Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1114864-140 From opus 46(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1114864-140
From opus 46.
Composed by Antonin
Dvorak. Arranged by Wil
van der Beek. Great
Classics. Transcription.
Score Only. Composed
2011. 40 pages. De Haske
Publications #DHP
1114864-140. Published by
De Haske Publications
(BT.DHP-1114864-140).
9x12 inches.
English-German-French-Dut
ch.
In 1878, on a
commission from his
publisher, Anton n
Dvorák wrote a series
of eight Slavonic dances.
Modelled on Johannes
Brahmsâ?? famous
Hungarian Dances,
although in contrast to
Brahmsâ?? work,
Dvorák used no
original melodies. Wil
van der Beek has arranged
No. 7, a brisk 2/4 dance,
as well as No. 8, a
passionate, exuberant
furiant in 3/4.
In 1878 schreef
Dvoøák op verzoek
van zijn uitgever een
serie van acht Slavische
dansen. Daarbij zouden de
beroemde Hongaarse dansen
van Brahms als voorbeeld
moeten dienen.
Dvoøák had echter
zijn eigen opvattingover
het kunstzinnigvormgeven
van (volks)dansen. Waar
Brahms meerdere bestaande
melodieën van dansen
uitHongarije gebruikte,
beperkte Dvoøák
zich tot karakteristieke
ritmische patronen van
dansvormen uit zijn
vaderland. Oorspronkelijk
zijn de Slavischedansen
gecomponeerd voor klavier
vierhandig. Vrij spoedig
maakte Dvoøák zelf
een versie voor orkest,
waarmee hij wereldroem
vergaarde. Het succes was
zo groot (zeker ook in
financieel opzicht voor
de uitgever!) dat een
tweedeserie van acht
dansen volgde: opus 72 in
het oeuvre van
Dvoøák.Kenmerken:Dans nr. 4 (Tempo di
menuetto, 3/4 maat)Dit is
een feestelijke, vrolijke
sousedská (te
beschouwen als de
Tsjechische variant op
het menuet), een
driedeligedans waarvan de
hoekdelen gracieus zijn
en het middendeel voor
een levendig contrast
zorgt.Dans nr. 7
(Allegro assai, 2/4
maat)Dvoøák lijkt
hier ge nspireerd te zijn
geweest door een snelle
dans genaamd skocná.
Het hoofdthemawerkt
humoristisch doordat het
in de vorm van een canon
wordt
gepresenteerd.Dans nr.
8 (Presto, 3/4
maat)Dit is een
temperamentvolle furiant,
vol vreugde en
uitgelatenheid, gevolgd
door een rustiger
middendeel, datuitmondtin
een zeer krachtig en snel
slot.
Im Jahre
1878 schrieb Anton n
Dvorák im Auftrag
seines Verlegers eine
Reihe von acht slawischen
Tänzen. Als Vorbild
dienten die beru?hmten
Ungarischen
Tänze von Johannes
Brahms, im Gegensatz zu
diesem verwendete
Dvorák jedoch keine
originalen Melodien. Wil
van der Beek bearbeitete
fu?r dieses Arrangement
die Nr. 7, einen
schnellen Tanz im
2/4-Takt, sowie die Nr.
8, einen
leidenschaftlichen,
u?berschwänglichen
Furiantâ?? im 3/4-Takt.
Nel 1878
Antonin Dvorák compone
su commissione una serie
di otto danze slave.
Anche se le celebri
Danze Ungheresi di
Brahms gli servirono da
modello, Dvorák non
utilizzò melodie
originali. Wil van der
Beek ha arrangiato la
Danza n.7
caratterizzata da un
tempo veloce in 2/4 e la
Danza n. 8, un
furiant passionale in
3/4.
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1114864-010 From opus 46(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1114864-010
From opus 46.
Composed by Antonin
Dvorak. Arranged by Wil
van der Beek. Great
Classics. Transcription.
Set (Score and Parts).
Composed 2011. De Haske
Publications #DHP
1114864-010. Published by
De Haske Publications
(BT.DHP-1114864-010).
9x12 inches.
English-German-French-Dut
ch.
In 1878, on a
commission from his
publisher, Anton n
Dvorák wrote a series
of eight Slavonic dances.
