Concert band (Piccolo, Flute 1, Flute 2, Oboe 1, Oboe 2, English Horn, Eb Clarinet, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 1, Bb Bass Clarinet, Bassoon 1, Bassoon 2, Contra Bassoon, Eb Alto Saxophone 1, Eb Alto Saxophone 2, Bb Tenor Saxophone, Eb Baritone Saxophone,) - grade 5.5

SKU: CN.R10307

Composed by Derek Bourgeois. Arranged by Mikkelson. Score and parts. Duration 15:00. Published by G & M Brand Music Publishers (CN.R10307).

Sea Dreams was written in memory of the composer's wife, Jean. After an introduction, which is not heard again until the end of the piece, the music becomes a rondo allegro, and gradually builds to a big climax. At the very end there is an oblique reference to the Liebestod of Wagner's Tristan and Isolde.

Sea Dreams was originally a commission, in 2007, from an American University who wanted me to write a piece in memory of my first wife, Jean, who died in 2006. I set about writing the music and quickly completed the score early in 2008, but, unfortunately, because of the sudden collapse in the worldwide financial markets the commission itself fell through. The music draws on three of the pieces that I had written for Jean in the early days before we were married, namely two violin sonatas (she was a violinist) and the 'Serenade' Opus 22 one of my most popular pieces. However the bulk of the music is new, and the quotes from these early pieces are subtle and merely passing references, not at all like the originals. After an introduction, which is not heard again until the end of the piece, the music becomes a rondo allegro, and gradually builds to a big climax. At the very end there is an oblique reference to the Liebestod of Wagner's Tristan and Isolde. Sea Dreams was premiered by Birmingham Symphonic Winds, conducted by Keith Allen, on Saturday March 20th 2010 at the CBSO Centre, Birmingham, England.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1053854-010

Fulnaho. Brilliant Marches. March. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053854-010. Published by De Haske Publications (BT.DHP-1053854-010).

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

Artemis is the Greek goddess of hunting and forests. In western art she is often pictured with deer, lions or bears with a bow in her hand. The tempo of this march is stately and the themes are “concertante” in character making Artemis best suited as a concert march rather than a street march. Technically this march is not too difficult although at times some dexterous fingering is necessary. The trio melody is especially lyrical and offers various sections within the band the possibility to show off their skill in playing the expressive melody. This excellent new concert march is sure to become a classic and be performed time and time again.

Het tempo van deze mars is statig en de thema’s zijn concertant van karakter: Artemis is dus eerder geschikt als concertmars dan als loopmars. Technisch is dit werk niet erg lastig om spelen, al wordt af en toe wel wat vingervaardigheidvereist. De triomelodie is echter uitgesproken lyrisch en biedt diverse secties binnen het orkest de mogelijkheid om zich melodisch en expressief te etaleren. Een aangenaam klinkende en prima speelbare concertmars!

Artem is ist die griechische Göttin der Jagd und der Wälder. Jan Van der Roost ließ sich zum wiederholten Male von der griechischen Mythologie inspirieren und komponierte diesen Marsch mit gemäßigtem Tempo und konzertanten Themen. Obwohl technisch nicht sehr schwer, erfordert er doch stellenweise etwas Fingerfertigkeit. Der Trio-Teil ist jedoch besonders lyrisch und bietet verschiedenen Registern des Blasorchesters die Möglichkeit, sich in Melodie und Ausdruck zu beweisen. Kurz gesagt ist Artemis ein ausgezeichneter und gut spielbarer Konzertmarsch, der viele Blasorchester anspricht.

Arté mis est la déesse grecque de la nature sauvage et de la chasse. Dans l’art occidental, elle est souvent représentée armée d’un arc et de flèches et entourée de cerfs, de lions et d’ours. Évoluant sur un tempo majestueux et développant des thèmes au caractère concertant, Artemis s’inscrit pleinement dans la lignée des grandes marches de concert. Hormis quelques passages nécessitant une plus grande souplesse des doigts, elle ne contient que peu de difficultés techniques. Artemis est une pièce brillante qui convient au plus grand nombre d’Orchestres d’Harmonie.

Artemis è la Dea greca della natura selvatica e della caccia. Nella cultura occidentale, è spesso rappresentata armata di arco e frecce e circondata da cervi, leoni e orsi. Evolvendosi su un tempo maestoso e sviluppando temi centrali dal carattere concertante, Artemis rientra nella linea delle grandi marce da concerto. Ad eccezione di qualche passaggio che necessita una maggiore scioltezza delle dita, il brano contiene solo poche difficolt tecniche. Artemis è un pezzo brillante adatto alla maggior parte delle bande.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1053854-140

Fulnaho. Brilliant Marches. March. Score Only. Composed 2005. 32 pages. De Haske Publications #DHP 1053854-140. Published by De Haske Publications (BT.DHP-1053854-140).

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

Artemis is the Greek goddess of hunting and forests. In western art she is often pictured with deer, lions or bears with a bow in her hand. The tempo of this march is stately and the themes are “concertante” in character making Artemis best suited as a concert march rather than a street march. Technically this march is not too difficult although at times some dexterous fingering is necessary. The trio melody is especially lyrical and offers various sections within the band the possibility to show off their skill in playing the expressive melody. This excellent new concert march is sure to become a classic and be performed time and time again.

