétées séparément. Bien qu’il s’agisse d’une œuvre courte, l’histoire y est décrite avec authenticité et légèreté.

Questa fanfara brillante è un brano commissionato dal Liceo di Kashihara, della prefettura di Nara in Giappone. Scrivendo questo brano in due movimenti, il compositore ha espresso il desiderio che gli studenti possano volare come dei fagiani, verso un avvenire radioso. Le due parti possono essere eseguite insieme o interpretate separatamente. Benché la durata del brano sia abbastanza corta (circa due minuti), il tema è descritto con autenticit e leggerezza.

Concert Band/Harmonie - Grade 5

SKU: BT.AMP-426-140

Droga do Nieba. Composed by Philip Sparke. Elite Series. Opening Pieces. Score Only. Composed 2017. Anglo Music Press #AMP 426-140. Published by Anglo Music Press (BT.AMP-426-140).

English-German-French- Dutch.

The Way to Heaven was commissioned by the Royal Air Force Music Services. 2015 was the 75th anniversary of the Battle of Britain, which took place between July and October 1940, when the courageous fighter pilots of the Royal Air Forcethwarted Hitler’s ambitions to launch an invasion on the UK.
The Way to Heaven opens with fluttering woodwind figures and brass fanfares, which build to a climax before a change of key introduces a short quotation for the Polish National Anthem - Mazurek Dbrowskiego. This fades and you can hear thesignal to scramble and the throaty sounds of the squadron’s Merlin engines bursting into life before they line up to take off. This leads to the main thematic material of the work, which depicts the heaven-bound flight of 303 Squadron as it climbs tointercept the incoming Messerschmitt 109s. A brief allusion to the Polish national anthem brings the piece to a triumphant close.

The Way to Heaven<+O> is geschreven in opdracht van de Britse Royal Air Force Music Services. In 2015 was het 75 jaar geleden dat de Slag om Engeland plaatsvond, tussen juli en oktober 1940, toen de moedige gevechtspiloten van de Royal Air Forcede ambities van Hitler om het Verenigd Koninkrijk tot capitulatie te dwingen wisten te dwarsbomen.
The Way to Heaven opent met ‘dwarrelende� � motieven in het hout en koperfanfares, die worden opgebouwd tot een climax voordat een modulatie een kort citaat van het Poolse volkslied Mazurek Dbrowskiego introduceert. Dit sterft weg endan horen we het alarmsignaal voor het opstijgen van de vliegtuigen, en het schorre geluid van de Merlin-motoren voordat de gevechtstoestellen de lucht in gaan. Dit leidt tot het belangrijkste thematische materiaal van het werk, dat de ‘vlucht naarde hemel’ van het 303 Squadron beschrijft tijdens de klim omhoog met als doel het onderscheppen van de Duitse Messerschmitts Bf 109. Een toespeling op het Poolse volkslied brengt het werk naar zijn triomfantelijke slot.

The Way to Heaven wurde von den Royal Air Force Music Services in Auftrag gegeben. 2015 jährte sich die Luftschlacht um England, die von Juli bis Oktober 1940 stattgefunden hat, zum 75. Mal. Die mutigen Jagdflieger der Royal Air Force hattenHitlers Ambitionen einer Invasion Englands verhindert.
The Way to Heaven beginnt mit einer unruhigen Figur in den Holzbläsern und mit Blechbläser-Fanfaren, die sich zu einem Höhepunkt aufbauen, bevor ein Tonartwechsel einen kurzen Verweis auf die polnische Nationalhymne Mazurek Dbrowskiego“ einleitet. Dies verklingt langsam und man hört das Signal zum Kampf und das Dröhnen der Merlin-Triebwerke der Staffeln, die vor dem Start zum Leben erwachen und sich aufstellen. Dies führt zum Hauptthema des Werkes, das den Flug in den Himmel vonStaffel 303 beschreibt um die herankommenden Messerschmidt 109 abzufangen. Es klingt nochmals kurz die polnische Nationalhymne an, bevor das Stück mit einem triumphalen Schluss endet.

