Transcribed by R. Mark Rogers for Symphonic Wind Band. Composed by Dmitri ...(+)
Transcribed by R. Mark
Rogers
for Symphonic Wind Band.
Composed by Dmitri
Shostakovich (1906-1975).
Edited by Mark Rogers.
Southern Music. Concert.
Softcover. Southern Music
Company #S977CB.
Published by
Southern Music Company
Canzona Di Bacco Orchestre d'harmonie - Intermédiaire Beriato Music
Concert Band (SCORE) - Grade 4.5 SKU: HL.4007849 Composed by Oliver Waesp...(+)
Concert Band (SCORE) -
Grade 4.5
SKU:
HL.4007849
Composed
by Oliver Waespi. Beriato
Music Concert Band Set.
Concert. Softcover.
Duration 675 seconds.
Beriato Music #033673.
Published by Beriato
Music (HL.4007849).
UPC:
196288105480.
This
piece comprises a series
of variations on the
melody of “Ami,
dans cette vieâ€
(“Friend, in this
lifeâ€), an 18th
century French song. Like
the famous poem
“Canzona de
Bacco†by Lorenzo
de' Medici, this song
invites the listener to
enjoy life, friendships,
love and wine while there
is still time to do so.
The epicurean nature of
this text contrasts with
a deeply melancholic
melody, a contradiction
which is explored in the
present work. After a
somewhat turbulent first
part, the original melody
is revealed in a serene
and pensive middle
section which highlights
several soloists. In the
last movement, the
atmosphere is transformed
to become increasingly
exuberant, like a Bacchus
incantation. The piece
concludes with a final
dazzling statement of the
original theme. Canzona
di Bacco was commissioned
by the Vesoul Municipal
Wind Band, who premiered
the work on 24 June 2022
at the Edwige
Feuillère Theatre in
Vesoul (France), under
the direction of Mathieu
Anguenot.
Canzona Di Bacco Orchestre d'harmonie - Intermédiaire Beriato Music
Concert Band (SCORE+PARTS) - Grade 4.5 SKU: HL.4007848 Composed by Oliver...(+)
Concert Band
(SCORE+PARTS) - Grade 4.5
SKU: HL.4007848
Composed by Oliver
Waespi. Beriato Music
Concert Band Set.
Concert. Softcover.
Duration 675 seconds.
Beriato Music #033673.
Published by Beriato
Music (HL.4007848).
UPC: 196288105473.
9.0x12.0
inches.
This piece
comprises a series of
variations on the melody
of “Ami, dans cette
vieâ€
(“Friend, in this
lifeâ€), an 18th
century French song. Like
the famous poem
“Canzona de
Bacco†by Lorenzo
de' Medici, this song
invites the listener to
enjoy life, friendships,
love and wine while there
is still time to do so.
The epicurean nature of
this text contrasts with
a deeply melancholic
melody, a contradiction
which is explored in the
present work. After a
somewhat turbulent first
part, the original melody
is revealed in a serene
and pensive middle
section which highlights
several soloists. In the
last movement, the
atmosphere is transformed
to become increasingly
exuberant, like a Bacchus
incantation. The piece
concludes with a final
dazzling statement of the
original theme. Canzona
di Bacco was commissioned
by the Vesoul Municipal
Wind Band, who premiered
the work on 24 June 2022
at the Edwige
Feuillère Theatre in
Vesoul (France), under
the direction of Mathieu
Anguenot.
Orchestra Concert Band SKU: PR.116400500 Composed by Carter Pann. Folio. ...(+)
Orchestra Concert Band
SKU: PR.116400500
Composed by Carter Pann.
Folio. Set of Score and
Parts.
28+2+2+2+2+2+2+2+2+2+2+2+
2+2+2+2+2+2+2+2+2+2+2+2+2
+2+2+2+4+16+16+20+20+10
pages. Duration 5
minutes. Theodore Presser
Company #116-40050.
Published by Theodore
Presser Company
(PR.116400500).
ISBN
9781491130773. UPC:
680160676729. 9 x 12
inches.
TINY TATTOO
was written after the
composer visited a
“treetopâ€
bistro at Big Sur,
California. The
restaurant is named
Nepenthe, after an
ancient Greek elixir
fabled to relieve any and
all sorrows. This
spot-on-the-cliff made
such an impression on
Pann that musical ideas
immediately started
flowing, giving rise to
the opening hook of this
5-minute orchestral work.