Modelled on Johannes
Brahmsâ?? famous
Hungarian Dances,
although in contrast to
Brahmsâ?? work,
Dvorák used no
original melodies. Wil
van der Beek has arranged
No. 7, a brisk 2/4 dance,
as well as No. 8, a
passionate, exuberant
furiant in 3/4.
In 1878 schreef
Dvoøák op verzoek
van zijn uitgever een
serie van acht Slavische
dansen. Daarbij zouden de
beroemde Hongaarse dansen
van Brahms als voorbeeld
moeten dienen.
Dvoøák had echter
zijn eigen opvattingover
het kunstzinnigvormgeven
van (volks)dansen. Waar
Brahms meerdere bestaande
melodieën van dansen
uitHongarije gebruikte,
beperkte Dvoøák
zich tot karakteristieke
ritmische patronen van
dansvormen uit zijn
vaderland. Oorspronkelijk
zijn de Slavischedansen
gecomponeerd voor klavier
vierhandig. Vrij spoedig
maakte Dvoøák zelf
een versie voor orkest,
waarmee hij wereldroem
vergaarde. Het succes was
zo groot (zeker ook in
financieel opzicht voor
de uitgever!) dat een
tweedeserie van acht
dansen volgde: opus 72 in
het oeuvre van
Dvoøák.Kenmerken:Dans nr. 4 (Tempo di
menuetto, 3/4 maat)Dit is
een feestelijke, vrolijke
sousedská (te
beschouwen als de
Tsjechische variant op
het menuet), een
driedeligedans waarvan de
hoekdelen gracieus zijn
en het middendeel voor
een levendig contrast
zorgt.Dans nr. 7
(Allegro assai, 2/4
maat)Dvoøák lijkt
hier ge nspireerd te zijn
geweest door een snelle
dans genaamd skocná.
Het hoofdthemawerkt
humoristisch doordat het
in de vorm van een canon
wordt
gepresenteerd.Dans nr.
8 (Presto, 3/4
maat)Dit is een
temperamentvolle furiant,
vol vreugde en
uitgelatenheid, gevolgd
door een rustiger
middendeel, datuitmondtin
een zeer krachtig en snel
slot.
Im Jahre
1878 schrieb Anton n
Dvorák im Auftrag
seines Verlegers eine
Reihe von acht slawischen
Tänzen. Als Vorbild
dienten die beru?hmten
Ungarischen
Tänze von Johannes
Brahms, im Gegensatz zu
diesem verwendete
Dvorák jedoch keine
originalen Melodien. Wil
van der Beek bearbeitete
fu?r dieses Arrangement
die Nr. 7, einen
schnellen Tanz im
2/4-Takt, sowie die Nr.
8, einen
leidenschaftlichen,
u?berschwänglichen
Furiantâ?? im 3/4-Takt.
Nel 1878
Antonin Dvorák compone
su commissione una serie
di otto danze slave.
Anche se le celebri
Danze Ungheresi di
Brahms gli servirono da
modello, Dvorák non
utilizzò melodie
originali. Wil van der
Beek ha arrangiato la
Danza n.7
caratterizzata da un
tempo veloce in 2/4 e la
Danza n. 8, un
furiant passionale in
3/4.
Il Signore Fagotto Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Bassoon Solo - Grade 5 SKU: BT.DHP-1084489-010 ...(+)
Concert Band/Harmonie and
Bassoon Solo - Grade 5
SKU:
BT.DHP-1084489-010
For bassoon and
concert band.
Composed by Maxime Aulio.
Solo Spectrum. Solo &
Concerto. Set (Score &
Parts). Composed 2008. De
Haske Publications #DHP
1084489-010. Published by
De Haske Publications
(BT.DHP-1084489-010).
9x12 inches.
English-German-French-Dut
ch.
Il Signore
Fagotto begint met
een briljante orkestrale
introductie. Dan
introduceert de fagot het
hoofdthema van het werk.
De uitgebreide toepassing
van een onregelmatige
maatsoort (7/8) geeft de
fagot de mogelijkheid om
zijncharmante en schalkse
kenmerken te
onderstrepen. Dit spreekt
tot onze verbeelding: we
stellen ons voor hoe het
beschreven karakter (Il
Signore Fagotto)
ondeugende streken
levert. Kortom: een
bijzonder boeiende
compositie voor
harmonieorkest,met als
basis een prachtige
hoofdrol voor de
fagot!
Die
Vielseitigkeit des
Fagotts erkannten schon
viele große
Komponisten, wie z.B.