Het tempo van deze mars is statig en de thema’s zijn concertant van karakter: Artemis is dus eerder geschikt als concertmars dan als loopmars. Technisch is dit werk niet erg lastig om spelen, al wordt af en toe wel wat vingervaardigheidvereist. De triomelodie is echter uitgesproken lyrisch en biedt diverse secties binnen het orkest de mogelijkheid om zich melodisch en expressief te etaleren. Een aangenaam klinkende en prima speelbare concertmars!

Artem is ist die griechische Göttin der Jagd und der Wälder. Jan Van der Roost ließ sich zum wiederholten Male von der griechischen Mythologie inspirieren und komponierte diesen Marsch mit gemäßigtem Tempo und konzertanten Themen. Obwohl technisch nicht sehr schwer, erfordert er doch stellenweise etwas Fingerfertigkeit. Der Trio-Teil ist jedoch besonders lyrisch und bietet verschiedenen Registern des Blasorchesters die Möglichkeit, sich in Melodie und Ausdruck zu beweisen. Kurz gesagt ist Artemis ein ausgezeichneter und gut spielbarer Konzertmarsch, der viele Blasorchester anspricht.

Arté mis est la déesse grecque de la nature sauvage et de la chasse. Dans l’art occidental, elle est souvent représentée armée d’un arc et de flèches et entourée de cerfs, de lions et d’ours. Évoluant sur un tempo majestueux et développant des thèmes au caractère concertant, Artemis s’inscrit pleinement dans la lignée des grandes marches de concert. Hormis quelques passages nécessitant une plus grande souplesse des doigts, elle ne contient que peu de difficultés techniques. Artemis est une pièce brillante qui convient au plus grand nombre d’Orchestres d’Harmonie.

Artemis è la Dea greca della natura selvatica e della caccia. Nella cultura occidentale, è spesso rappresentata armata di arco e frecce e circondata da cervi, leoni e orsi. Evolvendosi su un tempo maestoso e sviluppando temi centrali dal carattere concertante, Artemis rientra nella linea delle grandi marce da concerto. Ad eccezione di qualche passaggio che necessita una maggiore scioltezza delle dita, il brano contiene solo poche difficolt tecniche. Artemis è un pezzo brillante adatto alla maggior parte delle bande.

Concert Band - Grade 3

SKU: BT.DHP-1053854-040

Fulnaho. Brilliant Marches. March. Set (Score & Parts). Composed 2005. De Haske Publications #DHP 1053854-040. Published by De Haske Publications (BT.DHP-1053854-040).

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

Artemis is the Greek goddess of hunting and forests. In western art she is often pictured with deer, lions or bears with a bow in her hand. The tempo of this march is stately and the themes are “concertante” in character making Artemis best suited as a concert march rather than a street march. Technically this march is not too difficult although at times some dexterous fingering is necessary. The trio melody is especially lyrical and offers various sections within the band the possibility to show off their skill in playing the expressive melody. This excellent new concert march is sure to become a classic and be performed time and time again.

Het tempo van deze mars is statig en de thema’s zijn concertant van karakter: Artemis is dus eerder geschikt als concertmars dan als loopmars. Technisch is dit werk niet erg lastig om spelen, al wordt af en toe wel wat vingervaardigheidvereist. De triomelodie is echter uitgesproken lyrisch en biedt diverse secties binnen het orkest de mogelijkheid om zich melodisch en expressief te etaleren. Een aangenaam klinkende en prima speelbare concertmars!

Artem is ist die griechische Göttin der Jagd und der Wälder. Jan Van der Roost ließ sich zum wiederholten Male von der griechischen Mythologie inspirieren und komponierte diesen Marsch mit gemäßigtem Tempo und konzertanten Themen. Obwohl technisch nicht sehr schwer, erfordert er doch stellenweise etwas Fingerfertigkeit. Der Trio-Teil ist jedoch besonders lyrisch und bietet verschiedenen Registern des Blasorchesters die Möglichkeit, sich in Melodie und Ausdruck zu beweisen. Kurz gesagt ist Artemis ein ausgezeichneter und gut spielbarer Konzertmarsch, der viele Blasorchester anspricht.

Arté mis est la déesse grecque de la nature sauvage et de la chasse. Dans l’art occidental, elle est souvent représentée armée d’un arc et de flèches et entourée de cerfs, de lions et d’ours. Évoluant sur un tempo majestueux et développant des thèmes au caractère concertant, Artemis s’inscrit pleinement dans la lignée des grandes marches de concert. Hormis quelques passages nécessitant une plus grande souplesse des doigts, elle ne contient que peu de difficultés techniques. Artemis est une pièce brillante qui convient au plus grand nombre d’Orchestres d’Harmonie.

Artemis è la Dea greca della natura selvatica e della caccia. Nella cultura occidentale, è spesso rappresentata armata di arco e frecce e circondata da cervi, leoni e orsi. Evolvendosi su un tempo maestoso e sviluppando temi centrali dal carattere concertante, Artemis rientra nella linea delle grandi marce da concerto. Ad eccezione di qualche passaggio che necessita una maggiore scioltezza delle dita, il brano contiene solo poche difficolt tecniche. Artemis è un pezzo brillante adatto alla maggior parte delle bande.

Concert Band - Grade 3

SKU: AP.37824S

Composed by Robert Sheldon. Concert Band; MakeMusic Cloud; Performance Music Ensemble; Single Titles. Alfred Concert Band. Programmatic. Score. 16 pages. Alfred Music #00-37824S. Published by Alfred Music (AP.37824S).

UPC: 038081429755. English.