Written as a gift to
conductor Alastair
Willis, TINY TATTOO is a
highly catchy and
colorful work with
exciting percussion
parts, equally suitable
for advanced student
orchestras, professional
ensembles, and everything
in between. TINY
TATTOO (2017) was written
after visiting a
“treetopâ€
bistro at Big Sur,
California with my wife
after driving the entire
day up from L.A. The
restaurant is called
“Nepenthe,â€
named after an ancient
Greek elixir fabled to
relieve one from any and
all sorrows. This
spot-on-the-cliff made
such an impression on me
(in my exhausted state)
that I immediately began
humming the opening
minimal hook in what is
now this piece. Any
well-known excerpts
containted within the
work are happy
accidents.Tiny Tattoo was
written as a gift to
conductor Alastair
Willis.
Entrance of the Gladiators Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire C.L. Barnhouse
(March). By Julius Fucik (1872-1916). Arranged by Andrew Glover. Concert band. H...(+)
(March). By Julius Fucik
(1872-1916). Arranged by
Andrew Glover. Concert
band. Heritage of the
March Series. Audio
recording available
separately (item
CL.WFR372). Grade 3.5.
Score and set of parts.
Composed 2011. Duration 3
minutes, 6 seconds.
Published by C.L.
Barnhouse
Entrance of the Gladiators Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-4001-75 March. Composed by Julius Fucik. Arran...(+)
Grade 3
SKU:
CL.012-4001-75
March. Composed by
Julius Fucik. Arranged by
Glover. Concert Band.
Heritage of the March
Series. Audio recording
available separately
(items CL.WFR372 &
CL.WFR197). Oversized,
spiral-bound score.
Composed 2011. Duration 3
minutes, 6 seconds. Opus
III Wind Orchestra
Publications
#012-4001-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4001-75).
This march
masterpiece, famous for
generations to children
of all ages is at last
available in this concert
edition arranged by
Andrew Glover. This
delightful, entertaining,
and familiar march will
be a hit at any concert
performance. An excellent
choice also for contest
and festival
performances.
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
Orion's Last Battle Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Concert band - Grade 2 SKU: CL.011-4259-01 Composed by J. McBride. Young ...(+)
Concert band - Grade 2
SKU:
CL.011-4259-01
Composed by J. McBride.
Young Concert Band.
Command Series. Audio
recording available
separately (item
CL.WFR382). Extra full
score. Composed 2014.
Duration 4 minutes, 14
seconds. C.L. Barnhouse
#011-4259-01. Published
by C.L. Barnhouse
(CL.011-4259-01).
The
mythological story of
Orion's deadly battle
with the giant scorpion
comes to life in Orion's
Last Battle, a unique and
exciting work for
developing bands. The
peaceful opening presents
accidentals in a
harmonically consistent
way, while the
action-packed battle
drives forward with its
syncopated melodies and
unison ostinatos. Orion's
Last Battle will be a
musically rewarding and
exciting addition to any
developing band
library.
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.
By John Philip Sousa. Arranged by David Lovrien/James Gann. For concert band. So...(+)
By John Philip Sousa.
Arranged by David
Lovrien/James Gann. For
concert band. Sousa's
long-lost march,
available at last. March.
Full score and set of
parts. Duration 2:30.
Published by Lovebird
Music. (105)
Level: Grade 4
(Intermediate).
From the Opera Gotterdammerung. Composed by Richard Wagner (1813-1883). A...(+)
From the Opera
Gotterdammerung.
Composed by Richard
Wagner (1813-1883).
Arranged by Christiaan
Janssen. Full score and
set of parts. Duration
7:30. Published by Baton
Music (BF.BM561-SET).
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1084444-140 Le dernier RÃ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1084444-140
Le dernier Rêve du
Chêne. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2007. 32
pages. De Haske
Publications #DHP
1084444-140. Published by
De Haske Publications
(BT.DHP-1084444-140).
9x12 inches.
English-German-French-Dut
ch.
Der letzte
Traum der alten Eiche
schrieb der dänische
Schriftsteller und
Dichter Hans Christian
Andersen, dessen zeitlose
Märchen in über
achtzig Sprachen
übersetzt wurden
und schon zahllose
Künstler aller
Sparten inspirierten. So
auch Maxime Aulio, dessen
kunstvolle Art,
verschiedene Klangfarben
und Stimmungen
miteinander zu
verknüpfen, die
Fantasie von Musikern und
Zuhörern anregt.
The Last Dream of the Old Oak Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1084444-010 Le dernier RÃ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1084444-010
Le dernier Rêve du
Chêne. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2007.
De Haske Publications
#DHP 1084444-010.