Vivaldi oder
Rimski-Korsakow. Es kann
von melancholisch,
klagend bis hin zu
komisch und grotesk
klingen. Letztere
Eigenschaft war der
Grund, warum in der
commedia dell’arte
im Italien der 1550er
Jahre eine Figur namens
Signor Fagotto,
die das Fagott
verkörperte, eine der
wichtigsten komischen
Rollen spielte. Maxime
Aulio benannte nach ihm
dieses Werk, in dem das
Fagott seine schalkhafte,
charmante Seite voll
ausleben und auch das
übrige
Blasorchester brillieren
kann.
Il Signore Fagotto Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Bassoon Solo - Grade 5 SKU: BT.DHP-1084489-140 ...(+)
Concert Band/Harmonie and
Bassoon Solo - Grade 5
SKU:
BT.DHP-1084489-140
For bassoon and
concert band.
Composed by Maxime Aulio.
Solo Spectrum. Solo &
Concerto. Score Only.
Composed 2008. 53 pages.
De Haske Publications
#DHP 1084489-140.
Published by De Haske
Publications
(BT.DHP-1084489-140).
9x12 inches.
English-German-French-Dut
ch.
Il Signore
Fagotto begint met
een briljante orkestrale
introductie. Dan
introduceert de fagot het
hoofdthema van het werk.
De uitgebreide toepassing
van een onregelmatige
maatsoort (7/8) geeft de
fagot de mogelijkheid om
zijncharmante en schalkse
kenmerken te
onderstrepen. Dit spreekt
tot onze verbeelding: we
stellen ons voor hoe het
beschreven karakter (Il
Signore Fagotto)
ondeugende streken
levert. Kortom: een
bijzonder boeiende
compositie voor
harmonieorkest,met als
basis een prachtige
hoofdrol voor de
fagot!
Die
Vielseitigkeit des
Fagotts erkannten schon
viele große
Komponisten, wie z.B.
Vivaldi oder
Rimski-Korsakow. Es kann
von melancholisch,
klagend bis hin zu
komisch und grotesk
klingen. Letztere
Eigenschaft war der
Grund, warum in der
commedia dell’arte
im Italien der 1550er
Jahre eine Figur namens
Signor Fagotto,
die das Fagott
verkörperte, eine der
wichtigsten komischen
Rollen spielte. Maxime
Aulio benannte nach ihm
dieses Werk, in dem das
Fagott seine schalkhafte,
charmante Seite voll
ausleben und auch das
übrige
Blasorchester brillieren
kann.
Composed by
Tyler Arcari. Concert
Band (CPS). Set of Score
and Parts. With Standard
notation.
16+4+8+16+4+4+8+4+4+8+8+8
+4+4+4+4+6+6+2+6+8+2+3+2+
4+10+28+4 pages. Duration
4 minutes, 6 seconds.
Carl Fischer Music
#CPS219. Published by
Carl Fischer Music
(CF.CPS219).
ISBN
9781491152454. UPC:
680160909957.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
Composed
by Tyler Arcari. Concert
Band (CPS). Full score.
With Standard notation.
28 pages. Carl Fischer
Music #CPS219F. Published
by Carl Fischer Music
(CF.CPS219F).
ISBN
9781491153130. UPC:
680160910632.
Solar
Flare, by Tyler Arcari,
depicts the huge
explosion on the Sun that
appears as a sudden
bright flash. The piece
incorporates a whirlwind
of mixed meters to?depict
this phenomenon. Arcari
showcases his fresh,
exciting, and well-scored
compositional style in
this piece. Solar Flare
makes for? an excellent
concert opener. A
solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 6972 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99115 to the end
of the piece feature a
style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a ateaching 7/8a space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69a72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99a115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the a^a accent on the
final note is one meant
to be played heavy, and
not short. A solar
flare is a huge
explosion on the sun that
appears as a sudden
increase in brightness or
flash. Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the
Work:Solar
Flare began
as a piece with two
goals: to write a space
piece in 7/8 and to write
a teaching 7/8 space
piece. The piece uses a
2-2-3 pattern, so using
this in pre-performance
warm-ups might be
beneficial. The piece is
loosely based on a minor
second descending to a
minor third. This motif
is used at the onset of
the piece in the mallet
percussion and then again
in the woodwinds. The
melody presents itself at
m. 19 in the clarinets.
This melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work. About the Work:
Solar Flare began as a
piece with two goals: to
write a space piece in
7/8 and to write a
teaching 7/8 space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69-72 should be
treated as a transitional
fanfare to the new
material at m. 73.
Measures 99-115 to the
end of the piece feature
a style similar to the
beginning that helps to
transition to m. 115,
which is the climax of
the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the ^ accent on the final
note is one meant to be
played heavy, and not
short. A solar flare
is a huge explosion on
the sun that appears as a
sudden increase in
brightness or flash.
Sometimes these
explosions push large
amounts of energy and
even parts of the sun
flying out into space.
These events can be so
powerful that they cause
events on Earth such as
auroras, as well as more
serious issues like
disrupting radio and
electronic instruments.
To our naked eye, these
dangerous explosions are
beautiful and quiet. The
celestial is a
fascinating place,
hopefully captured in
some small part by this
work.About the Work:Solar
Flare began as a piece
with two goals: to write
a space piece in 7/8 and
to write a
“teaching
7/8†space piece.
The piece uses a 2-2-3
pattern, so using this in
pre-performance warm-ups
might be beneficial. The
piece is loosely based on
a minor second descending
to a minor third. This
motif is used at the
onset of the piece in the
mallet percussion and
then again in the
woodwinds. The melody
presents itself at m. 19
in the clarinets. This
melodic material is
varied and traded
throughout the instrument
groups until m.67.
Measures 69–72
should be treated as a
transitional fanfare to
the new material at m.
73.Measures 99–115
to the end of the piece
feature a style similar
to the beginning that
helps to transition to m.
115, which is the climax
of the work. An ostinato
pattern (2-2-3) is
presented with fragments
of the melody appearing
in the alto voices. This
momentum culminates in a
large, abrasive area at
m. 125 where the
suspension-resolution in
the brass and horn
melodic fragment need to
be the focus. This
momentum continuously
grows until the last note
where we resolve finally.
Care should be taken that
the “^â€
accent on the final note
is one meant to be played
heavy, and not short.
Arranged by Charles
Tomlinson Griffes and
ed./arr. by Gregory
Vaught. Full Orchestra,
Conductor Score & Parts.
Nieweg Performance
Editions. Score and
Part(s). LudwigMasters
Publications #36-A296302.
Published by
LudwigMasters
Publications
(AP.36-A296302).
UPC:
659359760488.
English.
A dream
inspired Charles
Tomlinson Griffes
(1884-1920) to compose
The Pleasure Dome of
Kubla Kahn, based on the
poem by Samuel Taylor
Coleridge. The composer
originally wrote it for
piano in 1912. Four years
later, at the
encouragement of
Ferruccio Busoni, he
expanded it into a
shimmering symphonic
poem. Following the first
performance in the autumn
of 1919 under the
direction of Pierre
Monteux, it achieved
great success and remains
one of his most
frequently-performed
works today. The work
reveals the influence of
French impressionism,
meandering through the
lush gardens of the
legendary palace. This
edition by Gregory Vaught
is part of the Nieweg
Performance Editions
series. Instrumentation:
3(3rd
dPicc).2+EH.2+BCl.3:
4.3.3.1: Timp.Perc(3):
Hp(2).Clst.Pno: Str
(9-8-7-6-5 in set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Arranged by Charles
Tomlinson Griffes and
ed./arr. by Gregory
Vaught. Full Orchestra,
Conductor Score. Nieweg
Performance Editions.
Score. LudwigMasters
Publications #36-A296301.
Published by
LudwigMasters
Publications
(AP.36-A296301).
ISBN
9798892702249. UPC:
659359924736.
English.
A dream
inspired Charles
Tomlinson Griffes
(1884-1920) to compose
The Pleasure Dome of
Kubla Kahn, based on the
poem by Samuel Taylor
Coleridge. The composer
originally wrote it for
piano in 1912. Four years
later, at the
encouragement of
Ferruccio Busoni, he
expanded it into a
shimmering symphonic
poem. Following the first
performance in the autumn
of 1919 under the
direction of Pierre
Monteux, it achieved
great success and remains
one of his most
frequently-performed
works today. The work
reveals the influence of
French impressionism,
meandering through the
lush gardens of the
legendary palace. This
edition by Gregory Vaught
is part of the Nieweg
Performance Editions
series. Instrumentation:
3(3rd
dPicc).2+EH.2+BCl.3:
4.3.3.1: Timp.Perc(3):
Hp(2).Clst.Pno: Str
(9-8-7-6-5 in set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Composed by Bruce Fraser.
