Composed
by Antonin Dvorak.
Arranged by Larry Clark.
Young Band. Full score.
With Standard notation.
16 pages. Duration 2
minutes, 32 seconds. Carl
Fischer Music #YPS133F.
Published by Carl Fischer
Music (CF.YPS133F).
ISBN 9780825896255.
UPC: 798408096250. 9 x 12
inches.
Combining
two wonderful tunes into
one new Christmas
classic, Larry Clark
takes the famous Largo
from Dvorak's Symphony
No. 9, From the New World
and links it together
with the popular holiday
classic Home for the
Holidays. The result is a
piece where these tunes
sound like they were
always meant to be
together. A uniquely
musical way to showcase
your band at their
holiday concert. There is
also a choral setting of
this arrangement that
will add to the
excitement!
Pat-a-Pan Orchestre d'harmonie - Débutant Hal Leonard
Score and Parts Concert Band (Score and Parts) - Level 1.5 SKU: HL.4008817(+)
Score and Parts Concert
Band (Score and Parts) -
Level 1.5
SKU:
HL.4008817
Composed
by Bernard de la Monnoye.
Arranged by Robert
Longfield. Discovery
Concert Band. Carol,
Christmas,
Christmas/Advent Sacred,
French, Winter.
Softcover. Duration 110
seconds. Published by Hal
Leonard (HL.4008817).
UPC: 196288210504.
9.0x12.0x0.327
inches.
Using
limited ranges and easy
rhythms, Robert Longfield
has skillfully arranged
this classic French carol
for second year players.
With a captivating
underlying pulse the
woodwinds are featured on
the melody with trumpet
figures echoing. Then
later the brass take
their turn with the
melody. Effectively
arranged for all sections
of the band.
Eternal Father, Strong to Save Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Claude T. Smith Publications
Grade 5 SKU: CL.CTS-7709-00 For Concert Band. Composed by Claude T...(+)
Grade 5
SKU:
CL.CTS-7709-00
For
Concert Band.
Composed by Claude T.
Smith. Concert Band.
Score and set of parts.
Composed 1975. Claude T.
Smith Publications
#CTS-7709-00. Published
by Claude T. Smith
Publications
(CL.CTS-7709-00).
Legendary
composer W. Francis
McBeth once said, If
Claude Smith only wrote
the fanfare to Eternal
Father, he would still be
a legend. Smith takes the
Navy’s hymn as the
basis for his fanfare.
This famous hymn tune,
normally in the major
key, has now been placed
in the minor key then
transitions to Allegro
Vivace. The hymn tune is
put through its paces
including several
variations and two
fugatos (one for the
woodwinds and one for
brass). A short
transition,(including the
famous 7/8 measure!) to
the now well-known
setting for French horn
quartet, gives us an
emotional rendition of
the original hymn tune
now in the major key. The
full band plays the hymn,
and a timpani roll takes
us back to the original
fanfare now in C major. A
classic of literature and
a composition which will
provide a meaningful
experience for musician
and audience member
alike.
Grade 5 SKU: CL.CTS-7709-01 For Concert Band. Composed by Claude T...(+)
Grade 5
SKU:
CL.CTS-7709-01
For
Concert Band.
Composed by Claude T.
Smith. Concert Band.
Extra full score.
Composed 1975. Claude T.
Smith Publications
#CTS-7709-01. Published
by Claude T. Smith
Publications
(CL.CTS-7709-01).
Legendary
composer W. Francis
McBeth once said, If
Claude Smith only wrote
the fanfare to Eternal
Father, he would still be
a legend. Smith takes the
Navy’s hymn as the
basis for his fanfare.
This famous hymn tune,
normally in the major
key, has now been placed
in the minor key then
transitions to Allegro
Vivace. The hymn tune is
put through its paces
including several
variations and two
fugatos (one for the
woodwinds and one for
brass). A short
transition,(including the
famous 7/8 measure!) to
the now well-known
setting for French horn
quartet, gives us an
emotional rendition of
the original hymn tune
now in the major key. The
full band plays the hymn,
and a timpani roll takes
us back to the original
fanfare now in C major. A
classic of literature and
a composition which will
provide a meaningful
experience for musician
and audience member
alike.
2nd Movement.
Composed by S. Johnson.
Arranged by Stuart
Johnson. Band Music.
Score only. Duration
2:20. Published by G & M
Brand Music Publishers
(CN.S11169).
Schubert's 5th
Symphony is sunny,
Viennese, scored
originally for small
classical orchestra and
positively effervesces
with ideas. Stuart
Johnson has taken the
theme from the 2nd
movement - Andante con
moto - and brought this
gem within the reach of
technically less advanced
players without
diminishing the musical
quality.
Schubert's
delightful 5th Symphony
in Bb Major, written in
1816, is a miniature,
perhaps consciously
avoiding comparison with
Beethoven's Fifth,
written just 10 years
earlier. Schubert's Great
was to come later! The
work is sunny, Viennese,
scored originally for
small classical orchestra
and positively
effervesces with ideas.
Stuart Johnson has taken
the theme from the 2nd
movement - Andante con
moto - and brought this
gem within the reach of
technically less advanced
players without
diminishing the musical
quality.
2nd Movement.
Composed by S. Johnson.
Arranged by Stuart
Johnson. Band Music.
Score and parts. Duration
2:20. Published by G & M
Brand Music Publishers
(CN.R10169).
Schubert's 5th
Symphony is sunny,
Viennese, scored
originally for small
classical orchestra and
positively effervesces
with ideas. Stuart
Johnson has taken the
theme from the 2nd
movement - Andante con
moto - and brought this
gem within the reach of
technically less advanced
players without
diminishing the musical
quality.
Schubert's
delightful 5th Symphony
in Bb Major, written in
1816, is a miniature,
perhaps consciously
avoiding comparison with
Beethoven's Fifth,
written just 10 years
earlier. Schubert's Great
was to come later! The
work is sunny, Viennese,
scored originally for
small classical orchestra
and positively
effervesces with ideas.
Stuart Johnson has taken
the theme from the 2nd
movement - Andante con
moto - and brought this
gem within the reach of
technically less advanced
players without
diminishing the musical
quality.
Odysseia Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084443-140 Based on Homer...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1084443-140
Based on Homer-s
Odyssey. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2008. 52
pages. De Haske
Publications #DHP
1084443-140. Published by
De Haske Publications
(BT.DHP-1084443-140).
9x12 inches.
English-German-French-Dut
ch.
Washed up on
the Phaeacian shore after
a shipwreck, Odysseus is
introduced to King
Alcinous. As he sits in
the palace, he tells the
Phaeacians of his
wanderings since leaving
Troy. Odysseus and his
men fi rst landed on the
island of the Cicones
wherethey sacked the city
of Ismarus. From there,
great storms swept them
to the land of the
hospitable Lotus Eaters.