Published by De Haske
Publications
(BT.DHP-1084444-010).
9x12 inches.
English-German-French-Dut
ch.
Der letzte
Traum der alten Eiche
schrieb der dänische
Schriftsteller und
Dichter Hans Christian
Andersen, dessen zeitlose
Märchen in über
achtzig Sprachen
übersetzt wurden
und schon zahllose
Künstler aller
Sparten inspirierten. So
auch Maxime Aulio, dessen
kunstvolle Art,
verschiedene Klangfarben
und Stimmungen
miteinander zu
verknüpfen, die
Fantasie von Musikern und
Zuhörern anregt.
Brass Band (Score & Parts) - Grade 5 SKU: HL.44012770 Composed by Philip ...(+)
Brass Band (Score &
Parts) - Grade 5
SKU:
HL.44012770
Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Softcover.
Composed 2008. Anglo
Music Press #AMP236-030.
Published by Anglo Music
Press (HL.44012770).
9x12 inches.
English-German-French-Dut
ch.
Philip
Sparke's The
Saga Of Haakon The
Good for Brass Band.
Score and parts.
The Saga of
Haakon the Good werd
geschreven in opdracht
van Frei Hornmusikk uit
Noorwegen, ter
gelegenheid van het
samengaan van de twee
Kommuner (gemeenten) Frei
en Kristiansund op 1
januari 2008. Deze
brassband gebruikte het
werk bij het Noorse
Nationale
Brassbandkampioenschap in
februari. De compositie
is gebaseerd op
belangrijke
gebeurtenissen in het
leven van Haakon de Goede
(ca. 920-961), die koning
Haakon 1 van Noorwegen
werd - THE FUTURE KING.
Hij werd opgevoed door
koning Adelstein
(Athelstan van Engeland)
als onderdeel van een
vredesovereenkomst die
zijn vader had gesloten.
De Engelse koning bracht
hem de christelijke
godsdienst bij. Toen het
nieuws kwam dat zijnvader
was overleden, kreeg
Haakon een aantal schepen
met bemanning mee om ten
strijde te trekken tegen
zijn halfbroer Erik
Bloedbijl, die tot koning
was uitgeroepen. In
Noorwegen aangekomen trok
hij noordwaarts - THE
JOURNEY TO TRONDHEIM -,
waar hij de steun van
landeigenaren wist te
verkrijgen door ze te
beloven dat hij de
belastingen die zijn
vader hief, zou
afschaffen.De zoons van
Erik zochten steun bij de
Denen, maar ze werden
verslagen door Haakon,
die slaagde in alles wat
hij deed, behalve in zijn
pogingen het christendom
in het land te
introduceren - THE
MISSIONARY KING. Hij
voelde zich niet
opgewassen tegen het
verzet dat hij hierin
ondervond. Een van zijn
beroemdste overwinningen
was de slag bij
Rastarkalv (dicht bij
Frei) - THE BATTLE OF
RASTARKALV - in 955. Door
tien vaandels ver van
elkaar te plaatsen langs
een lage bergkam (om de
indruk te wekken dat zijn
leger groter was dan in
werkelijkheid) lukte het
hem om Eriks zoons het
idee te geven dat zij in
de minderheid waren. De
Denen vluchtten en het
leger van Haakon
zegevierde. De genoemde
tien vaandels worden
weergegeven door tien
luide akkoorden vanaf
maat 420.
The
Saga of Haakon the
Good reflektiert das
Leben von Konig Haakon I
von Norwegen (um
920-961). Jeder der vier
Satze dieses Werkes hat
etwas Besonderes zu
bieten - von
ausdrucksvollen
Lento-Passagen bis zu
dynamischen rhythmischen
Abschnitten und vielen
spannenden Soli. The
Saga of Haakon the
Good war bereits
Pflichtstück bei
den British National
Brass Band Championships
2008. Wahrhaft
meisterlich!
Un
superbe morceau impose,
par le roi des imposes
Philip Sparke. Base sur
la legende de Haakon le
bon (vers 920-961).
Composed by Bedrich Smetana (1824-1884). Arranged by Capitao Joao Afonso C...(+)
Composed by Bedrich
Smetana
(1824-1884). Arranged by
Capitao Joao Afonso
Cerqueira. For concert
band.
Arrangements of Classical
Compositions/Catalogue
New
Band Music Vol. 12.
Classic
Arrangement. Recorded on
Ma
Vlast (ML.311119720).
Grade
5. Score only. Duration
14
minutes, 49 seconds.