The Way to Heaven est une commande des services de musique de la Royal Air Force. 2015 a marqué le 75e anniversaire de la Bataille d’Angleterre qui eut lieu de juillet octobre 1940, et durant laquelle les courageux pilotes de chasse de laRoyal Air Force entravèrent les ambitions d’Hitler d’envahir le Royaume-Uni.
The Way to Heaven commence par des motifs tremblants pour bois et des fanfares de cuivres qui se développent vers une apogée ; ensuite une modulation introduit une courte citation de l’hymne national polonais, Mazurek Dbrowskiego. Alorsque ces idées s’affaiblissent, on entend le signal pour décoller en urgence, puis le son rauque des moteurs Merlin de l’escadron mis en marche, avant que les avions ne s’alignent pour décoller. Ceci mène au matériel thématique principal de l’œuvrequi dépeint le vol vers le ciel de l’escadron 303 alors qu’il monte pour intercepter les Messerschmitt 109 entrants. Une brève allusion l’hymne national polonais mène la fin triomphante de l’œuvre.
Way to Heaven (La strada per il Paradiso) è stata commissionato dai Servizi Musicali della Royal Air Force britannica. Nel 2015 è stato ricordato il 75° anniversario della Battaglia d'Inghilterra, che ebbe luogo tra luglio e ottobre del 1940, quando i coraggiosi piloti della RAF impedirono le ambizioni di Hitler, che voleva invadere il Regno Unito.

Grade 3

SKU: CL.026-4661-00

Canada, United Kingdom, France. Arranged by Stanton. Concert Band. Build-A-Band. Score and set of parts. Composed 2018. Duration 3 minutes, 16 seconds. C.L. Barnhouse #026-4661-00. Published by C.L. Barnhouse (CL.026-4661-00).

Take your musicians on a cultural exchange trip to Canada, France and the United Kingdom! You can play any of these three national anthems individually, or pair them with the Star Spangled Banner (available separately in Build-A-Band format) as an opening travel-log at your next concert. Lots of ways to teach across the curriculum with these easy, great sounding arrangements meant for smaller bands with limited instrumentation. Hosting foreign exchange students from these countries? Honor them at your concert with their national anthem! Please stand, remove hats and join in the presentation of the national anthems!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

Grade 3

SKU: CL.026-4661-01

Canada, United Kingdom, France. Arranged by Stanton. Concert Band. Build-A-Band. Extra full score. Composed 2018. Duration 3 minutes, 16 seconds. C.L. Barnhouse #026-4661-01. Published by C.L. Barnhouse (CL.026-4661-01).

Take your musicians on a cultural exchange trip to Canada, France and the United Kingdom! You can play any of these three national anthems individually, or pair them with the Star Spangled Banner (available separately in Build-A-Band format) as an opening travel-log at your next concert. Lots of ways to teach across the curriculum with these easy, great sounding arrangements meant for smaller bands with limited instrumentation. Hosting foreign exchange students from these countries? Honor them at your concert with their national anthem! Please stand, remove hats and join in the presentation of the national anthems!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

By Richard Meyer. Music by Richard Meyer. Concert Band. Alfred Concert Band. Level: Level 3 (grade 3). Conductor Score and Parts. 2 pages. Published by Alfred Publishing.

(Concert Band Score Only). By Kevin Puts. For Concert Band (Score). BandQuest. 22 pages. Published by American Composers Forum

Concert Band - very easy-easy

SKU: HL.44001726

Composed by Jan de Haan. De Haske Concert Band. Educational Tool. Score. Composed 2001. 126 pages. De Haske Publications #1012563. Published by De Haske Publications (HL.44001726).

ISBN 9789043112642. UPC: 073999968965. 9.25x12.0x0.485 inches.