Then they sailed to the
land of the Cyclopes.
Odysseus and twelve of
his men entered the cave
of Polyphemus. After the
single-eyed giantmade
handfuls of his men into
meals, Odysseus fi nally
defeated him. He got him
drunk and once he had
fallen asleep, he and his
men stabbed a glowing
spike into the
Cyclop’s single
eye, completely blinding
him. They escaped by
clinging to the belliesof
some sheep. Once aboard,
Odysseus taunted the
Cyclop by revealing him
his true identity.
Enraged, Polyphemus
hurled rocks at the ship,
trying to sink it. After
leaving the
Cyclopes’ island,
they arrived at the home
of Aeolus, ruler of the
winds.Aeolus off ered
Odysseus a bag trapping
all the strong winds
within except one - the
one which would take him
straight back to Ithaca.
As the ship came within
sight of Ithaca, the
crewmen, curious about
the bag, decided to open
it. The winds escapedand
stirred up a storm.
Odysseus and his crew
came to the land of the
cannibalistic
Laestrygonians, who sank
all but one of the ships.
The survivors went next
to Aeaea, the island of
the witch-goddess Circe.
Odysseus sent out a
scouting party butCirce
turned them into pigs.
With the help of an
antidote the god Hermes
had given him, Odysseus
managed to overpower the
goddess and forced her to
change his men back to
human form. When it was
time for Odysseus to
leave, Circe told him to
sail tothe realm of the
dead to speak with the
spirit of the seer
Tiresias. One
day’s sailing took
them to the land of the
Cimmerians. There, he
performed sacrifi ces to
attract the souls of the
dead. Tiresias told him
what would happen to him
next. He thengot to talk
with his mother,
Anticleia, and met the
spirits of Agamemnon,
Achilles, Patroclus,
Antilochus, Ajax and
others. He then saw the
souls of the damned
Tityos, Tantalus, and
Sisyphus. Odysseus soon
found himself mobbed by
souls. He
becamefrightened, ran
back to his ship, and
sailed away. While back
at Aeaea, Circe told him
about the dangers he
would have to face on his
way back home. She
advised him to avoid
hearing the song of the
Sirens; but if he really
felt he had to hear,
thenhe should be tied to
the mast of the ship,
which he did. Odysseus
then successfully steered
his crew past Charybdis
(a violent whirlpool) and
Scylla (a multiple-headed
monster), but Scylla
managed to devour six of
his men. Finally,
Odysseus and hissurviving
crew approached the
island where the Sun god
kept sacred cattle.
Odysseus wanted to sail
past, but the crewmen
persuaded him to let them
rest there. Odysseus
passed Circe’s
counsel on to his men.
Once he had fallen
asleep, his men
impiouslykilled and ate
some of the cattle. When
the Sun god found out, he
asked Zeus to punish
them. Shortly after they
set sail from the island,
Zeus destroyed the ship
and all the men died
except for Odysseus.
After ten days, Odysseus
was washed up on
theisland of the nymph
Calypso.
Nachdem
er an die Küste der
Phäaker gespült
wurde, wird Odysseus dem
König Akinoos
vorgestellt. In dessen
Palast erzählt er den
Phäakern von den
Fahrten nach seiner
Abreise aus Troja.
Odysseus und seine
Männer landen
zunächst auf
denKikonen, einer
Inselgruppe, wo sie die
Stadt Ismaros einnehmen.
Von dort aus treiben sie
mächtige Stürme
zum Land der
gastfreundlichen
Lotophagen
(Lotos-Essern). Dann
segeln sie zum Land der
Kyklopen (Zyklopen).
Odysseus und seine
zwölf Mannenbetreten
die Höhle von
Poloyphem, dem Sohn
Poseidons. Nachdem dieser
einige der Männer
verspeist hat,
überwaÃ…Nltigt
ihn Odysseus, indem er
ihn betrunken macht und
dann mit einem
glühenden Spieß
in dessen einziges Auge
sticht und ihn
somitblendet. Odysseus
und die übrigen
Männer fl iehen an den
Bäuchen von Schafen
hängend. Wieder an
Bord, provoziert Odysseus
den Zyklopen, indem er
ihm seine wahre
Identität verrät.
Wütend bewirft
Polyphem das Schiff mit
Steinen undversucht, es
zu versenken. Nachdem sie
die Insel der Kyklopen
verlassen haben, kommen
Odysseus und seine Mannen
ins Reich von Aiolos, dem
Herr der Winde. Aiolos
schenkt ihm einen Beutel,
in dem alle Winde
eingesperrt sind,
außer dem, der ihn
direktzurück nach
Ithaka treiben soll. Als
das Schiff in Sichtweite
von Ithaka ist, öff
nen die neugierigen
Seemänner den
Windsack. Die Winde entfl
iehen und erzeugen einen
Sturm. Odysseus und seine
Mannschaft verschlägt
es ins Land
derkannibalischen
Laistrygonen, die alle
ihre Schiff e, bis auf
eines, versenken. Die
Ãœberlebenden reisen
weiter nach Aiaia, der
Insel der Zauberin Kirke.
Odysseus sendet einen
Spähtrupp aus, der von
Kirke aber in Schweine
verwandelt wird. Mit
Hilfeeines Gegenmittels
vom Götterboten Hermes
kann Odysseus Kirke
überwaÃ…Nltigen
und er zwingt sie, seinen
Gefährten wieder ihre
menschliche Gestalt
zurückzugeben. Als
er wieder aufbrechen
will, rät Kirke ihm,
den Seher Teiresias in
derUnterwelt aufzusuchen
und zu befragen. Eine
Tagesreise führt
sie dann ins Land der
Kimmerer, nahe dem
Eingang des Hades. Dort
bringt Odysseus Opfer, um
die Seelen der Toten
anzurufen. Teireisas sagt
ihm sein Schicksal
voraus. Dann darf
Odysseusmit seiner Mutter
Antikleia und den Seelen
von Agamemnon, Achilles,
Patroklos, Antilochus,
Ajax und anderen Toten
sprechen. Dann sieht er
die Seelen der Verdammten
Tityos, Tantalos und
Sisyphos. Bald wird
Odysseus selbst von den
Seelen gequält,
kehrtvoll Angst zu seinem
Schiff zurück und
segelt davon. In Aiaia
hatte Kirke ihn vor den
drohenden Gefahren der
Heimreise gewarnt. Sie
riet ihm, den Gesang der
Sirenen zu vermeiden,
wenn er aber unbedingt
zuhören müsse,
solle er sich an denMast
seines Schiff es bindet
lassen, was er dann auch
tut. Dann führt
Odysseus seine Mannschaft
erfolgreich durch die
Meerenge zwischen Skylla
und Charybdis, wobei
Skylla jedoch sechs
seiner Männer
verschlingt.