Published by Molenaar
Edition
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1064045-140 Composed by Tra...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1064045-140
Composed by Traditional.
Arranged by Wil van der
Beek. Your Favorite
Classics. Classical.
Score Only. Composed
2006. 16 pages. De Haske
Publications #DHP
1064045-140. Published by
De Haske Publications
(BT.DHP-1064045-140).
9x12 inches.
English-German-French-Dut
ch.
The Last Rose
of Summer is a popular
Irish folksong. The
original text was written
by Thomas Moore
(1779-1852) and the
melody is a traditional
air titled The Groves of
Blarney. The German
composer Friedrich von
Flotow (1812-1883)
cleverly used this song
in his opera Martha, a
light-hearted, successful
work that is still
regularly performed. The
melancholy character of
The Last Rose of Summer
still appeals to many
people in the present day
and this arrangement by
Wil van der Beek
certainly does justice to
the beauty of the melody.
A wonderful item to
change the mood of any
performance.
Th
e Last Rose of Summer
is een geliefd Iers
volkslied. De originele
tekst is van Thomas Moore
(1779-1852) en de melodie
is een traditionele air
met de titel The
Groves of Blarney. De
Duitse componist
Friedrich von
Flotow(1812-1883)
gebruikte dit lied op
handige wijze in zijn
opera Martha, een
lichtvoetig, succesvol
werk, dat tot op heden
repertoire gehouden
heeft. Het melancholische
karakter van The Last
Rose of Summer
spreekt ook vandaagde dag
nog veel mensen aan. Dit
arrangement van Wil van
der Beek doet beslist
recht aan de schoonheid
van de
melodie.
The
Last Rose of Summer
ist ein beliebtes
irisches Volkslied. Der
ursprüngliche Text
stammt von Thomas Moore,
die Melodie ist ein
überliefertes Air mit
dem Titel The Groves
of Blarney. Der
deutsche Komponist
Friedrich von Flotow
verarbeitete das Lied
geschickt in seiner Oper
Martha, ein
heiteres, erfolgreiches
Werk, das heute noch
aufgeführt wird. Der
melancholische Charakter
dieses Liedes hat auch in
der Gegenwart nichts von
seinem Reiz verloren.
Diese Bearbeitung von Wil
van der Beek wird
Schönheit der Melodie
absolut
gerecht.
The Last Rose
of Summer è uno
dei più celebri canti
tradizionali irlandesi.
Nel 1847, il compositore
tedesco Friedrich von
Flotow (1812-1883)
include questa melodia
nell’opera Martha.
Il successo è
immediato e gode ancora
oggi di immensa notoriet
. L’arrangiamento
di Wil van der Beek
conserva la bellezza
della melodia
originale.
The Last Rose of Summer Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1064045-010 Composed by Tra...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1064045-010
Composed by Traditional.
Arranged by Wil van der
Beek. Your Favorite
Classics. Classical. Set
(Score & Parts). Composed
2006. De Haske
Publications #DHP
1064045-010. Published by
De Haske Publications
(BT.DHP-1064045-010).
9x12 inches.
English-German-French-Dut
ch.
The Last Rose
of Summer is a popular
Irish folksong. The
original text was written
by Thomas Moore
(1779-1852) and the
melody is a traditional
air titled The Groves of
Blarney. The German
composer Friedrich von
Flotow (1812-1883)
cleverly used this song
in his opera Martha, a
light-hearted, successful
work that is still
regularly performed. The
melancholy character of
The Last Rose of Summer
still appeals to many
people in the present day
and this arrangement by
Wil van der Beek
certainly does justice to
the beauty of the melody.
A wonderful item to
change the mood of any
performance.
Th
e Last Rose of Summer
is een geliefd Iers
volkslied. De originele
tekst is van Thomas Moore
(1779-1852) en de melodie
is een traditionele air
met de titel The
Groves of Blarney. De
Duitse componist
Friedrich von
Flotow(1812-1883)
gebruikte dit lied op
handige wijze in zijn
opera Martha, een
lichtvoetig, succesvol
werk, dat tot op heden
repertoire gehouden
heeft. Het melancholische
karakter van The Last
Rose of Summer
spreekt ook vandaagde dag
nog veel mensen aan. Dit
arrangement van Wil van
der Beek doet beslist
recht aan de schoonheid
van de
melodie.