Score only. Duration
5:30. Published by G & M
Brand Music Publishers
(CN.S11295).
Greek Folk
Dances captures the
excitement of two dance
styles the composer
encountered while on
holiday in the Greek
Islands - the Hasapiko
and the Syrto. The first
is slow and dramatic
dance that plods along
showcasing the solo
clarinet, while the
second is a blazing fast
fire dance that
alternates between 4/4,
3/4 and 7/8.
The
inspiration for these
dances came from my first
proper cruise in 2007,
when we traveled around
Greek islands and spent a
week on the island of
Corfu. Traditional music
was all around us and we
had the chance to watch
and take part in some
dancing. I began to
formulate mu own ideas
into two of the dance
styles I had encountered
- the Hasapiko and the
Syrto. The Hasapiko is a
butcher dance where the
dancers put their arms
around each other's
shoulders and move in a
slow side to side motion,
dragging the insides of
their feet on the ground.
The music often speeds
up, but not necessarily.
The Syrto is much faster,
again with arms around
shoulders. Often a solo
dancer breaks away, doing
acrobatic dance tricks in
the middle of the circle.
I observed solo fire
dancing among flames
sprayed onto the ground
using some flammable
liquid. I have tried to
capture some of the
excitement of this. The
Syrto can be in 3/4 time
or 7/8 time, or a mixture
of the two. I have used
all three options in a
gradual speeding up
process charging towards
a hugely energetic
ending.
A Sacred Suite Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C. Alan Publications
By Brant Karrick. For Concert Band (Piccolo, Flute 1/2, Oboe, Bassoon, Clarinet ...(+)
By Brant Karrick. For
Concert Band (Piccolo,
Flute 1/2, Oboe, Bassoon,
Clarinet in Bb 1/2,
Clarinet in Bb 3, Bass
Clarinet, Alto Saxophone
1/2, Tenor Saxophone,
Baritone Saxophone,
Trumpet in Bb 1, Trumpet
in Bb 2/3, Horn in F 1/2,
Trombone 1, Trombone 2/3,
Euphonium, (Baritone
T.C.), Tuba,). Band
Music. Pioneer Band
Series. Grade 3. Score
and parts. Duration 7:20.
Published by C. Alan
Publications
For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L).
UPC:
680160039531. 11 x 17
inches.
Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland.
Cocnert
Band, Grade 5 7:50
Score. Composed by
Otto M. Schwarz.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Hal Leonard
#SDP244-23-01. Published
by Hal Leonard
(HL.4008956).
UPC:
196288281917.
“Jo
yride” was composed on
behalf of the city of
Landeck in Austria to
embody the spirit of
adventure, flourishing
development, and a
promising future. It not
only describes economic
progress but also the
cultural richness of a
modern city of the
future. The composition
opens with a majestic
fanfare seamlessly
transitioning into a
cheerful allegro in 7/8
time signature. Following
a section steadily
gaining momentum, a
tranquil middle passage
ensues, immersing the
piece in a contemplative
mood. The reprise
reintegrates the opening
motifs in various forms.
“Joyride” provides an
opportunity for all
instrumental groups to
showcase their abilities
in the composer's
characteristic musical
language.
Joyride Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Score and Parts Concert Band (Score & Parts) - Grade 5 SKU: HL.4008955 (+)
Score and Parts Concert
Band (Score & Parts) -
Grade 5
SKU:
HL.4008955
Concert
Band. Grade 5 7:50 Score
and Parts. Composed
by Otto M. Schwarz.
Symphonic Dimensions.
Concert, Concert Band.
Softcover. Duration 470
seconds. Hal Leonard
#SDP244-23-02. Published
by Hal Leonard
(HL.4008955).
UPC:
196288281900.
“Jo
yride” was composed on
behalf of the city of
Landeck in Austria to
embody the spirit of
adventure, flourishing
development, and a
promising future. It not
only describes economic
progress but also the
cultural richness of a
modern city of the
future. The composition
opens with a majestic
fanfare seamlessly
transitioning into a
cheerful allegro in 7/8
time signature. Following
a section steadily
gaining momentum, a
tranquil middle passage
ensues, immersing the
piece in a contemplative
mood. The reprise
reintegrates the opening
motifs in various forms.