Schließlich erreichen
Odysseusund die
überlebende
Besatzung die Insel, auf
der der Sonnengott Helios
heiliges Vieh hält.
Odysseus will
weitersegeln, aber seine
Mannschaft
überredet ihn zu
einer Rast. Odysseus
erzählt ihnen von
Kirkes Warnung, aber
kaum, dass
ereingeschlafen ist,
töten die Männer in
gotteslästerlicher
Weise einige Rinder und
verspeisen sie. Als
Helios dies entdeckt,
bittet er Zeus, sie zu
bestrafen. Kurz nachdem
sie die Segel für
die Abreise von der Insel
gesetzt haben,
zerstört Zeusdas
Schiff und alle außer
Odysseus sterben. Nach
zehn Tagen wird Odysseus
an den Strand der Insel
der Nymphe Kalypso
angespült.
Odysseia Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084443-010 Based on Homer...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1084443-010
Based on Homer-s
Odyssey. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2008.
De Haske Publications
#DHP 1084443-010.
Published by De Haske
Publications
(BT.DHP-1084443-010).
9x12 inches.
English-German-French-Dut
ch.
Washed up on
the Phaeacian shore after
a shipwreck, Odysseus is
introduced to King
Alcinous. As he sits in
the palace, he tells the
Phaeacians of his
wanderings since leaving
Troy. Odysseus and his
men fi rst landed on the
island of the Cicones
wherethey sacked the city
of Ismarus. From there,
great storms swept them
to the land of the
hospitable Lotus Eaters.
Then they sailed to the
land of the Cyclopes.
Odysseus and twelve of
his men entered the cave
of Polyphemus. After the
single-eyed giantmade
handfuls of his men into
meals, Odysseus fi nally
defeated him. He got him
drunk and once he had
fallen asleep, he and his
men stabbed a glowing
spike into the
Cyclop’s single
eye, completely blinding
him. They escaped by
clinging to the belliesof
some sheep. Once aboard,
Odysseus taunted the
Cyclop by revealing him
his true identity.
Enraged, Polyphemus
hurled rocks at the ship,
trying to sink it. After
leaving the
Cyclopes’ island,
they arrived at the home
of Aeolus, ruler of the
winds.Aeolus off ered
Odysseus a bag trapping
all the strong winds
within except one - the
one which would take him
straight back to Ithaca.
As the ship came within
sight of Ithaca, the
crewmen, curious about
the bag, decided to open
it. The winds escapedand
stirred up a storm.
Odysseus and his crew
came to the land of the
cannibalistic
Laestrygonians, who sank
all but one of the ships.
The survivors went next
to Aeaea, the island of
the witch-goddess Circe.
Odysseus sent out a
scouting party butCirce
turned them into pigs.
With the help of an
antidote the god Hermes
had given him, Odysseus
managed to overpower the
goddess and forced her to
change his men back to
human form. When it was
time for Odysseus to
leave, Circe told him to
sail tothe realm of the
dead to speak with the
spirit of the seer
Tiresias. One
day’s sailing took
them to the land of the
Cimmerians. There, he
performed sacrifi ces to
attract the souls of the
dead. Tiresias told him
what would happen to him
next. He thengot to talk
with his mother,
Anticleia, and met the
spirits of Agamemnon,
Achilles, Patroclus,
Antilochus, Ajax and
others. He then saw the
souls of the damned
Tityos, Tantalus, and
Sisyphus. Odysseus soon
found himself mobbed by
souls. He
becamefrightened, ran
back to his ship, and
sailed away. While back
at Aeaea, Circe told him
about the dangers he
would have to face on his
way back home. She
advised him to avoid
hearing the song of the
Sirens; but if he really
felt he had to hear,
thenhe should be tied to
the mast of the ship,
which he did. Odysseus
then successfully steered
his crew past Charybdis
(a violent whirlpool) and
Scylla (a multiple-headed
monster), but Scylla
managed to devour six of
his men. Finally,
Odysseus and hissurviving
crew approached the
island where the Sun god
kept sacred cattle.
Odysseus wanted to sail
past, but the crewmen
persuaded him to let them
rest there. Odysseus
passed Circe’s
counsel on to his men.
Once he had fallen
asleep, his men
impiouslykilled and ate
some of the cattle. When
the Sun god found out, he
asked Zeus to punish
them. Shortly after they
set sail from the island,
Zeus destroyed the ship
and all the men died
except for Odysseus.
After ten days, Odysseus
was washed up on
theisland of the nymph
Calypso.
Nachdem
er an die Küste der
Phäaker gespült
wurde, wird Odysseus dem
König Akinoos
vorgestellt. In dessen
Palast erzählt er den
Phäakern von den
Fahrten nach seiner
Abreise aus Troja.
Odysseus und seine
Männer landen
zunächst auf
denKikonen, einer
Inselgruppe, wo sie die
Stadt Ismaros einnehmen.
Von dort aus treiben sie
mächtige Stürme
zum Land der
gastfreundlichen
Lotophagen
(Lotos-Essern). Dann
segeln sie zum Land der
Kyklopen (Zyklopen).
Odysseus und seine
zwölf Mannenbetreten
die Höhle von
Poloyphem, dem Sohn
Poseidons. Nachdem dieser
einige der Männer
verspeist hat,
überwaÃ…Nltigt
ihn Odysseus, indem er
ihn betrunken macht und
dann mit einem
glühenden Spieß
in dessen einziges Auge
sticht und ihn
somitblendet. Odysseus
und die übrigen
Männer fl iehen an den
Bäuchen von Schafen
hängend. Wieder an
Bord, provoziert Odysseus
den Zyklopen, indem er
ihm seine wahre
Identität verrät.
Wütend bewirft
Polyphem das Schiff mit
Steinen undversucht, es
zu versenken. Nachdem sie
die Insel der Kyklopen
verlassen haben, kommen
Odysseus und seine Mannen
ins Reich von Aiolos, dem
Herr der Winde. Aiolos
schenkt ihm einen Beutel,
in dem alle Winde
eingesperrt sind,
außer dem, der ihn
direktzurück nach
Ithaka treiben soll. Als
das Schiff in Sichtweite
von Ithaka ist, öff
nen die neugierigen
Seemänner den
Windsack. Die Winde entfl
iehen und erzeugen einen
Sturm. Odysseus und seine
Mannschaft verschlägt
es ins Land
derkannibalischen
Laistrygonen, die alle
ihre Schiff e, bis auf
eines, versenken. Die
Ãœberlebenden reisen
weiter nach Aiaia, der
Insel der Zauberin Kirke.