The
Last Rose of Summer
ist ein beliebtes
irisches Volkslied. Der
ursprüngliche Text
stammt von Thomas Moore,
die Melodie ist ein
überliefertes Air mit
dem Titel The Groves
of Blarney. Der
deutsche Komponist
Friedrich von Flotow
verarbeitete das Lied
geschickt in seiner Oper
Martha, ein
heiteres, erfolgreiches
Werk, das heute noch
aufgeführt wird. Der
melancholische Charakter
dieses Liedes hat auch in
der Gegenwart nichts von
seinem Reiz verloren.
Diese Bearbeitung von Wil
van der Beek wird
Schönheit der Melodie
absolut
gerecht.
The Last Rose
of Summer è uno
dei più celebri canti
tradizionali irlandesi.
Nel 1847, il compositore
tedesco Friedrich von
Flotow (1812-1883)
include questa melodia
nell’opera Martha.
Il successo è
immediato e gode ancora
oggi di immensa notoriet
. L’arrangiamento
di Wil van der Beek
conserva la bellezza
della melodia
originale.
Last Spring Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1043755-010 Composed by Edvar...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1043755-010
Composed by Edvard Grieg.
Your Favorite Classics.
Transcription. Set (Score
& Parts). Composed 2004.
De Haske Publications
#DHP 1043755-010.
Published by De Haske
Publications
(BT.DHP-1043755-010).
English-German-French-
Dutch.
In 1880,
Edvard Grieg composed
twelve song poems by
Aasmund Olavsson Vinje.
He arranged two of these
songs for String
Orchestra published under
the title of Two Elegiac
Melodies, Op. 34. These
two deeply meloncholy
pieces were titled The
Wounded Heart and Last
Spring. The latter of
these two titles inspired
Tohru Takahashi to
produce this expressive
and sensitive
transcription for Concert
Band, which will make a
fantastic encore piece
for any concert.
Last
Spring komt uit de
Two Elegiac Melodies
for String Orchestra,
opus 34. Deze muziek,
gecomponeerd in 1880, is
oorspronkelijk geschreven
voor twee liederen uit
Grieg's album opus 33:
The Wounded Heart
en Spring.De
laatste van deze twee
titels inspireerde Tohru
Takahashi tot het maken
van een prachtige
transcriptie die heel
geschikt is als toegift.
Met hart en ziel gespeeld
zal deze muziek uw
beslist
raken.
Edvard
Grieg komponierte
Zwölf Lieder zu
Gedichten von Aasmund
Olavsson Vinje. Zwei
dieser Lieder arrangierte
er für
Streichorchester unter
dem Titel Zwei
elegische Melodien.
Diese Lieder heißen
The Wounded Heart
(Der Verwundete) und
The Last Spring
(Letzter Frühling).
Letzteres inspirierte
Tohru Takahashi zu einer
emotionalen
Transkription, die mehr
Musikverständnis als
technische Fertigkeiten
verlangt und sich
hervorragend als
Zugabenummer
eignet.
The Camelot Chronicles Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Anglo Music
Concert Band/Harmonie - Grade 3 SKU: BT.AMP-200-010 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-200-010
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2007.
Anglo Music Press #AMP
200-010. Published by
Anglo Music Press
(BT.AMP-200-010).
9x12
inches.
English-German-French-Dut
ch.
The Camelot
Chronicles is a series of
contrasting musical
tableaux,each describing
the famous characters
from the Arthurian
legend. Noone knows
exactly where Camelot was
situated (favourite
choices areTintagel and
Glastonbury) but the
story has passed into
legend and isthe subject
of many poems and novels,
each of which have
cloudedthe truth and
added to the mystery. Let
Philip Sparke?s music
inspireyour band with
this magical tale.
Rondom het thema
Camelot creëerde
Philip Sparke een serie
contrasterende tableaus
die de figuren uit de
Arthur-legenden
beschrijven. At the
Castle Gates is een
muzikale weergave van
Camelot. King
Arthur beschrijft
demajestueuze aankomst
van de koning bij het
kasteel. Merlin the
Wizard is spookachtig
van sfeer en weerspiegelt
een van Merlijns
toverkunsten. Lancelot
and Guinevere is een
romantisch duet dat de
edele liefde van deridder
voor de koningin
verklankt. Knights of
the Round Table geeft
een indruk van hoe de
ridders vol vuur de
strijd aangaan, het werk
eindigt
glorierijk.
The
Camelot Chronicles
besteht aus einer Reihe
von musikalischen
Bildern, von denen jedes
eine Figur aus der
Artussage beschreibt.