As summer ends, the chill of the autumn air awakens feelings within us. The shadows are longer in late afternoon and darkness comes early. The trees are losing their leaves and their gnarled trunks and branches take on sinister profiles against the looming twilight. We shudder at the cold wind. Our pulse quickens and we suddenly want to return to the safety and warmth of home. Night falls and we are once again at peace. We say a final farewell to the carefree days of summer and accept the relentless march of the seasons. Winter will soon be here.

Shadows of the Equinox is a dramatic and lyrical piece inspired by a late Midwest autumn. It was commissioned by the 2010 Festival of Bands, Vincennes, Indiana, including the bands from Barr-Reeve, Loogootee, Mitchell, North Daviess, North Knox, and South Knox High Schools. This title is available in MakeMusic Cloud.

Band Concert Band - Grade 2

SKU: CF.YPS215F

Composed by Sean O'Loughlin. Young Band (YPS). Full score. With Standard notation. 20 pages. Carl Fischer Music #YPS215F. Published by Carl Fischer Music (CF.YPS215F).

ISBN 9781491153024. UPC: 680160910526.

Beyon d the Crest is an exciting piece that captures the essence of Sean O'Loughlin's popular style. The piece opens with a slow, soaring melody that develops throughout the composition. Pulsating eighth notes build the tension and intense harmonies drive the piece to a satisfying and dynamic ending.
Beyond the Crest was commissioned by the Lakeshore Bands of Stevensville, Michigan, and dedicated to Philip and Cindy Huff, Directors of Bands, in honor of their retirement. The piece captures the excitement and achievement that defined Philip and Cindy Huff's illustrious careers. The piece opens with a slow, soaring melody that will become the basis of the entire composition. It builds to an intense chord at m. 13 that sets off into the fast section at m. 14. This section begins with some eighth-note pulses. The woodwinds have more eighth notes than the rest of the ensemble to create an echo effect. Bring out the dynamics to highlight this. The main melody comes in at m. 33, which is a faster version of the opening melody. It is complimented by some eighth-note punches and lush chords. The woodwinds take over at m. 43 with a much broader accompaniment in the lower voices. The lower voices get their chance at the melody at m. 54. The echo effect returns at m. 68 to start the cycle over again but this time with some new wrinkles. Measure 77 transports to a new tonal center and then brings it back to a broad presentation at m. 85. The eighth notes return to bring the piece to an exciting end.

Band Concert Band - Grade 2

SKU: CF.YPS215

Composed by Sean O'Loughlin. Young Band (YPS). Set of Score and Parts. With Standard notation. 16+4+8+8+4+4+10+4+4+8+8+8 +12+6+6+2+2+4+12+20+4 pages. Duration 3:15. Carl Fischer Music #YPS215. Published by Carl Fischer Music (CF.YPS215).

ISBN 9781491152348. UPC: 680160909841. Key: Bb major.

Beyond the Crest is an exciting piece that captures the essence of Sean O'Loughlin's popular style. The piece opens with a slow, soaring melody that develops throughout the composition. Pulsating eighth notes build the tension and intense harmonies drive the piece to a satisfying and dynamic ending.
Beyond the Crest was commissioned by the Lakeshore Bands of Stevensville, Michigan, and dedicated to Philip and Cindy Huff, Directors of Bands, in honor of their retirement. The piece captures the excitement and achievement that defined Philip and Cindy Huff's illustrious careers. The piece opens with a slow, soaring melody that will become the basis of the entire composition. It builds to an intense chord at m. 13 that sets off into the fast section at m. 14. This section begins with some eighth-note pulses. The woodwinds have more eighth notes than the rest of the ensemble to create an echo effect. Bring out the dynamics to highlight this. The main melody comes in at m. 33, which is a faster version of the opening melody. It is complimented by some eighth-note punches and lush chords. The woodwinds take over at m. 43 with a much broader accompaniment in the lower voices. The lower voices get their chance at the melody at m. 54. The echo effect returns at m. 68 to start the cycle over again but this time with some new wrinkles. Measure 77 transports to a new tonal center and then brings it back to a broad presentation at m. 85. The eighth notes return to bring the piece to an exciting end.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Tom-tom, Trombone and more. - Grade 1.5

SKU: CF.FPS155F

Composed by Larry Clark. First Plus Band (FPS). Full score. With Standard notation. 16 pages. Carl Fischer Music #FPS155F. Published by Carl Fischer Music (CF.FPS155F).

ISBN 9781491152836. UPC: 680160910335.

Quest for the Throne evokes images of kings and castles, knights and horses, and dragons in all their glory. It is a bold and aggressive piece throughout, but includes a contrasting, lush secondary theme for variety. In his typical style, Clark has used forceful figures, and strong melodic content to give students music they'll want to practice and play again and again.
This piece should depict images of kings and castles, knight and horses, dragons and damsels in distress. It should be bold and aggressive throughout, but never with bad tone. This is then contrasted by the lush second theme that is presented first in a softer thin orchestration, but later becomes a change for the whole ensemble to play in a strong, but lush presentation of this theme.One thing that is important to me when writing music for younger students is to offer pieces that challenge all students in the ensemble and give every section an important part of the musical presentation, which naturally should include some melodic material. Every member of the ensemble wants to feel that they are contributing to the collective whole.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2018.

Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Mallet Percussion, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Tom-tom, Trombone and more. - Grade 1.5

SKU: CF.FPS155

Composed by Larry Clark. First Plus Band (FPS). Set of Score and Parts. With Standard notation. 8+2+4+4+2+5+2+2+4+4+4+6+3 +2+1+2+3+16+2 pages. Duration 2 minutes, 11 seconds. Carl Fischer Music #FPS155. Published by Carl Fischer Music (CF.FPS155).