Odysseus sendet einen
Spähtrupp aus, der von
Kirke aber in Schweine
verwandelt wird. Mit
Hilfeeines Gegenmittels
vom Götterboten Hermes
kann Odysseus Kirke
überwaÃ…Nltigen
und er zwingt sie, seinen
Gefährten wieder ihre
menschliche Gestalt
zurückzugeben. Als
er wieder aufbrechen
will, rät Kirke ihm,
den Seher Teiresias in
derUnterwelt aufzusuchen
und zu befragen. Eine
Tagesreise führt
sie dann ins Land der
Kimmerer, nahe dem
Eingang des Hades. Dort
bringt Odysseus Opfer, um
die Seelen der Toten
anzurufen. Teireisas sagt
ihm sein Schicksal
voraus. Dann darf
Odysseusmit seiner Mutter
Antikleia und den Seelen
von Agamemnon, Achilles,
Patroklos, Antilochus,
Ajax und anderen Toten
sprechen. Dann sieht er
die Seelen der Verdammten
Tityos, Tantalos und
Sisyphos. Bald wird
Odysseus selbst von den
Seelen gequält,
kehrtvoll Angst zu seinem
Schiff zurück und
segelt davon. In Aiaia
hatte Kirke ihn vor den
drohenden Gefahren der
Heimreise gewarnt. Sie
riet ihm, den Gesang der
Sirenen zu vermeiden,
wenn er aber unbedingt
zuhören müsse,
solle er sich an denMast
seines Schiff es bindet
lassen, was er dann auch
tut. Dann führt
Odysseus seine Mannschaft
erfolgreich durch die
Meerenge zwischen Skylla
und Charybdis, wobei
Skylla jedoch sechs
seiner Männer
verschlingt.
Schließlich erreichen
Odysseusund die
überlebende
Besatzung die Insel, auf
der der Sonnengott Helios
heiliges Vieh hält.
Odysseus will
weitersegeln, aber seine
Mannschaft
überredet ihn zu
einer Rast. Odysseus
erzählt ihnen von
Kirkes Warnung, aber
kaum, dass
ereingeschlafen ist,
töten die Männer in
gotteslästerlicher
Weise einige Rinder und
verspeisen sie. Als
Helios dies entdeckt,
bittet er Zeus, sie zu
bestrafen. Kurz nachdem
sie die Segel für
die Abreise von der Insel
gesetzt haben,
zerstört Zeusdas
Schiff und alle außer
Odysseus sterben. Nach
zehn Tagen wird Odysseus
an den Strand der Insel
der Nymphe Kalypso
angespült.
Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
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.
National Anthems Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
Grade 3 SKU: CL.026-4661-00 Canada, United Kingdom, France. Arrang...(+)
Grade 3
SKU:
CL.026-4661-00
Canada, United
Kingdom, France.
Arranged by Stanton.
Concert Band.
Build-A-Band. Score and
set of parts. Composed
2018. Duration 3 minutes,
16 seconds. C.L.
Barnhouse #026-4661-00.
Published by C.L.
Barnhouse
(CL.026-4661-00).
Take your
musicians on a cultural
exchange trip to Canada,
France and the United
Kingdom! You can play any
of these three national
anthems individually, or
pair them with the Star
Spangled Banner
(available separately in
Build-A-Band format) as
an opening travel-log at
your next concert. Lots
of ways to teach across
the curriculum with these
easy, great sounding
arrangements meant for
smaller bands with
limited instrumentation.
Hosting foreign exchange
students from these
countries? Honor them at
your concert with their
national anthem! Please
stand, remove hats and
join in the presentation
of the national
anthems!
About
Build-A-Band
Series
The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.)
National Anthems Orchestre d'harmonie [Conducteur] - Facile C.L. Barnhouse
Grade 3 SKU: CL.026-4661-01 Canada, United Kingdom, France. Arrang...(+)
Grade 3
SKU:
CL.026-4661-01
Canada, United
Kingdom, France.
Arranged by Stanton.
Concert Band.
Build-A-Band. Extra full
score. Composed 2018.
Duration 3 minutes, 16
seconds. C.L. Barnhouse
#026-4661-01. Published
by C.L. Barnhouse
(CL.026-4661-01).
Take your
musicians on a cultural
exchange trip to Canada,
France and the United
Kingdom! You can play any
of these three national
anthems individually, or
pair them with the Star
Spangled Banner
(available separately in
Build-A-Band format) as
an opening travel-log at
your next concert. Lots
of ways to teach across
the curriculum with these
easy, great sounding
arrangements meant for
smaller bands with
limited instrumentation.
Hosting foreign exchange
students from these
countries? Honor them at
your concert with their
national anthem! Please
stand, remove hats and
join in the presentation
of the national
anthems!
About
Build-A-Band
Series
The
Build-A-Band Series
provides educational and
enjoyable music for bands
with incomplete or
unbalanced
instrumentation. Written
using just four or five
parts (plus percussion),
these effective
arrangements will work
with any combination of
brass, woodwind, string
and percussion
instruments as long as
you distribute the parts
so that each of the five
parts is covered. All of
the publications in the
Build-A-Band Series have
been arranged to be
playable with any
instrumentation as long
as each part is used: 1st
Part, 2nd Part, 3rd Part,
4th Part, and Bass Part.
(Please note: In some of
these arrangements the
4th Part, and the Bass
Part are the same, making
it possible to play those
arrangements with only 4
parts.)
Ralph Hultgren : Masada Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Brolga Music Publishing Company
By Ralph Hultgren. Concert Band. Brolga Music Symphonic Repertoire. Grade 5. Sco...(+)
By Ralph Hultgren.
Concert Band. Brolga
Music Symphonic
Repertoire. Grade 5.
Score and set of parts.
Duration 11:10. Published
by Brolga Music
Publishing Company
Auld Lang Syne Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000776-140 Arranged by Menn...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000776-140
Arranged by Menno
Haantjes. Score Only.
Gobelin Music
Publications #GOB
000776-140. Published by
Gobelin Music
Publications
(BT.GOB-000776-140).
Whereas ‘Auld
Lang Syne’ may be
considered the best-known
Scottish song ever, yet
at the same time it is an
obscure one, for there
are but few people who
know the complete text by
heart. After the
familiar ‘Should auld
acquaintance be forgot
.....‘ many people take
their refuge to lyrics
like ‘rum tee dum ta
dee ..... lah, lah, lah
........... for auld lang
syne’. Even in
Scotland only a handful
of persons know the
entire text and are able
to give a correct
rendering of it. The
current lyrics have been
attributed to the
Scottish poet Robert
Burns. Burns, however, he
did not write the whole
poem : after he had heard
an old man sing the
centuries-old
Scotchballad, he wrote it
down and added a number
of stanzas (1788).
Historical research
teaches us that the
ballad served many
purposes, both political
and religious.