Niemand weiß genau, wo
die Burg Camelot einst
stand, in der König
Artus seine Ritter um die
Tafelrunde versammelte,
aber die Legende
fasziniert die Menschen
bis heute. Lassen Sie mit
Philip Sparkes Musik Ihr
Publikum die
Atmosphäre der
sagenumwobenen Burg und
der Geschichte derer, die
darin ein und aus gingen,
nacherleben!
Last Spring Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band - Grade 3 SKU: BT.DHP-1043755-040 Your Favorite Classics. Tr...(+)
Concert Band - Grade 3
SKU:
BT.DHP-1043755-040
Your Favorite Classics.
Transcription. Set (Score
& Parts). Composed 2004.
De Haske Publications
#DHP 1043755-040.
Published by De Haske
Publications
(BT.DHP-1043755-040).
English-German-French-
Dutch.
In 1880,
Edvard Grieg composed
twelve song poems by
Aasmund Olavsson Vinje.
He arranged two of these
songs for String
Orchestra published under
the title of Two Elegiac
Melodies, Op. 34. These
two deeply meloncholy
pieces were titled The
Wounded Heart and Last
Spring. The latter of
these two titles inspired
Tohru Takahashi to
produce this expressive
and sensitive
transcription for Concert
Band, which will make a
fantastic encore piece
for any concert.
Last
Spring komt uit de
Two Elegiac Melodies
for String Orchestra,
opus 34. Deze muziek,
gecomponeerd in 1880, is
oorspronkelijk geschreven
voor twee liederen uit
Grieg's album opus 33:
The Wounded Heart
en Spring.De
laatste van deze twee
titels inspireerde Tohru
Takahashi tot het maken
van een prachtige
transcriptie die heel
geschikt is als toegift.
Met hart en ziel gespeeld
zal deze muziek uw
beslist
raken.
Edvard
Grieg komponierte
Zwölf Lieder zu
Gedichten von Aasmund
Olavsson Vinje. Zwei
dieser Lieder arrangierte
er für
Streichorchester unter
dem Titel Zwei
elegische Melodien.
Diese Lieder heißen
The Wounded Heart
(Der Verwundete) und
The Last Spring
(Letzter Frühling).
Letzteres inspirierte
Tohru Takahashi zu einer
emotionalen
Transkription, die mehr
Musikverständnis als
technische Fertigkeiten
verlangt und sich
hervorragend als
Zugabenummer
eignet.
Composed by
Larry Clark. Concert Band
(CPS). Set of Score and
Parts. With Standard
notation.
12+12+6+12+24+24+6+4+6+6+
6+6+8+8+8+4+4+6+6+6+8+2+1
+6+2+4+10+32+4 pages.
Duration 6 minutes, 9
seconds. Carl Fischer
Music #CPS225. Published
by Carl Fischer Music
(CF.CPS225).
ISBN
9781491152515. UPC:
680160910014.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Composed
by Larry Clark. Concert
Band (CPS). Full score.
With Standard notation.
32 pages. Carl Fischer
Music #CPS225F. Published
by Carl Fischer Music
(CF.CPS225F).
ISBN
9781491153192. UPC:
680160910694.
Tarta
n Tapestries is an
original piece that sets
out to emulate Scottish
folk music. Composer
Larry Clark has created a
concert overture in
triple meter to capture
the essence of music from
Scotland. After a lilting
first section, lush
and beautiful moments
weave a tapestry of
sounds with the lyrical,
middle section of the
piece. There is an
optional part for
bagpipes, and an optional
ending should you chose
to use this instrument as
part of the piece. Alert
your contest music
committee about this
strong new piece for
advancing
groups. Tartan
Tapestries was
commissioned by Friends
of the Arts for the Saint
Andrew's School Band in
Boca Raton,
Florida. The band
program at Saint
Andrew’s School is
under the direction of
Andrea Wolgin. The
premiere took place on
November 29, 2017.When I
was asked by their
conductor Ms. Wolgin to
write a piece for the
Saint Andrew’s
School, I asked her what
kind of involvement she
wanted the students to
have in the process. We
discussed several options
for having the students
involved in the process
of creating with the type
of piece they wanted.Â
We set up a
“Skypeâ€
meeting with members of
the band to discuss the
piece. During this
discussion, the consensus
of the students was that
they wanted a piece
depicting the Scottish
influence to the
school. They also
wanted a piece that would
challenge all sections of
the band and to include
bagpipes if possible. I
asked that the students
be involved in helping to
name the piece once it
was completed, for which
they agreed and were very
helpful. Armed with
this information, I set
out to compose a piece
for them, and Tartan
Tapestries is the
result.The piece begins
with a fanfare gesture
based upon rhythms and
harmonies that appear
throughout the piece. I
chose the lilting triple
feel to the piece, to
bring about the Scottish
flavor. I wanted the
fanfare to be bardic
sounding, to depict the
strength of the Scottish
people and for the piece
to have a dynamic
opening. The fanfare
contains material that
alludes to the main theme
and with a bit of
dissonance and tension
that is resolved in the
main body of the
piece.The main theme is a
lilting original melody,
but one that I hope with
have the essence of
Scottish folk songs. The
main idea is followed by
a more modal and dark
sounding secondary theme,
first stated in the
horns. This material
is later used in the
development section of
the piece. The main
theme returns several
times, with different and
varied orchestrations and
harmonic treatments. This
is followed by a short
transition leading to the
more lyrical and slower
second section of the
piece. A transparent
presentation of the
lyrical theme, which is
based on aspects of the
main theme, is presented
first by a solo flute.