The series Band Time is based on the successful method Look, Listen & Learn. Composer and publisher Jan de Haan has developed the series especially with the intention of introducing children to playing together in a wind band at an early stage. Band Time Starter makes this possible after just a few lessons! Band Time is a collection of fourteen original three and four-part pieces which can be played in practically every small or large wind band strength - with a minimum of three players. The difficulty of the pieces increases in parallel with the material covered in the Look, Listen & Learn method, but the use of this method is not required to be able to play from Band TimeStarter. The score explains how the series can be optimally used, and how the instrumentation that you have works best.

De serie Band Time is ontwikkeld om kinderen vroeg kennis te laten maken met het samenspel in een blaasorkest. Band time Starter maakt dit al in het eerste jaar mogelijk. Deze uitgave bevat vierstemmige stukken in diversestijlen- de eerste drie stukken zijn drie stemmig, aangespast aan de vaardigheden van de beginnende leerling. De moeilijkheidsgraad en de muzikale inhoud zijn gebasseerd op Horen, Lezen & Spelen. In de partituur staatuitgelegd hoe u de serie optimaal benut en hoe de instrumentatie in uw specifieke bezetting het best kan worden toegepast. Op de los verkrijgbare cd worden de stukken door een harmonieorkest voorgespeeld, zodat de leerlingen thuiseen goede indruk krijgen van hoe de stukken klinken. Ze kunnen zelf meespelen of ernaar luisteren. Dit zal de motifatie (en het studieresultaat) bevorderen.

Parall el zu den ersten Stunden Instrumentalunterricht werden die jungen Musiker mit den Stucken dieser Sammlung fur das Spielen im Anfangerorchester motiviert. BAND TIME Starter eignet sich fur das erste Jahr im Blasorchester und enthalt vierstimmige Stucke in vielen verschiedenen Stilen. Der allmahlich fortschreitende Schwierigkeitsgrad entspricht dem Stoff der Blaserschule Horen, lesen und spielen Band 1, kann aber auch gut unabhangig davon eingesetzt werden. Die ersten drei Stucke passen sich mit ihren lediglich drei Stimmen dem noch begrenzten Tonumfang an, uber den die Schuler in diesem Stadium verfugen. Aus dem gleichen Grund weichen manchmaldieselben Stimmen fur unterschiedliche Instrumente leicht voneinander ab. Geringfugige Abweichungen erklaren sich ausserdem aus manchen besonderen Bedingungen bei einem bestimmten Instrument, zum Beispiel schwierige Tonfolgen. Passend zu der Reihe ist eine CD erhaltlich, mit deren Unterstutzung die Schuler zu Hause mit richtiger Orchesterbegleitung spielen konnen. Ein schnellerer Erfolg ist damit gesichert!

L'Obiettivo della collana BAND TIME e quello di motivare i giovani musicisti a suonare in una banda principiante o giovanile. BAND TIME Starter e il suo seguito BAND TIME Expert, come anche i brani natalizi raccolti in BAND TIME Christmas propongono brani in vari generi musicali che seguono il livello di difficolta crescente proposto del metodo Ascolta, leggi & suona (possono essere usati anche separatamente). I brani sono eseguibili gia a partire da un organico di tre o quattro elementi. per ogni collana e disponibile separatamente un CD con gli accompagnamenti orchestrali. Per la lista degli strumenti disponibili visitate il nostro sito.

Concert Band - Grade 3

SKU: HL.44005181

Grade 3 - Score Only. Composed by Philip Sparke. Anglo Music Concert Band. Concert Piece. Score Only. Composed 2004. 30 pages. Anglo Music Press #AMP125-140. Published by Anglo Music Press (HL.44005181).

UPC: 073999888768. 8.5x11 inches. English-German-French-Dut ch.