ISBN 9781491152157. UPC: 680160909650.

Quest for the Throne evokes images of kings and castles, knights and horses, and dragons in all their glory. It is a bold and aggressive piece throughout, but includes a contrasting, lush secondary theme for variety. In his typical style, Clark has used forceful figures, and strong melodic content to give students music they'll want to practice and play again and again.
This piece should depict images of kings and castles, knight and horses, dragons and damsels in distress. It should be bold and aggressive throughout, but never with bad tone. This is then contrasted by the lush second theme that is presented first in a softer thin orchestration, but later becomes a change for the whole ensemble to play in a strong, but lush presentation of this theme.One thing that is important to me when writing music for younger students is to offer pieces that challenge all students in the ensemble and give every section an important part of the musical presentation, which naturally should include some melodic material. Every member of the ensemble wants to feel that they are contributing to the collective whole.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.

Grade 2

SKU: CL.011-3933-01

Composed by Harberg. Young Concert Band. Command Series. Audio recording available separately (item CL.WFR369). Extra full score. Composed 2010. Duration 2 minutes, 20 seconds. C.L. Barnhouse #011-3933-01. Published by C.L. Barnhouse (CL.011-3933-01).

Truckin'! lets students bring the noisy highway to life in this jazzy and attitude-filled new piece. Features especially rich teaching material here- including polyphonic and homophonic textures, syncopated rhythms and edgy harmonic language. Students will want to play it again and again, reveling in their fun and flattering individual parts. Audiences will come away tapping their feet and humming the melodies after the rousing and striking climax.

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.

Concert Band Concert Band - Grade 1.5

SKU: XC.HCB1903FS

Composed by Sean O'Loughlin. Harmony Band Series. Concert and Contest. Classical, Acoustic. Score. Excelcia Music Publishing #HCB1903FS. Published by Excelcia Music Publishing (XC.HCB1903FS).

UPC: 812598031287. 9 x 12 inches.

Zig Zag is an exciting new composition for the young concert band. Full of flare and the rhythmic motifs that we have come to love, composer Sean O’Loughlin has created a piece your students will want to play again and again!

Concert Band Concert Band - Grade 1.5

SKU: XC.FCB2107

Composed by Sean O'Loughlin. Flexible Concert Concert Band. Flexcel Concert Works. Contest/Festival. Contest/Festival. Score and set of parts. Excelcia Music Publishing #FCB2107. Published by Excelcia Music Publishing (XC.FCB2107).

UPC: 812598038712. 9 x 12 inches.

Zig Zag is an exciting new composition for the young concert band. Full of flare and the rhythmic motifs that we have come to love, composer Sean O’Loughlin has created a piece your students will want to play again and again!

Concert Band Concert Band - Grade 1.5

SKU: XC.FCB2107FS

Composed by Sean O'Loughlin. Concert Concert Band. Flexcel Concert Works. Contest/Festival. Contest/Festival. Score. Excelcia Music Publishing #FCB2107FS. Published by Excelcia Music Publishing (XC.FCB2107FS).

UPC: 812598038705. 9 x 12 inches.

Zig Zag is an exciting new composition for the young concert band. Full of flare and the rhythmic motifs that we have come to love, composer Sean O’Loughlin has created a piece your students will want to play again and again!

By Harberg. Concert band. Young Band. Command Series. Audio recording available separately (item CL.WFR369). Grade 2.5. Score and parts. Composed 2010. Duration 2 minutes, 20 seconds. Published by C.L. Barnhouse

Concert Band Concert Band - Grade 1.5

SKU: XC.HCB1903

Composed by Sean O'Loughlin. Harmony Band Series. Concert and Contest. Classical, Acoustic. Set of parts. Excelcia Music Publishing #HCB1903. Published by Excelcia Music Publishing (XC.HCB1903).

UPC: 812598031904. 9 x 12 inches.

Zig Zag is an exciting new composition for the young concert band. Full of flare and the rhythmic motifs that we have come to love, composer Sean O’Loughlin has created a piece your students will want to play again and again!

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115061-140

Composed by Peter Kleine Schaars. Concert and Contest Collection CBHA. Concert Piece. Score Only. Composed 2011. 48 pages. De Haske Publications #DHP 1115061-140. Published by De Haske Publications (BT.DHP-1115061-140).

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

Much like a film score, Peter Kleine Schaars’ composition paints colourful images while telling the story of the Anglo-Saxon monk, Lebu nus. In around 768 AD, Lebu nus founded a mission in the Dutch province of Deventer in an effort to convert the Pagan Saxons. Contrasting themes describe the Ijssel Valley, the Saxons and Lebu nus, construction on the church and its subsequent destruction in a clash with the Saxons. The Ijssel-Valley-theme returns one more time in a minor key before each of the themes come together again for one rousing finale. Let battle commence!

Deze filmmuziekachtige compositie vertelt de geschiedenis van de Angelsaksische monnik Lebu nus. Rond het jaar 768 stichtte hij in Deventer een kerk met het doel de heidense Saksische bevolking te bekeren. Op elkaar volgende contrastrijkethemaâ€� �s geven een muzikale verbeelding van het IJsseldal, de Saksen en Lebu nus, de bouw van de kerk en de verwoesting ervan in de strijd tegen de Saksen. Nog één keer weerklinkt het ‘IJsseldalthemaâ� �™ in mineur totdat in eenstralende finale alle thema’s samenkomen. Indrukwekkend!