Nowadays, ‘Auld Lang
Syne’ is sung as a
Christmas Carol and it is
also sung on New Year’s
Eve at the turning of the
year. Apart from that,
though, the song is also
sung on many other
occasions sometimes with
different lyrics, which
usually have Love,
Friendship and/or Parting
as their themes, as these
go well with the
fascinating melody.
In this arrangement
a low-sounding solo
instrument is central.
The harmonization in the
accompaniment fits in
perfectly with the
sentiments this song will
evoke.
Should
auld acquaintance be
forgot And never
brought to mind?
Should auld acquintance
be forgot. And days
of auld lang syne?
For auld lang syne, my
dear, For auld lang
syne, We’ll take a
cup of kindness yet,
For auld lang syne.
Misschien wel het
meest bekende Schotse
lied, maar tegelijkertijd
ook het minst bekende, er
zijn er maar weinig
mensen die de tekst mee
kunnen zingen. Na het
bekende ‘Should auld
acquaintaintance be
forgot and .....‘
vervallenvelen in ‘rum
tee dum ta dee ..... lah,
lah, lah ........... for
auld lang syne’.
Zelfs in Schotland is
maar een enkeling in
staat de tekst correct
weer te geven. De
huidige versie wordt
toegeschreven aan de
Schotse dichterRobert
Burns. Burns heeft echter
niet de hele tekst
gemaakt. Toen hij de
eeuwen oude Schotse
ballade door een oude man
hoorde zingen, heeft hij
enkele verzen toegevoegd
(1788). Historisch
onderzoek leert dat de
ballade voorveel
doeleinden gebruikt werd,
voor politieke als ook
religieuze doelen.
Tegenwoordig wordt
‘Auld Lang Syne’
gebruikt als Christmas
Carol en wordt het
gezongen tijdens de
jaarwisseling op
oudejaarsavond.Het lied,
soms meteen andere tekst,
wordt echter op veel meer
plaatsen gebruikt.
Liefde, Vriendschap en
Afscheid zijn dan meestal
de sentimenten die
gecombineerd worden met
de meeslepende
melodie.
In dit
arrangement staat een
‘laag’
solo-instrumentcentraal.<
br> De harmonisatie in de
begeleiding sluit
naadloos aan bij deze
gevoelens die dit lied
oproepen.
Should
auld acquaintance be
forgot And never
brought to mind?
Should auld acquintance
beforgot And days of
auld lang syne? For
auld lang syne, my
dear, For auld lang
syne, We’ll take a
cup of kindness yet,
For auld lang syne.
Auld Lang Syne Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.GOB-000776-010 Arranged by Menn...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.GOB-000776-010
Arranged by Menno
Haantjes. Set (Score &
Parts). 81 pages. Gobelin
Music Publications #GOB
000776-010. Published by
Gobelin Music
Publications
(BT.GOB-000776-010).
Whereas ‘Auld
Lang Syne’ may be
considered the best-known
Scottish song ever, yet
at the same time it is an
obscure one, for there
are but few people who
know the complete text by
heart. After the
familiar ‘Should auld
acquaintance be forgot
.....‘ many people take
their refuge to lyrics
like ‘rum tee dum ta
dee ..... lah, lah, lah
........... for auld lang
syne’. Even in
Scotland only a handful
of persons know the
entire text and are able
to give a correct
rendering of it. The
current lyrics have been
attributed to the
Scottish poet Robert
Burns. Burns, however, he
did not write the whole
poem : after he had heard
an old man sing the
centuries-old
Scotchballad, he wrote it
down and added a number
of stanzas (1788).
Historical research
teaches us that the
ballad served many
purposes, both political
and religious.
Nowadays, ‘Auld Lang
Syne’ is sung as a
Christmas Carol and it is
also sung on New Year’s
Eve at the turning of the
year. Apart from that,
though, the song is also
sung on many other
occasions sometimes with
different lyrics, which
usually have Love,
Friendship and/or Parting
as their themes, as these
go well with the
fascinating melody.
In this arrangement
a low-sounding solo
instrument is central.
The harmonization in the
accompaniment fits in
perfectly with the
sentiments this song will
evoke.
Should
auld acquaintance be
forgot And never
brought to mind?
Should auld acquintance
be forgot. And days
of auld lang syne?
For auld lang syne, my
dear, For auld lang
syne, We’ll take a
cup of kindness yet,
For auld lang syne.
Misschien wel het
meest bekende Schotse
lied, maar tegelijkertijd
ook het minst bekende, er
zijn er maar weinig
mensen die de tekst mee
kunnen zingen. Na het
bekende ‘Should auld
acquaintaintance be
forgot and .....‘
vervallenvelen in ‘rum
tee dum ta dee ..... lah,
lah, lah ........... for
auld lang syne’.
Zelfs in Schotland is
maar een enkeling in
staat de tekst correct
weer te geven. De
huidige versie wordt
toegeschreven aan de
Schotse dichterRobert
Burns. Burns heeft echter
niet de hele tekst
gemaakt. Toen hij de
eeuwen oude Schotse
ballade door een oude man
hoorde zingen, heeft hij
enkele verzen toegevoegd
(1788). Historisch
onderzoek leert dat de
ballade voorveel
doeleinden gebruikt werd,
voor politieke als ook
religieuze doelen.
Tegenwoordig wordt
‘Auld Lang Syne’
gebruikt als Christmas
Carol en wordt het
gezongen tijdens de
jaarwisseling op
oudejaarsavond.Het lied,
soms meteen andere tekst,
wordt echter op veel meer
plaatsen gebruikt.
Liefde, Vriendschap en
Afscheid zijn dan meestal
de sentimenten die
gecombineerd worden met
de meeslepende
melodie.
In dit
arrangement staat een
‘laag’
solo-instrumentcentraal.<
br> De harmonisatie in de
begeleiding sluit
naadloos aan bij deze
gevoelens die dit lied
oproepen.
Should
auld acquaintance be
forgot And never
brought to mind?
Should auld acquintance
beforgot And days of
auld lang syne? For
auld lang syne, my
dear, For auld lang
syne, We’ll take a
cup of kindness yet,
For auld lang syne.
Concert Band - Grade 3 SKU: AP.81-CB224482 Arranged by Blair D. Boothe. C...(+)
Concert Band - Grade 3
SKU:
AP.81-CB224482
Arranged by Blair D.
Boothe. Concert Band.
Christmas; Winter. Score
and Part(s). Duration
4:40. Eighth Note
Publications
#81-CB224482. Published
by Eighth Note
Publications
(AP.81-CB224482).
ISBN
9781778930461. UPC:
685462030477.
English.