“Joyride” provides an
opportunity for all
instrumental groups to
showcase their abilities
in the composer's
characteristic musical
language.
Composed
by Dirk Brosse. De Haske
Concert Band. Concert
Piece. Score Only.
Composed 1992. De Haske
Publications #920344.
Published by De Haske
Publications
(HL.44001761).
Emblazon Orchestre d'harmonie - Facile Carl Fischer
Band concert band - Grade 3 SKU: CF.CPS118 Composed by Sean O'Loughlin. C...(+)
Band concert band - Grade
3
SKU: CF.CPS118
Composed by Sean
O'Loughlin. Collate - FS
SWS - spine: 7/8 or 875.
Carl Fischer Concert
Performance Series. Set
of Score and Parts. With
Standard notation.
12+12+6+12+12+12+6+6+6+6+
6+6+12+12+12+6+6+9+9+6+9+
12+6+2+6+8+32 pages.
Duration 5 minutes, 55
seconds. Carl Fischer
Music #CPS118. Published
by Carl Fischer Music
(CF.CPS118).
ISBN
9780825884993. UPC:
798408084998. 9 x 12
inches. Key: Eb
major.
Like so many
of his works, Sean
O’Loughlin’
s Emblazon runs the gamut
of musical emotion to
stretch the musicianship
of your students. Written
in memory of a student at
Falmouth High School in
Massachusetts, this piece
celebrates her infectious
energy and zest for life
with its vibrant and
exciting tone. Truly
touching and joyful,
Emblazon is an ideal
contest and festival
work.
Perez Prado Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Scomegna Edizioni Musicali
A medley including: Mambo N. 8, Ritmo de Chunga, Patricia and Mambo Jambo. By Pe...(+)
A medley including: Mambo
N. 8, Ritmo de Chunga,
Patricia and Mambo Jambo.
By Perez "Prez" Prado.
Arranged by Giancarlo
Gazzani. Concert band.
Latin Music. Level: Grade
3.5. Score and set of
parts. Duration 7:00.
Published by Scomegna
Edizioni Musicali
(Italian import).
Undecim Orchestre d'harmonie [Conducteur et Parties séparées] Alfred Publishing
Eleventh Hour. Composed by Randall D. Standridge. Concert Band; Part(s); ...(+)
Eleventh Hour.
Composed by Randall D.
Standridge. Concert Band;
Part(s); Score;
SmartMusic. Alfred
Concert Band. 316 pages.
Published by Alfred Music
(AP.44208).
Undecim Orchestre d'harmonie [Conducteur] - Intermédiaire Alfred Publishing
(Eleventh Hour). Composed by Randall D. Standridge. Concert Band. Concert Band; ...(+)
(Eleventh Hour). Composed
by Randall D. Standridge.
Concert Band. Concert
Band; Score. Alfred
Concert Band. Grade 4. 24
pages. Published by
Alfred Music
Comegys Creek Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 3 SKU: AP.49513S Composed by Brian Beck (ASCAP). Con...(+)
Concert Band - Grade 3
SKU: AP.49513S
Composed by Brian Beck
(ASCAP). Concert Band;
Performance Music
Ensemble. Young
Symphonic. Meters. Score.
Duration 2:24. Alfred
Music #00-49513S.
Published by Alfred Music
(AP.49513S).
ISBN
9781470649593. UPC:
038081570372.
English.
Kick off
your shoes, jump in, and
ride down Comegys Creek.
This North Texas creek is
named after Dr. C. G.
Comegys, a prominent
family who lived in
Mckinney, TX in the early
1900s. Composer and
fellow Texan, Brian Beck
captures the southern
rowdiness of frolicking
in the water with friends
and family. Comegys Creek
is a fun piece that will
expand your student's
harmonic vocabulary and
is perfect for
introducing and
reinforcing accidentals
that create interesting
harmonies, all within a
comfortable range. It
also explores the many
permutations of the 8th
and 16th note
combinations, as well as
introduces and reinforces
7/8 time signature.
Groups performing this
piece will become
multi-meter masters in no
time! (2:24).
Comegys Creek Orchestre d'harmonie - Facile Alfred Publishing
Concert Band - Grade 3 SKU: AP.49513 Composed by Brian Beck (ASCAP). Conc...(+)
Concert Band - Grade 3
SKU: AP.49513
Composed by Brian Beck
(ASCAP). Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble. Young
Symphonic. Meters. Score
and Part(s). Duration
2:24. Alfred Music
#00-49513. Published by
Alfred Music (AP.49513).