Die se filmmusikähnliche Komposition erzählt die Geschichte des angelsächsischen Mönchs Lebu nus, der um das Jahr 768 im Zuge der Missionierung der heidnischen Sachsen eine Kirche im niederländischen Deventer errichtete. Aufeinander folgende, kontrastive Themen beschreiben das Ijssel-Tal, die Sachsen und Lebu nus, den Kirchenbau und die Zerstörung im Kampf gegen die Sachsen. Es erklingt noch einmal das Ijssel-Tal-Thema in Moll, bevor im schillernden Finale alle Themen zusammenkommen.

Pl usieurs lignes musicales se confondent dans cette composition, évoquant tour tour la vallée de l’Ijssel, la ville néerlandaise de Daventria (mot latin de Daventer) ainsi que la vie du moine anglosaxon Lebu nus, qui en 768, décida de construire une église pour les saxons restés pa ens. Le dernier tableau réunit les différents thèmes, nous révélant que la cohabitation est parfois laborieuse mais toujours enrichissante. Un finale pétillant haut en couleurs.

Questa composizione, scritta nello stile della musica da film, racconta la storia del monaco Lebu nus che nell’anno 768 quando era incaricato di convertire al cristianesimo i sassoni restati pagani, si occupò anche della costruzione di una chiesa a Daventer (Paesi Bassi). Temi contrastanti che si susseguono descrivono la valle di Iissel, i sassoni e il monaco Lebu nus. Il compositore traduce in musica la costruzione della chiesa e la sua completa distruzione ad opera dei sassoni nel corso di una battaglia. Il motivo della valle di Ijssel è ripreso ancora in una tonalit minore, prima che tutti i temi accompagnino il brano al suo scintillante finale.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1115061-010

Composed by Peter Kleine Schaars. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2011. De Haske Publications #DHP 1115061-010. Published by De Haske Publications (BT.DHP-1115061-010).

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

Much like a film score, Peter Kleine Schaars’ composition paints colourful images while telling the story of the Anglo-Saxon monk, Lebu nus. In around 768 AD, Lebu nus founded a mission in the Dutch province of Deventer in an effort to convert the Pagan Saxons. Contrasting themes describe the Ijssel Valley, the Saxons and Lebu nus, construction on the church and its subsequent destruction in a clash with the Saxons. The Ijssel-Valley-theme returns one more time in a minor key before each of the themes come together again for one rousing finale. Let battle commence!

Deze filmmuziekachtige compositie vertelt de geschiedenis van de Angelsaksische monnik Lebu nus. Rond het jaar 768 stichtte hij in Deventer een kerk met het doel de heidense Saksische bevolking te bekeren. Op elkaar volgende contrastrijkethemaâ€� �s geven een muzikale verbeelding van het IJsseldal, de Saksen en Lebu nus, de bouw van de kerk en de verwoesting ervan in de strijd tegen de Saksen. Nog één keer weerklinkt het ‘IJsseldalthemaâ� �™ in mineur totdat in eenstralende finale alle thema’s samenkomen. Indrukwekkend!

Die se filmmusikähnliche Komposition erzählt die Geschichte des angelsächsischen Mönchs Lebu nus, der um das Jahr 768 im Zuge der Missionierung der heidnischen Sachsen eine Kirche im niederländischen Deventer errichtete. Aufeinander folgende, kontrastive Themen beschreiben das Ijssel-Tal, die Sachsen und Lebu nus, den Kirchenbau und die Zerstörung im Kampf gegen die Sachsen. Es erklingt noch einmal das Ijssel-Tal-Thema in Moll, bevor im schillernden Finale alle Themen zusammenkommen.

Pl usieurs lignes musicales se confondent dans cette composition, évoquant tour tour la vallée de l’Ijssel, la ville néerlandaise de Daventria (mot latin de Daventer) ainsi que la vie du moine anglosaxon Lebu nus, qui en 768, décida de construire une église pour les saxons restés pa ens. Le dernier tableau réunit les différents thèmes, nous révélant que la cohabitation est parfois laborieuse mais toujours enrichissante. Un finale pétillant haut en couleurs.

Questa composizione, scritta nello stile della musica da film, racconta la storia del monaco Lebu nus che nell’anno 768 quando era incaricato di convertire al cristianesimo i sassoni restati pagani, si occupò anche della costruzione di una chiesa a Daventer (Paesi Bassi). Temi contrastanti che si susseguono descrivono la valle di Iissel, i sassoni e il monaco Lebu nus. Il compositore traduce in musica la costruzione della chiesa e la sua completa distruzione ad opera dei sassoni nel corso di una battaglia. Il motivo della valle di Ijssel è ripreso ancora in una tonalit minore, prima che tutti i temi accompagnino il brano al suo scintillante finale.

Band Concert Band - Grade 3

SKU: CF.CPS217F

Composed by Carl Strommen. Concert Band (CPS). Full score. With Standard notation. 24 pages. Carl Fischer Music #CPS217F. Published by Carl Fischer Music (CF.CPS217F).

ISBN 9781491153116. UPC: 680160910618.