This work
is full of contrasts
between the sweetly
lyrical Greensleeves and
the more aggressive Carol
of the Bells. With its
unexpected juxtaposition
of the two melodies, this
arrangement will take the
musicians and audience
through an exciting
musical journey. Blair D
Boothe's The Bells of
Greensleeves features a
melody that flows
throughout the ensemble
and includes solos for
trumpet and baritone.
(4:40).
The Toy Parade Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Daehn Publications
Grade 2 SKU: CL.LDP-7292-00 Composed by Gordon Greene Kahn. Arranged by D...(+)
Grade 2
SKU:
CL.LDP-7292-00
Composed by Gordon Greene
Kahn. Arranged by Daehn.
Concert Band. Score and
set of parts. Composed
2012. Daehn Publications
#LDP-7292-00. Published
by Daehn Publications
(CL.LDP-7292-00).
Teaching 6/8
rhythm has never been so
much fun with one of the
most familiar TV theme
songs of all time! This
little march will delight
your band and bring a big
smile to your audience as
you take them back to
Mayfield - to Ward and
June, Wally and Beaver,
Eddie, Lumpy, Whitey and
Larry. Pure fun!
The Toy Parade Orchestre d'harmonie [Conducteur] - Facile Daehn Publications
Grade 2 SKU: CL.LDP-7292-01 Composed by Gordon Greene Kahn. Arranged by D...(+)
Grade 2
SKU:
CL.LDP-7292-01
Composed by Gordon Greene
Kahn. Arranged by Daehn.
Concert Band. Extra full
score. Composed 2012.
Daehn Publications
#LDP-7292-01. Published
by Daehn Publications
(CL.LDP-7292-01).
Teaching 6/8
rhythm has never been so
much fun with one of the
most familiar TV theme
songs of all time! This
little march will delight
your band and bring a big
smile to your audience as
you take them back to
Mayfield—to Ward and
June, Wally and Beaver,
Eddie, Lumpy, Whitey and
Larry. Pure fun!
Battle Command Orchestre d'harmonie [Conducteur et Parties séparées] FJH
Composed by William Owens (1963-). For concert band. FJH Starter Series. Grade ....(+)
Composed by William Owens
(1963-). For concert
band. FJH Starter Series.
Grade .5. Score and
parts. Duration 1 minute,
20 seconds. Published by
The FJH Music Company Inc
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000963-140 Voyage au Centr...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000963-140
Voyage au Centre de la
Terre. Composed by
Harrie Janssen. Score
Only. 120 pages. Gobelin
Music Publications #GOB
000963-140. Published by
Gobelin Music
Publications
(BT.GOB-000963-140).
This
composition was based on
the world-famous novel by
the French author Jules
Verne. This novel
describes the attempt to
reach the centre of the
earth. The descent of the
crater of the volcano
called Snaeffels,
situated in Iceland,
marks thebeginning of
this voyage to the
sublunary world. The
German geologist,
professor Lidenbrock, is
accompanied on this trip
by his nephew Axel and an
Icelandic guide named
Hans. The last mentioned
will be helpful in many
occasions.
Dark
colors & mist
The
composer tried in this
single work to give a
musical expression to
various significant
moments from this novel.
In the introduction he
sketches an image of the
dismal ambience on the
island by using dark
colors. Risingfragments
of mist reveal the flanks
of the monumental
mountain Scataris. The
composer tries to catch
this image in a majestic
and broad
chorale.
Away
from Iceland
Subsequently the ostinato
rhythmicity and
virtuosity representthe
hectic descent of the
crater of the volcano.
The party descends ever
more and more and travels
south, away from Iceland.
On the way, they see all
kinds of rock formations,
fossils and minerals. At
a depth of thirty hours
walking distance, atabout
150 kilometers below the
surface, they reach a sub
terrestrial sea which is
called the Lidenbrock
sea.
Genuine
eruption of
sounds
Strange
electric manifestations
and unpredictable weather
conditions accompany
thissingular phenomenon.
An orchestral
tutti-episode expresses
this impression
musically. On a
make-shift raft, the
party continues its
voyage, heading to the
south coast of this huge
sea. Once ashore, an
enormous rock obstructs
the passage. The
blowingup of this
obstacle unleashes a
genuine eruption of
sounds in the
orchestration.
Spat out by the
volcano
But the
explosion has an
unforeseen side effect.
The sea - travelers and
raft included - is sucked
upwards into a dark
hole.Again, our heroes
are accompanied on their
involuntary voyage, while
left to fend for
themselves, by an ever
increasing ostinato
rhythmicity.
Before an irruption can
destroy the raft, the
threesome manages to
escape and climb up
through acave towards the
daylight. They seem to be
spat out by the Stromboli
volcano on the island of
Sicily, far from home.
The composition ends
with triumphant sounds
that represent the
scientific triumph of
these
adventurers.
De
compositie 'Voyage au
centre de la terre ....'
is gebaseerd op de
wereldberoemde roman van
de Franse schrijver Jules
Verne. Het boek
beschrijft de poging het
middelpunt van de aarde
te bereiken. Een afdaling
van de op
IJslandgesitueerde
vulkaankrater 'de
Sneffels', markeert het
begin van deze reis in
het ondermaanse. De
Duitse geoloog professor
Lidenbrock wordt hierbij
vergezeld door zijn
neefje Axel en een
IJslandse gids genaamd
Hans. Laatstgenoemdezal
in menig netelige
situatie nog van pas
komen.
De
componist heeft getracht
in dit eendelige werk een
aantal significante
momenten uit deze roman
te verklanken. In de
inleiding wordt door
middel van donkere
kleureneen beeld
geschetst van de desolate
sfeer op het eiland.
Optrekkende flarden nevel
onthullen de flanken van
de monumentale berg 'de
Scartaris'. De componist
tracht dit beeld te
vangen in een majestueus,
breed opgezet
koraal. Vervolgens
staan ostinate ritmiek en
virtuositeit voor de
hectische afdaling in de
vulkaankrater. De
groep daalt dieper en
dieper af, en reist
daarbij zuidwaards, weg
van IJsland. Onderweg
komen ze allerlei
rotsformaties,fossielen
en mineralen tegen. Op
een diepte van 'dertig
uur gaans', op ca. 150
km. diepte, bereikt het
gezelschap een
onderaardse zee die 'de
Lidenbrockzee' genoemd
wordt. Vreemd
aandoende electrische
verschijnselen
enonvoorspelbare
weersomstandigheden
vergezellen dit
zonderlinge fenomeen. In
een orkestrale
tutti-episode wordt deze
indruk verklankt. Op
een provisorisch gebouwd
vlot vervolgt het groepje
hun reis, daarbij
koersend naar dezuidkust
van deze enorme zee.
Eenmaal aan wal gekomen
verspert een enorm
rotsblok verdere
doorgang. Het
opblazen van dit obstakel
ontketent een ware
klankeruptie in het
orkest. Echter, de
ontploffing heeft een
onvoorzien
neveneffect.