This section is a nod to
famous composer Malcom
Arnold’s wonderful
works for orchestra in
its style and
orchestration. After a
transition or bridge
section with a solo
euphonium, the piece
builds to a dramatic
climax of the lyrical
theme by the full band.
This subsides to a return
of the solo flute to end
this second section of
the piece, followed by a
transition back the main
theme.The solo bagpipes
play a central role in
the return of the main
theme and take center
stage after being heard
in the distance earlier
in the work. The piece
brings back a shortened
version of the darker
secondary theme, followed
by a hint of the fanfare
material that builds to
one last statement of the
main theme by the full
band, before leading to a
dramatic coda to complete
the work.It has been my
pleasure to have been
given the opportunity to
compose this piece for
the Saint Andrew’s
School Band! I thank
Andrea Wolgin for making
it happen, and I hope
that you enjoy it as much
as I have enjoyed
bringing the piece to
life.–Larry
ClarkLakeland, Florida
2017.
Santa on the Housetop Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant FJH
By Benjamin R. Hanby. Arranged by William Owens. FJH Starter Series. The piece f...(+)
By Benjamin R. Hanby.
Arranged by William
Owens. FJH Starter
Series. The piece from
beginning to end has a
special festive quality,
and should be bouncy, not
heavy. At measure 6,
percussion and low voices
must be considerate of
the upper woodwind
melody. Play the sections
at measures 14 and 26 in
the same festive manner
as the introduction. The
slide whistle and the
"Ho!, Ho!, Ho!" parts
should be bold and
without reservation. The
section at measure 34
(especially the last
three notes) should be
climactic in nature but
not overplayed. Score for
this title: B1294S. Extra
part for this title:
B1294P. Concert Band.
Level: 0.5. Score and Set
of Parts. Published by
The FJH Music Company
Inc.
This Is It Orchestre d'harmonie [Conducteur] - Facile Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1919-12-140-MS Composed by Michae...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1919-12-140-MS
Composed by Michael
Jackson and Paul Anka.
Arranged by Hideaki
Miura. Pop & Rock. Score
Only. Composed 2012. 20
pages. Music Sales
#1919-12-140 MS.
Published by Music Sales
(BT.1919-12-140-MS).
9x12 inches.
English.
This Is
It is the title track
from the film of the same
name that first appeared
after the death of
Michael Jackson. The
title, that should have
represented the climax of
a great career, has now
taken on a second,
unintentionally sadder
meaning. In a brand new
arrangement for wind
orchestra by Hideaki
Miura, the last hit of
the ‘King of
Pop’ is a must for
your entertaining
repertoire!
This Is It
is de titelsong van de
gelijknamige film die pas
na de dood van Michael
Jackson werd uitgebracht.
De titel was eigenlijk
bedoeld als afsluiting
van een grootse
carrière van de grote
Michael Jackson.
Onbedoeld heeft het door
zijn vroegtijdige dood
een treurige bijbetekenis
gekregen. De laatste hit
van de King of Pop geven
wij nu uit in een
gloednieuwe bewerking
voor orkest. Een
must-have voor op uw
amusementsrepertoire!
This Is It
ist das Titellied zum
gleichnamigen Film, der
erst nach dem Tod von
Michael Jackson
veröffentlicht wurde.
Der Titel Das
war’s“, der
eigentlich den Abschluss
einer großartigen
Karriere markieren
sollte, hat nun ungewollt
eine zweite, traurige
Bedeutung bekommen. Der
letzte Hit des King of
Pop“ für
Blasorchester von Hideaki
Miura ist ein Muss
für Ihr
unterhaltsames
Repertoire!