The title, Aerius, is a Latin term meaning “soaring” or “rising aloft”.  This piece is signature Carl Strommen at his best. The piece begins with a lush brass chorale that is developed before leading to an energetic presto section.  The composition comes full circle and finishes with a majestic return of the chorale material from the opening.  A welcome addition to the repertoire.
The title Aerius is a Latin term meaning “soaring” or “rising aloft.” The students chose this title to signify the forward momentum and overall journey of their time in the high school band program. With new events and performances, and a first time commissioning a work, this piece signifies the great strides the band has made in recent years.The opening brass chorale section should be played very connected, observing the two-measure phrasing and breathing as one cohesive unit. The Presto section at m. 25 should be taken between 165-170 bpm. the vibraphone soloist should use medium-hard mallets with the pedal on. The sustained notes at m. 41 should be played way under the upper woodwinds to get the greatest effect as it builds in volume and intensity in m. 49, and again into m. 57.At m. 69, the percussion must sustain the pulse to the conductor’s tempo, careful not to add accents they’re hearing among the other sections. After the ritardando in m. 83, push the tempo at m. 85 slightly to where the woodwinds feel comfortable playing the triplet figure with appropriate breathing and phrasing.- Andrew Monsen, Hauppauge High School Band Director, June 2017.

Band Concert Band - Grade 3

SKU: CF.CPS217

Composed by Carl Strommen. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+4+8+16+16+4+4+4+4+4+4+ 8+8+8+4+4+6+6+6+6+8+2+2+4 +8+24+4 pages. Duration 4 minutes, 18 seconds. Carl Fischer Music #CPS217. Published by Carl Fischer Music (CF.CPS217).

ISBN 9781491152430. UPC: 680160909933.

The title, Aerius, is a Latin term meaning “soaring” or “rising aloft”.  This piece is signature Carl Strommen at his best. The piece begins with a lush brass chorale that is developed before leading to an energetic presto section.  The composition comes full circle and finishes with a majestic return of the chorale material from the opening.  A welcome addition to the repertoire.
The title Aerius is a Latin term meaning “soaring” or “rising aloft.” The students chose this title to signify the forward momentum and overall journey of their time in the high school band program. With new events and performances, and a first time commissioning a work, this piece signifies the great strides the band has made in recent years.The opening brass chorale section should be played very connected, observing the two-measure phrasing and breathing as one cohesive unit. The Presto section at m. 25 should be taken between 165-170 bpm. the vibraphone soloist should use medium-hard mallets with the pedal on. The sustained notes at m. 41 should be played way under the upper woodwinds to get the greatest effect as it builds in volume and intensity in m. 49, and again into m. 57.At m. 69, the percussion must sustain the pulse to the conductor’s tempo, careful not to add accents they’re hearing among the other sections. After the ritardando in m. 83, push the tempo at m. 85 slightly to where the woodwinds feel comfortable playing the triplet figure with appropriate breathing and phrasing.- Andrew Monsen, Hauppauge High School Band Director, June 2017.

Three Folk Miniatures by Andre Jutras. Concert band. Heritage of the March Series. Audio recording available separately (item CL.WFR138). Grade 3. Score and set of parts. Composed 1986. Duration 5 minutes, 20 seconds. Published by C.L. Barnhouse

Concert Band/Harmonie - Grade 2.5

SKU: BT.AMP-124-140

Composed by Philip Sparke. Debut Series. Folk Klezmer. Score Only. Composed 2004. Anglo Music Press #AMP 124-140. Published by Anglo Music Press (BT.AMP-124-140).

English-German-French- Dutch.

Klezmer music originated in the ‘shtetl’ (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ‘klezmorim’, had performed at celebrations, particularly weddings, since the early Middle Ages. Since the 16th century, lyrics had been added to klezmer music, due to the ‘badkhn’ (the master of ceremony at weddings), to the ‘Purimshpil’ (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. In recent years it has again become very popular and in A Klezmer Karnival Philip Sparke has used three contrasting traditionaltunes to form a suite that will bring a true karnival atmosphere to any concert.

De wortels van de klezmerstijl liggen in wereldlijke melodieën, populaire dansen, het joodse ‘hazanut’ (cantorijmuziek) en de ‘nigunim’, de melodieën die worden gereciteerd door de ‘hasidim’ (orthodoxe joden). De term werd in de loopder tijden synoniem aan instrumentale muziek, waarin met name de viool en klarinet de hoofdrol spelen. Voor A Klezmer Karnival zijn drie traditionele melodieën gebruikt: Choson kale mazel tov, een bruiloftsdans,Freylekh , een joodse kringdans, en Sherele, een Duitse herdersdans.

Phili p Sparke verarbeitete in seinem Werk drei unterschiedliche traditionelle Klezmermelodien: einen Hochzeitstanz mit Glückwünschen für Braut und Bräutigam, einen Rundtanz und einen so genannten Scherentanz. Daraus entstand A Klezmer Karnival, das die dem Klezmer eigene Mischung aus Fröhlichkeit und Melancholie ausgezeichnet wiedergibt. Ein ebenso abwechslungsreiches wie stimmungsvolles Konzertwerk, mit dem Ihr Blasorchester überzeugen wird!

Jouée depuis le Moyen ge par des musiciens juifs itinérants (klezmorim), la musique klezmer est une musique joyeuse colportée de fête en mariage, qui trouve ses origines dans les “shtetl” (villages) et les ghettos d’Europe de l’Est. A Klezmer Karnival (“Festival klezmer”) de Philip Sparke rassemble trois airs traditionnels : Choson Kale Mazel Tov - une danse nuptiale, Freylekh - une danse juive en cercle et Sherele - littéralement « petits ciseaux » - une danse de bergers, d’origine allemande.

Suonata a partire dal Medioevo da giovani musicisti ebrei (klezmorim), la musica klezmer è una musica gioiosa che ha origine nei villaggi (“shtetl”) e nei ghetti dell’Europa dell’est. A Klezmer Karnival di Philip Sparke raccoglie tre arie tradizionali: Choson Kale Mazel Tov, una danza nuziale, Freylekh, una tipica danza ebraica in cerchio e Sherele (letteralmente piccole forbici), una danza di pastori di origine tedesca.