Great Britain has had a National Youth Brass Band since 1952, which caters for players between the ages of 12 and 18 and has produced many outstanding instrumentalists in its distiguished history. An exciting development took place in July 2004 when the first summer course of a new National Children's Brass Band of Great Britain, for players between the ages of 8 and 13, was held in Bromsgrove, Worcester. Renowned cornet soloist and conductor Lynda Nicholson was appointed music director and she commissioned Philip Sparke to write a piece for this inaugural course. The Pioneers was the result. The title refers to the fact that the NCBBGB was starting out on a new adventure but is also a salute to the bicentenary of an expedition by two of the composer's heroes - Meriwether Lewis and William Clark. They were commissioned by US President Thomas Jefferson to find the headwaters of the Mississippi and a route to the Pacific following the Louisiana Purchase in 1803, which doubled the size of USA. They set out, as the “Corps of Discovery,” from Louisville, Kentucky, in May 1804; not only did they succeed in reaching the Pacific through hostile territory, but also found their way back - in three years! The piece is not descriptive of the journey but gives the composer the opportunity to celebrate the 200th anniversary of this amazing feat.

(score). Curnow Concert Band Full Set. Size 9x12 inches. Published by Hal Leonard.

Composed by Danny Elfman. Arranged by Victor Lopez. Concert Band. Concert Band. Pop Young Band. Movie; Pop. Grade 2.5. Score only. 28 pages. Published by Alfred Music

Arranged by John Higgins. Score and full set of parts. Young Band (Concert Band). Grade 3. Book only. Size 9x12 inches. Published by Hal Leonard.

Band concert band - Grade 0.5

SKU: CF.PPS51F

March. Composed by Larry Clark. Primer Band (PPS). Full score. With Standard notation. 12 pages. Carl Fischer Music #PPS51F. Published by Carl Fischer Music (CF.PPS51F).

ISBN 9781491152638. UPC: 680160910137.

The march style is important to the heritage of the modern concert band. Why not get beginners off to a great start by teaching them this essential band style as early as possible? Achieve u ses only the first six notes of the Bb-major scale and utilizes two repeated eighth notes as the most difficult rhythm. It is written in traditional march form and style, but without modulation in the trio.
The march style is important to the heritage of the modern concert band, and it is my opinion that even the youngest of students should be taught the march style and form as early as possible. This march sets out to give these students that opportunity. It uses only the first six notes of the Bb-major scale, and the most difficult rhythm is two repeated eighth notes. Yet it has all of the traditional march form and style. The form of this easy march is the traditional intro, first strain, second strain and trio. The only difference from more challenge marches is that the key does not change to the subdominant at the trio. Most everything else is the same as you would find in the American marches of Sousa, Fillmore or King.The march begins forte with a quote from the end of the second strain, something that is common in many marches. This is followed by the first strain at a softer dynamic level. Additional voices are added on the repeat for variety. The second strain has tradition changes in dynamics, first starting out loud, then getting soft with crescendos to the end of the strain. The trio following again in typical fashion with the first time being very soft and legato. There are some suggestions for changing the orchestration, but you can use your creativity to tailor the instrumentation to your musical taste. The repeat of the trio should then be back to a more marcato march style. This should start with the last note of the first ending in m. 70. The march then ends with the traditional stinger.It is my opinion that in marches with this form that the repeats should not be eliminated. By doing so, it changes the form and makes the march lopsided, with the first half of the marching being too short compared to the trio section.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.

Band concert band - Grade 0.5

SKU: CF.PPS51

March. Composed by Larry Clark. Primer Band (PPS). Set of Score and Parts. With Standard notation. 8+2+8+2+5+2+2+8+2+3+2+6+3 +1+1+2+2+12+2 pages. Duration 2 minutes, 8 seconds. Carl Fischer Music #PPS51. Published by Carl Fischer Music (CF.PPS51).

ISBN 9781491151952. UPC: 680160909452.