Journey to the Centre of the Earth Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000963-010 Voyage au Centr...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.GOB-000963-010
Voyage au Centre de la
Terre. Composed by
Harrie Janssen. Set
(Score & Parts). 372
pages. Gobelin Music
Publications #GOB
000963-010. Published by
Gobelin Music
Publications
(BT.GOB-000963-010).
This
composition was based on
the world-famous novel by
the French author Jules
Verne. This novel
describes the attempt to
reach the centre of the
earth. The descent of the
crater of the volcano
called Snaeffels,
situated in Iceland,
marks thebeginning of
this voyage to the
sublunary world. The
German geologist,
professor Lidenbrock, is
accompanied on this trip
by his nephew Axel and an
Icelandic guide named
Hans. The last mentioned
will be helpful in many
occasions.
Dark
colors & mist
The
composer tried in this
single work to give a
musical expression to
various significant
moments from this novel.
In the introduction he
sketches an image of the
dismal ambience on the
island by using dark
colors. Risingfragments
of mist reveal the flanks
of the monumental
mountain Scataris. The
composer tries to catch
this image in a majestic
and broad
chorale.
Away
from Iceland
Subsequently the ostinato
rhythmicity and
virtuosity representthe
hectic descent of the
crater of the volcano.
The party descends ever
more and more and travels
south, away from Iceland.
On the way, they see all
kinds of rock formations,
fossils and minerals. At
a depth of thirty hours
walking distance, atabout
150 kilometers below the
surface, they reach a sub
terrestrial sea which is
called the Lidenbrock
sea.
Genuine
eruption of
sounds
Strange
electric manifestations
and unpredictable weather
conditions accompany
thissingular phenomenon.
An orchestral
tutti-episode expresses
this impression
musically. On a
make-shift raft, the
party continues its
voyage, heading to the
south coast of this huge
sea. Once ashore, an
enormous rock obstructs
the passage. The
blowingup of this
obstacle unleashes a
genuine eruption of
sounds in the
orchestration.
Spat out by the
volcano
But the
explosion has an
unforeseen side effect.
The sea - travelers and
raft included - is sucked
upwards into a dark
hole.Again, our heroes
are accompanied on their
involuntary voyage, while
left to fend for
themselves, by an ever
increasing ostinato
rhythmicity.
Before an irruption can
destroy the raft, the
threesome manages to
escape and climb up
through acave towards the
daylight. They seem to be
spat out by the Stromboli
volcano on the island of
Sicily, far from home.
The composition ends
with triumphant sounds
that represent the
scientific triumph of
these
adventurers.
De
compositie 'Voyage au
centre de la terre ....'
is gebaseerd op de
wereldberoemde roman van
de Franse schrijver Jules
Verne. Het boek
beschrijft de poging het
middelpunt van de aarde
te bereiken. Een afdaling
van de op
IJslandgesitueerde
vulkaankrater 'de
Sneffels', markeert het
begin van deze reis in
het ondermaanse. De
Duitse geoloog professor
Lidenbrock wordt hierbij
vergezeld door zijn
neefje Axel en een
IJslandse gids genaamd
Hans. Laatstgenoemdezal
in menig netelige
situatie nog van pas
komen.
De
componist heeft getracht
in dit eendelige werk een
aantal significante
momenten uit deze roman
te verklanken. In de
inleiding wordt door
middel van donkere
kleureneen beeld
geschetst van de desolate
sfeer op het eiland.
Optrekkende flarden nevel
onthullen de flanken van
de monumentale berg 'de
Scartaris'. De componist
tracht dit beeld te
vangen in een majestueus,
breed opgezet
koraal. Vervolgens
staan ostinate ritmiek en
virtuositeit voor de
hectische afdaling in de
vulkaankrater. De
groep daalt dieper en
dieper af, en reist
daarbij zuidwaards, weg
van IJsland. Onderweg
komen ze allerlei
rotsformaties,fossielen
en mineralen tegen. Op
een diepte van 'dertig
uur gaans', op ca. 150
km. diepte, bereikt het
gezelschap een
onderaardse zee die 'de
Lidenbrockzee' genoemd
wordt. Vreemd
aandoende electrische
verschijnselen
enonvoorspelbare
weersomstandigheden
vergezellen dit
zonderlinge fenomeen. In
een orkestrale
tutti-episode wordt deze
indruk verklankt. Op
een provisorisch gebouwd
vlot vervolgt het groepje
hun reis, daarbij
koersend naar dezuidkust
van deze enorme zee.
Eenmaal aan wal gekomen
verspert een enorm
rotsblok verdere
doorgang. Het
opblazen van dit obstakel
ontketent een ware
klankeruptie in het
orkest. Echter, de
ontploffing heeft een
onvoorzien
neveneffect.
The Quest (Symphony No. 3, 'Don Quixote,' Mvt. I) by Robert W. Smith. Concert ba...(+)
The Quest (Symphony No.
3, 'Don Quixote,' Mvt. I)
by Robert W. Smith.
Concert band. Opus III
Series. Audio recording
available separately
(item CL.WFR356). Medium
advanced. Score and set
of parts. Composed 2008.
Duration 7 minutes, 1
second. Published by C.L.
Barnhouse
Quest To The Summit Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4379-01 Composed by Yeo. Concert Band....(+)
Concert band - Grade 3
SKU:
CL.012-4379-01
Composed by Yeo. Concert
Band. Concert Band
Series. Audio recording
available separately
(item CL.WFR384). Extra
full score. Composed
2015. Duration 3 minutes,
59 seconds. Opus III Wind
Orchestra Publications
#012-4379-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4379-01).
Energetic and
uplifting, this
compelling work will
captivate your audience
on the edge of their
seats! Quest to the
Summit is an overture for
wind band that is
inspired by the
composer's friend's
arduous journey to the
peak of Indonesian
volcano, Mount Semeru.
Ample cross-cueing of
parts have been carefully
considered to allow your
band to exploit the music
to its fullest. Known for
his distinctive lyrical
writing, Benjamin Yeo's
slow and heart-warming
middle section offers
excellent opportunities
for your flute soloist
and the band to showcase
their best in tone,
balance and phrasing.
This masterfully crafted
work is unbelievable at
this grade level and will
definitely take the
spotlight in your next
band concert, contest or
festival performances.
Very outstanding!
The Wolves of Alaska Orchestre d'harmonie [Conducteur et Parties séparées] - Facile MakeMusic
Composed by Rossano Galante. Concert Band; MakeMusic Cloud; Performance Musi...(+)
Composed by Rossano
Galante.
Concert Band; MakeMusic
Cloud;
Performance Music
Ensemble;
Single Titles. MakeMusic
Young
Band. Meters;
Programmatic.