Concert Band/Harmonie - Grade 2.5

SKU: BT.AMP-124-010

Composed by Philip Sparke. Debut Series. Classical. Set (Score and Parts). Composed 2004. Anglo Music Press #AMP 124-010. Published by Anglo Music Press (BT.AMP-124-010).

English-German-French- Dutch.

Klezmer music originated in the â??shtetlâ?? (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as â??klezmorimâ??, had performed at celebrations, particularly weddings, since the early Middle Ages. Since the 16th century, lyrics had been added to klezmer music, due to the â??badkhnâ?? (the master of ceremony at weddings), to the â??Purimshpilâ?? (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. In recent years it has again become very popular and in A Klezmer Karnival Philip Sparke has used three contrasting traditionaltunes to form a suite that will bring a true karnival atmosphere to any concert.

De wortels van de klezmerstijl liggen in wereldlijke melodieën, populaire dansen, het joodse â??hazanutâ?? (cantorijmuziek) en de â??nigunimâ??, de melodieën die worden gereciteerd door de â??hasidimâ?? (orthodoxe joden). De term werd in de loopder tijden synoniem aan instrumentale muziek, waarin met name de viool en klarinet de hoofdrol spelen. Voor A Klezmer Karnival zijn drie traditionele melodieën gebruikt: Choson kale mazel tov, een bruiloftsdans,Freylekh , een joodse kringdans, en Sherele, een Duitse herdersdans.

Phili p Sparke verarbeitete in seinem Werk drei unterschiedliche traditionelle Klezmermelodien: einen Hochzeitstanz mit Glückwünschen für Braut und Bräutigam, einen Rundtanz und einen so genannten Scherentanz. Daraus entstand A Klezmer Karnival, das die dem Klezmer eigene Mischung aus Fröhlichkeit und Melancholie ausgezeichnet wiedergibt. Ein ebenso abwechslungsreiches wie stimmungsvolles Konzertwerk, mit dem Ihr Blasorchester überzeugen wird!

Jouée depuis le Moyen ge par des musiciens juifs itinérants (klezmorim), la musique klezmer est une musique joyeuse colportée de fête en mariage, qui trouve ses origines dans les â??shtetlâ? (villages) et les ghettos dâ??Europe de lâ??Est. A Klezmer Karnival (â??Festival klezmerâ?) de Philip Sparke rassemble trois airs traditionnels : Choson Kale Mazel Tov - une danse nuptiale, Freylekh - une danse juive en cercle et Sherele - littéralement « petits ciseaux » - une danse de bergers, dâ??origine allemande.

Suonata a partire dal Medioevo da giovani musicisti ebrei (klezmorim), la musica klezmer è una musica gioiosa che ha origine nei villaggi (â??shtetlâ?) e nei ghetti dellâ??Europa dellâ??est. A Klezmer Karnival di Philip Sparke raccoglie tre arie tradizionali: Choson Kale Mazel Tov, una danza nuziale, Freylekh, una tipica danza ebraica in cerchio e Sherele (letteralmente piccole forbici), una danza di pastori di origine tedesca.

Concert band - Grade 3

SKU: MH.1-59913-054-8

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

ISBN 9781599130545.

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

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1074237-140

Composed by Freddie Mercury. Arranged by Masamicz Amano. New Sounds for Concert Band. Pop & Rock. Score Only. Composed 2007. 28 pages. De Haske Publications #DHP 1074237-140. Published by De Haske Publications (BT.DHP-1074237-140).

9x12 inches.

Bohemian Rhapsody was a massive worldwide hit for the pop groupQueen. It topped the charts in 1975 and again in 1991 and 1992. The song is somewhat unusual for a pop hit as it is in the style of a rock opera and pushed the boundaries of both pop music and promotional music video. This arrangement for concert band retains all the operatic gymnastics of the original and will be an extremely popular item at any concert!

Bohemian Rhapsody, het klassieke popnummer van de Engelse groep Queen, gooit altijd hoge ogen in de strijd om de hoogste notering in hitlijsten aller tijden. In deze schitterende rapsodie worden pop, rock en opera-achtige elementengecombineerd. De arrangeur Masamicz Amano schreef een overtuigende bewerking voor harmonieorkest.

De r Titel Bohemian Rhapsody, mit dem die Gruppe Queen 1975 und noch einmal 1991 und 1992 in vielen Ländern auf den ersten Platz der Charts schoss, sprengte besonders in stilistischer Hinsicht die Grenzen der damaligen - und heutigen - Pop- und Rockmusik mit Elementen aus der Oper bis hin zum Hard Rock. Auch in der Blasorchesterbearbeitung von Masamicz Amano ist die Bohemian Rhapsody sehr überzeugend!

Sorti le 31 octobre 1975, Bohemian Rhapsody va propulser le groupe Queen au sommet des hit-parades anglais pendant deux mois et révéler au monde entier les textes et la voix uniques de Freddie Mercury, le chanteur, qui transforme chaque concert en un véritable show médiatique.

Bohemian Rhapsody è una delle canzoni più famose della Band britannica Queen e della musica rock in generale. Scritta da Freddie Mercury, quando fu estratta come primo singolo dall’album A Night at the Opera il 31 ottobre 1975, Bohemian Rhapsody ottenne subito un enorme successo commerciale. La canzone rimane il terzo singolo più venduto di sempre nel Regno Unito.