ISBN 9781470649586.
UPC: 038081570365.
English.
Kick off
your shoes, jump in, and
ride down Comegys Creek.
This North Texas creek is
named after Dr. C. G.
Comegys, a prominent
family who lived in
Mckinney, TX in the early
1900s. Composer and
fellow Texan, Brian Beck
captures the southern
rowdiness of frolicking
in the water with friends
and family. Comegys Creek
is a fun piece that will
expand your student's
harmonic vocabulary and
is perfect for
introducing and
reinforcing accidentals
that create interesting
harmonies, all within a
comfortable range. It
also explores the many
permutations of the 8th
and 16th note
combinations, as well as
introduces and reinforces
7/8 time signature.
Groups performing this
piece will become
multi-meter masters in no
time! (2:24) This title
is available in MakeMusic
Cloud.
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1802 Composed by Brian Bal...(+)
Concert Band Concert Band
- Grade 2.5
SKU:
FJ.B1802
Composed by
Brian Balmages. Concert
Band. FJH Young Band.
Meters. Score and
Part(s). The FJH Music
Company Inc #98-B1802.
Published by The FJH
Music Company Inc
(FJ.B1802).
UPC:
241444416280.
English.
This
highly energetic work
uses a simple melody
combined with fantastic
orchestration for amazing
results. A fantastic
opportunity to teach 7/8
in a fun, engaging way,
the piece is always based
on 2+2+3 groupings and
has modest technical
demands so students can
focus on meter. Directors
will be excited at how
quickly students grasp
the concept and are able
to dive into the rich
musical lines woven
throughout. So much
fun!
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
Heart of Gold Orchestre d'harmonie [Conducteur] - Facile FJH
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1802S Score Only. C...(+)
Concert Band Concert Band
- Grade 2.5
SKU:
FJ.B1802S
Score
Only. Composed by
Brian Balmages. Concert
Band. FJH Young Band.
Meters. Score. The FJH
Music Company Inc
#98-B1802S. Published by
The FJH Music Company Inc
(FJ.B1802S).
English.
This
highly energetic work
uses a simple melody
combined with fantastic
orchestration for amazing
results. A fantastic
opportunity to teach 7/8
in a fun, engaging way,
the piece is always based
on 2+2+3 groupings and
has modest technical
demands so students can
focus on meter. Directors
will be excited at how
quickly students grasp
the concept and are able
to dive into the rich
musical lines woven
throughout. So much
fun!
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
The Lost City Of Shambhala Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-4733-00 Composed by J. Bell. Concert Band. Score and ...(+)
Grade 3
SKU:
CL.012-4733-00
Composed by J. Bell.
Concert Band. Score and
set of parts. Composed
2019. Opus III Wind
Orchestra Publications
#012-4733-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-4733-00).
The Lost City
of Shambhala takes the
listener on a journey to
the discovery of the
mythical utopia, nested
in the Himalayas. In
Sanskrit, Shambhala means
place of peace, and the
music paints an
Eden-esque landscape
shrouded in mystery. But
it is soon discovered
that entry into the city
is well-guarded and met
with hostility as the
music shifts to a heavily
percussive, driving
thrill-ride of shifting
7/8 and 4/4 time
signatures. An exciting
and energetic work that
makes a fantastic
addition to any
program!
Concert Piece Orchestre d'harmonie [Conducteur] - Intermédiaire Claude T. Smith Publications
Grade 5 SKU: CL.CTS-7719-75 For Solo Euphonium and Symphonic Band....(+)
Grade 5
SKU:
CL.CTS-7719-75
For
Solo Euphonium and
Symphonic Band.
Composed by Claude T.
Smith. Concert Band.
Oversized, spiral-bound
score. Composed 2020.
Claude T. Smith
Publications
#CTS-7719-75. Published
by Claude T. Smith
Publications
(CL.CTS-7719-75).
Written for
accomplished soloist
Brian Bowman, principal
Euphonium in the US Air
Force Band, as a
commissioned work under
conductor Col. Arnald
Gabriel, this composition
is for virtuoso soloist
and concert band. It
calls for expressive
phrasing especially
through the Lento and
Andante sections. Smith
incorporates mixed meters
and his signature 7/8 bar
to create a dance-like
lift. A concert showpiece
that contains a
challenging cadenza for
the soloist. Also
provided is the cadenza
as performed by Bowman.