The march style is important to the heritage of the modern concert band. Why not get beginners off to a great start by teaching them this essential band style as early as possible? Achieve u ses only the first six notes of the Bb-major scale and utilizes two repeated eighth notes as the most difficult rhythm. It is written in traditional march form and style, but without modulation in the trio.
The march style is important to the heritage of the modern concert band, and it is my opinion that even the youngest of students should be taught the march style and form as early as possible. This march sets out to give these students that opportunity. It uses only the first six notes of the Bb-major scale, and the most difficult rhythm is two repeated eighth notes. Yet it has all of the traditional march form and style. The form of this easy march is the traditional intro, first strain, second strain and trio. The only difference from more challenge marches is that the key does not change to the subdominant at the trio. Most everything else is the same as you would find in the American marches of Sousa, Fillmore or King.The march begins forte with a quote from the end of the second strain, something that is common in many marches. This is followed by the first strain at a softer dynamic level. Additional voices are added on the repeat for variety. The second strain has tradition changes in dynamics, first starting out loud, then getting soft with crescendos to the end of the strain. The trio following again in typical fashion with the first time being very soft and legato. There are some suggestions for changing the orchestration, but you can use your creativity to tailor the instrumentation to your musical taste. The repeat of the trio should then be back to a more marcato march style. This should start with the last note of the first ending in m. 70. The march then ends with the traditional stinger.It is my opinion that in marches with this form that the repeats should not be eliminated. By doing so, it changes the form and makes the march lopsided, with the first half of the marching being too short compared to the trio section.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.

Concert Band - Grade 4

SKU: HL.44007319

Grade 4 - Score Only. Composed by Philip Sparke. Anglo Music Concert Band. Concert. Score Only. Composed 2007. 36 pages. Anglo Music Press #AMP196. Published by Anglo Music Press (HL.44007319).

UPC: 884088245160. 9x12 inches. English-German-French-Dut ch.

Prelude to a Celebration is a fantastic way to open any concert in the tradition of great symphonic openers. The work starts with a triumphant yet majestic fanfare from the trumpet section, which gives the basis for the whole work. A rollicking and driving faster section follows for the woodwinds, which leads into a broader trio before the opening fanfare returns to bring the work to a majestic conclusion. Whatever the occasion (or celebration), Prelude to a Celebration is one piece that is sure to have your audience on the edge of their seat and start your performance off in the finest of styles. Duration: 5:10.

Score Only Concert Band (Score) - Grade 2

SKU: HL.4005458

Composed by John Williams. Arranged by Paul Murtha. Flex-Band Grade 3. Movies. Softcover. Published by Hal Leonard (HL.4005458).

UPC: 888680734381. 9.0x12.0x0.058 inches.

Scored with flexible instrumentation options, here is a beautifully adpated medley of the primary themes from Star Wars: The Last Jedi. You'll hear dramatic new material along with well-known melodies of your favorite characters.

Score Only Concert Band (Score) - Grade 2

SKU: HL.4006546

Composed by John Williams. Arranged by Paul Murtha. Discovery Plus Concert Band. Disney, Movies. Softcover. 24 pages. Published by Hal Leonard (HL.4006546).

UPC: 840126912463. 9.0x12.0x0.05 inches.

Episode IX of the Star Wars saga (The Rise of Skywalker) has proven a fan favorite and effectively wraps up the popular film series. The music again plays a key role featuring beloved character themes from earlier films along with dramatic new material. Here's a great sounding and concise medley for younger players.

Concert Band Concert Band - Grade 2

SKU: FJ.B1333S

Score Only. Composed by Brian Balmages. Concert Band. FJH Young Band. Programmatic. Score. Duration 4:45. The FJH Music Company Inc #98-B1333S. Published by The FJH Music Company Inc (FJ.B1333S).

English.

This three-movement programmatic work is based on various constellations and their Greek mythologies. Movements include Orion (The Hunter), Draco (The Dragon), and Pegasus (The Winged Horse). The opening movement paints a picture of the night sky before introducing the mighty Orion. The second movement depicts the fiery dragon and its fierce triple row of teeth. (An optional lion's roar enhances the movement.) The final movement takes listeners on a flight with Pegasus, beginning with a fast gallop on the ground before the magnificent animal takes flight. The movements can be performed separately or as a whole. Absolutely stunning!

About FJH Young Band

Appro priate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5