This Is It
è il titolo della
canzone che accompagna
l’omonimo
documentario del 2009, in
gran parte realizzato
utilizzando il materiale
girato da Michael Jackson
nei giorni immediatamente
precedenti il suo
decesso, mentre preparava
le coreografie per il
tour. Un titolo, che dopo
la tragica morte del
grande artista, suonò
come una premonizione.
L’arrangiamento di
Hideaki Miura è un
must del repertorio di
musica da
intrattenimento.
This Is It Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1919-12-010-MS Composed by Michae...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.1919-12-010-MS
Composed by Michael
Jackson and Paul Anka.
Arranged by Hideaki
Miura. Pop & Rock. Set
(Score & Parts). Composed
2012. Music Sales
#1919-12-010 MS.
Published by Music Sales
(BT.1919-12-010-MS).
9x12 inches.
English.
This Is
It is the title track
from the film of the same
name that first appeared
after the death of
Michael Jackson. The
title, that should have
represented the climax of
a great career, has now
taken on a second,
unintentionally sadder
meaning. In a brand new
arrangement for wind
orchestra by Hideaki
Miura, the last hit of
the ‘King of
Pop’ is a must for
your entertaining
repertoire!
This Is It
is de titelsong van de
gelijknamige film die pas
na de dood van Michael
Jackson werd uitgebracht.
De titel was eigenlijk
bedoeld als afsluiting
van een grootse
carrière van de grote
Michael Jackson.
Onbedoeld heeft het door
zijn vroegtijdige dood
een treurige bijbetekenis
gekregen. De laatste hit
van de King of Pop geven
wij nu uit in een
gloednieuwe bewerking
voor orkest. Een
must-have voor op uw
amusementsrepertoire!
This Is It
ist das Titellied zum
gleichnamigen Film, der
erst nach dem Tod von
Michael Jackson
veröffentlicht wurde.
Der Titel Das
war’s“, der
eigentlich den Abschluss
einer großartigen
Karriere markieren
sollte, hat nun ungewollt
eine zweite, traurige
Bedeutung bekommen. Der
letzte Hit des King of
Pop“ für
Blasorchester von Hideaki
Miura ist ein Muss
für Ihr
unterhaltsames
Repertoire!
This Is It
è il titolo della
canzone che accompagna
l’omonimo
documentario del 2009, in
gran parte realizzato
utilizzando il materiale
girato da Michael Jackson
nei giorni immediatamente
precedenti il suo
decesso, mentre preparava
le coreografie per il
tour. Un titolo, che dopo
la tragica morte del
grande artista, suonò
come una premonizione.
L’arrangiamento di
Hideaki Miura è un
must del repertorio di
musica da
intrattenimento.
Pre 1 SKU: CL.023-4639-01 Composed by J. McBride. Young Concert Band. Sou...(+)
Pre 1
SKU:
CL.023-4639-01
Composed by J. McBride.
Young Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR396). Extra full
score. Composed 2018.
Duration 1 minute, 46
seconds. C.L. Barnhouse
#023-4639-01. Published
by C.L. Barnhouse
(CL.023-4639-01).
Named in
tribute to the powerful
Atlas rocket that carried
the first Americans into
orbit during the space
race, Atlas Rising is a
surprisingly
mature-sounding work that
only uses the first six
notes learned in most
band methods. Atlas
Rising is carefully
composed in an ABA
overture style, with the
success of young players
in mind, while memorable
themes will make it a
favorite with students
and audiences. Blast off
with Atlas Rising!
Atlas Rising Orchestre d'harmonie [Conducteur et Parties séparées] C.L. Barnhouse
Pre 1 SKU: CL.023-4639-00 Composed by J. McBride. Young Concert Band. Sou...(+)
Pre 1
SKU:
CL.023-4639-00
Composed by J. McBride.
Young Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR396). Score and set
of parts. Composed 2018.
Duration 1 minute, 46
seconds. C.L. Barnhouse
#023-4639-00. Published
by C.L. Barnhouse
(CL.023-4639-00).
Named in
tribute to the powerful
Atlas rocket that carried
the first Americans into
orbit during the space
race, Atlas Rising is a
surprisingly
mature-sounding work that
only uses the first six
notes learned in most
band methods. Atlas
Rising is carefully
composed in an ABA
overture style, with the
success of young players
in mind, while memorable
themes will make it a
favorite with students
and audiences. Blast off
with Atlas Rising!
Achieve Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band concert band - Grade 0.5 SKU: CF.PPS51F March. Composed by La...(+)
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.