Solo is grade 6.
Eternal Father, Strong to Save Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Claude T. Smith Publications
Grade 5 SKU: CL.CTS-7709-00 For Concert Band. Composed by Claude T...(+)
Grade 5
SKU:
CL.CTS-7709-00
For
Concert Band.
Composed by Claude T.
Smith. Concert Band.
Score and set of parts.
Composed 1975. Claude T.
Smith Publications
#CTS-7709-00. Published
by Claude T. Smith
Publications
(CL.CTS-7709-00).
Legendary
composer W. Francis
McBeth once said, If
Claude Smith only wrote
the fanfare to Eternal
Father, he would still be
a legend. Smith takes the
Navy’s hymn as the
basis for his fanfare.
This famous hymn tune,
normally in the major
key, has now been placed
in the minor key then
transitions to Allegro
Vivace. The hymn tune is
put through its paces
including several
variations and two
fugatos (one for the
woodwinds and one for
brass). A short
transition,(including the
famous 7/8 measure!) to
the now well-known
setting for French horn
quartet, gives us an
emotional rendition of
the original hymn tune
now in the major key. The
full band plays the hymn,
and a timpani roll takes
us back to the original
fanfare now in C major. A
classic of literature and
a composition which will
provide a meaningful
experience for musician
and audience member
alike.
Avondale Overture Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Claude T. Smith Publications
Grade 2 SKU: CL.CTS-8005-00 For Flexible Ensemble. Composed by Cla...(+)
Grade 2
SKU:
CL.CTS-8005-00
For
Flexible Ensemble.
Composed by Claude T.
Smith. Arranged by Earp.
Young Concert Band. Score
and set of parts.
Composed 2021. Claude T.
Smith Publications
#CTS-8005-00. Published
by Claude T. Smith
Publications
(CL.CTS-8005-00).
Avondale
Overture is perfect for
younger concert bands.
Simple key changes, tempo
changes, and one 7/8
measure provide appeal
and interest for students
and teachers alike. This
flexible arrangement
allows ensembles to
perform the work with as
few as ten musicians
providing accessibility
and flexibility for
numerous instrumentation
needs, while still
allowing a full ensemble
sound. *The posted
recording is based on the
full band scoring but
aligns with the suggested
preferences for either
woodwinds/strings or
brass suggested in the
score.
Concert Band Symphonic Band - Grade 4 SKU: FJ.B1794 Composed by Erik Mora...(+)
Concert Band Symphonic
Band - Grade 4
SKU:
FJ.B1794
Composed by
Erik Morales. Concert
Band. FJH Symphonic Band.
Meters; Patriotic. Score
and Part(s). The FJH
Music Company Inc
#98-B1794. Published by
The FJH Music Company Inc
(FJ.B1794).
UPC:
241444411926.
English.
This
highly energetic work in
7/8 is inspired by the
beauty of dance and the
music that inspires its
movements. Moving through
a broad range of
emotions, textures and
tonal centers, the music
has a constant feeling of
forward motion and
enthusiasm. A spirited
and inviting work!
About FJH
Symphonic
Band
Appro
priate for accomplished
high school, college, and
professional groups.
Includes expanded
instrumentation and
ranges. Grades 4 - 5
Emperata Overture Orchestre d'harmonie [Conducteur] - Intermédiaire Claude T. Smith Publications
Grade 4 SKU: CL.CTS-7708-01 Composed by Claude T. Smith. Concert Band. Ex...(+)
Grade 4
SKU:
CL.CTS-7708-01
Composed by Claude T.
Smith. Concert Band.
Extra full score.
Composed 1964. Claude T.
Smith Publications
#CTS-7708-01. Published
by Claude T. Smith
Publications
(CL.CTS-7708-01).
This is the
composition that started
it all! A classic of the
wind band literature for
concert and contest
alike. It was something
completely different,
with its appearance in
1964. The band’s
literature had not
experienced the trademark
7/8 measures, which we
all know as a Smith
trait. This composition
also includes one of his
few full band fugatos.
Excellent percussion
writing and a combination
of all themes come
together in a direct
modulation to C Major.
Originally titled
Overture for Winds and
Percussion, the word
Emperata has no meaning;
it was just, as Claude
put it, an intriguing
word! Still
Smith’s
best-selling work.