Concert Band Concert Band - Grade 3.5; Grade 4

SKU: FJ.B1749

Composed by William Owens. Concert Band. FJH Concert Band. Form: March; March. March. Score and Part(s). Duration 2:00. The FJH Music Company Inc #98-B1749. Published by The FJH Music Company Inc (FJ.B1749).

UPC: 241444391372. English.

This rollicking, whimsical circus-style galop promises to deliver thrills again and again! With sweeping technical passages and a highly infectious melody, Quicksilver will delight the listener and your musicians will welcome the challenge! Play it on the slower or faster side - either way, it will be a lot of fun for all!

Band Concert Band - Grade 3

SKU: CF.CPS263F

Composed by Carl Strommen. Cps. Full score. 32 pages. Duration 4 minutes, 38 seconds. Carl Fischer Music #CPS263F. Published by Carl Fischer Music (CF.CPS263F).

ISBN 9781491161739. UPC: 680160920426.

Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone “teewinet,” meaning “many pinnacles.” Perf ormance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight “swing” and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.

Band Concert Band - Grade 3

SKU: CF.CPS263

Composed by Carl Strommen. Cps. Set of Score and Parts. 8+8+4+8+8+8+4+4+4+4+4+4+8 +8+8+4+4+4+4+6+6+6+6+4+8+ 1+1+4+5+32 pages. Duration 4 minutes, 38 seconds. Carl Fischer Music #CPS263. Published by Carl Fischer Music (CF.CPS263).

ISBN 9781491161524. UPC: 680160920150.

Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone teewinet, meaning many pinnacles. Performance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight swing and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.
Notes The Teton Range is part of the Rocky Mountain chain just east of the Idaho border and south of Yellowstone National Park. The name of this majestic range has its roots in the Shoshone “teewinet,” meaning “many pinnacles.” Perf ormance Suggestions: The opening measures of The Grand Tetons should be played broadly and majestically. At m. 14, the tempo is indicated at q = 132 and is introduced by a light snare drum figure. The low brass figures at m.18 are to be played softly and broadly in contrast to the lighter and slightly louder high woodwinds. This entire section builds to a climax at m.44. Note the dynamic contrasts in the mixed meter section after m. 53. at 67, the trombone and horn figures should be evident but not overbearing against the lightly played trumpet solo. The 2 measure mixed meter (6/8) (3/4) theme introduced at m.88 should be performed by exaggerating the dotted 8th-16th rhythm, thereby creating a slight “swing” and dance-like feeling. At m.109, the 8th notes become even and the theme more strident and energetic, with the ritard returning Tetons to the opening theme at m.129.

Concert Band/Harmonie - Grade 3

SKU: BT.DHP-1064122-010

Composed by Astor Piazzolla. Arranged by Lorenzo Bocci. De Haske Pop Collection. Pop and Rock. Set (Score and Parts). Composed 2006. De Haske Publications #DHP 1064122-010. Published by De Haske Publications (BT.DHP-1064122-010).

9x12 inches. International.

Asto r Piazzolla (1921-1992) revolutionized the tango: with his bandoneon (instrument similar to the accordion), he dared where others did not. During his career, which started in the 1950â??s, Piazzolla produced a real revolution, developing the musical structure of the tango in a truly innovative way. He also understood from the very beginning the huge expressiveness of tango. In recent years the tango has again become extremely popular and this arrangement of one of Piazzollaâ??s most famous pieces will be an instant hit with both band and audience.

Astor Piazzolla (1921-1992) blies met zijn bijzondere muzikale talent de tango nieuw leven in: nooit eerder was er muziek die zo ontroerend en melancholisch was - en tegelijkertijd uitdagend en levendig. Piazzollaâ??s tango is de â??brokin de keelâ??, het stille verdriet van de emigrant. Zijn tango is het lied van het hart, de zoektocht naar verloren liefde, de illusie van liefde in één nacht. Een van de beroemdste stukken van Piazzolla, het onsterfelijke Libertango,onderst reept de aandacht van de componist voor deze muziekvorm, waarin ritme en kleuren een belangrijke rol spelen.

Liberta ngo ist eines der berühmtesten Stücke von Astor Piazolla, der seit den fünfziger Jahren den Tango neu belebte: Nie zuvor hatte man so bewegende und melancholische und zugleich auch aggressive und lebendige Musik gehört. Eines der berühmtesten Stücke von Piazolla, der unsterbliche Libertango, zeigt besonders deutlich, wie wichtig dem Komponisten gerade diese musikalische Form war, in der Rhythmus und Farben eine bedeutende Rolle spielen. In diesem Sinne bearbeitete Lorenzo Bocci Libertango für Blasorchester.

Exp érimentateur de génie en rupture avec la tradition tanguera, virtuose du bandonéon, Astor Piazzolla (1921-1992) révolutionne le langage du tango en le dissociant de la danse. Le tango fait désormais son entrée dans le domaine de la musique de concert. Lâ??immortel Libertango, une des plus célèbres pièces de Piazzolla, souligne toute lâ??attention que le compositeur a accordé cette forme musicale dans laquelle le rythme et les couleurs sont essentiels.

Astor Piazzola (1921-1992), ha rivoluzionato il tango, il suo bandonéon osa dove altri musicisti non spingono. Con Piazzolla il tango entra nelle sale da concerto. Lâ??immortale Libertango evidenzia la grande attenzione del compositore verso questa forma musicale dove ritmica e colori regalano al tango un nuovo spazio.