Score and Part(s).
Duration
4:00. MakeMusic
#00-50654.
Published by MakeMusic
Take the A-Train Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1023202-010 Composed by Billy...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1023202-010
Composed by Billy
Strayhorn. Arranged by
Naohiro Iwai. New Sounds
for Concert Band.
Original Light Music. Set
(Score & Parts). Composed
2002. De Haske
Publications #DHP
1023202-010. Published by
De Haske Publications
(BT.DHP-1023202-010).
The ‘New
Sounds for Concert
Band’ series has
guaranteed success in
your concert programme
for many years. The
latest addition to the
series is a classic from
the jazz orchestra
repertoire. Follow the
great jazz master Duke
Ellington and delight
your band and audience
with Take The
A-Train.
Nightlife in Paris Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3.5 SKU: BT.DHP-1216333-015 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3.5
SKU:
BT.DHP-1216333-015
Composed by Peter Kleine
Schaars. Peter's Compact
Collection. Original
Light Music. Set (Score &
Parts). Composed 2021. De
Haske Publications #DHP
1216333-015. Published by
De Haske Publications
(BT.DHP-1216333-015).
English-German-French-
Dutch.
The
magnificent shows at the
Moulin Rouge have left
their mark on the
collective imagination of
all who read about them.
For decades, a small but
spectacular band formed
one of the basic
ingredients in this
internationally
famedcabaret theatre.
With the first sounds of
this composition by Peter
Kleine Schaars, the
exciting Parisian
nightlife immediately
comes to mind. The
musette takes us to
quartier Pigalle, the
red-light district of
Paris, and when thedoors
of the Moulin Rouge open,
we hear the recognizable
rhythms of a contemporary
disco: a combination of
the rhythmic cells 8 / 4
and 3 / 14. In addition,
the composition has been
highlighted with a
plentiful and varied use
of rhythmic cell 5.
Naturally, the themes and
accompaniments have been
divided equally among all
parts.
Die
großartigen Shows im
Moulin Rouge prägten
das kollektive
Bewusstsein all jener,
die sich damit
beschäftigt haben.
Jahrzehntelang war eine
kleine, aber fantastische
Band Bestandteil dieses
international
bekanntenKabaretttheaters
. Mit den ersten
Klängen der
Komposition von Peter
Kleine Schaars fühlt
man sich sofort in das
aufregende Pariser
Nachtleben versetzt. Die
Musette führt uns ins
Quartier Pigalle, das
Rotlichtviertel von
Paris, undwenn sich die
Türen des Moulin Rouge
öffnen, erklingen die
bekannten Rhythmen einer
modernen Disco: eine
Kombination der
Rhythmus-Einheiten 8 / 4
und 3 / 14. Darüber
hinaus ist die
Komposition durch eine
vielfältige Verwendung
derRhythmus-Einheit 5
geprägt. Die Themen
und Begleitungen
verteilen sich dabei
gleichmäßig auf
alle Stimmen.
Nightlife in Paris Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3.5 SKU: BT.DHP-1216333-215 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3.5
SKU:
BT.DHP-1216333-215
Composed by Peter Kleine
Schaars. Peter's Compact
Collection. Original
Light Music. Score Only.
Composed 2021. 26 pages.
De Haske Publications
#DHP 1216333-215.
Published by De Haske
Publications
(BT.DHP-1216333-215).
English-German-French-
Dutch.
The
magnificent shows at the
Moulin Rouge have left
their mark on the
collective imagination of
all who read about them.
For decades, a small but
spectacular band formed
one of the basic
ingredients in this
internationally
famedcabaret theatre.
With the first sounds of
this composition by Peter
Kleine Schaars, the
exciting Parisian
nightlife immediately
comes to mind. The
musette takes us to
quartier Pigalle, the
red-light district of
Paris, and when thedoors
of the Moulin Rouge open,
we hear the recognizable
rhythms of a contemporary
disco: a combination of
the rhythmic cells 8 / 4
and 3 / 14. In addition,
the composition has been
highlighted with a
plentiful and varied use
of rhythmic cell 5.
Naturally, the themes and
accompaniments have been
divided equally among all
parts.
Die
großartigen Shows im
Moulin Rouge prägten
das kollektive
Bewusstsein all jener,
die sich damit
beschäftigt haben.
Jahrzehntelang war eine
kleine, aber fantastische
Band Bestandteil dieses
international
bekanntenKabaretttheaters
. Mit den ersten
Klängen der
Komposition von Peter
Kleine Schaars fühlt
man sich sofort in das
aufregende Pariser
Nachtleben versetzt. Die
Musette führt uns ins
Quartier Pigalle, das
Rotlichtviertel von
Paris, undwenn sich die
Türen des Moulin Rouge
öffnen, erklingen die
bekannten Rhythmen einer
modernen Disco: eine
Kombination der
Rhythmus-Einheiten 8 / 4
und 3 / 14. Darüber
hinaus ist die
Komposition durch eine
vielfältige Verwendung
derRhythmus-Einheit 5
geprägt. Die Themen
und Begleitungen
verteilen sich dabei
gleichmäßig auf
alle Stimmen.
The Snake Pit Orchestre d'harmonie - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Cabasa,
China Cymbal, Clarinet 1,
Clarinet 2, Congas,
Cowbell, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Gong, Horn, Mallet
Percussion, Maracas,
Oboe, Percussion 1,
Percussion 2, Snare Drum
and more. - Grade 1.5
SKU: CF.FPS151
Composed by Tyler Arcari.
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
+1+1+3+6+12+2 pages.
Duration 1 minute, 36
seconds. Carl Fischer
Music #FPS151. Published
by Carl Fischer Music
(CF.FPS151).
ISBN
9781491152119. UPC:
680160909612.
Every
one remembers the first
time that they saw a
snake. Though fascinating
to some and terrifying to
others, few animals are
as universally
mesmerizing. Composer
Tyler Arcari has crafted
a very fun piece making
use of auxiliary
percussion instruments to
emulate a snake's hiss or
ominous rattle. With very
strong and interesting
melodic material, and
scored to make a
developing band sound
great, this piece is sure
to be a favorite among
students. Everyone
remembers the first time
that they saw a snake.
The majority of people
have a base fear of them,
while others have a
“heebie-jeebiesâ
experience. We all
know how the great
explorer Dr. Indiana
Jones felt about snakes,
especially when he
famously fell into a
snake pit during Raiders
of the Lost Ark. However
you feel about snakes, a
pit of them certainly
sounds like an
adventure.About the
work:Snake Pit uses a lot
of auxiliary percussion
instruments. Some of
these sounds are intended
to subtly mimic the
sounds that snakes make.
The maraca in m. 4, of
course, is a
rattler’s call!
The Chinese cymbal is
intended to sound like
the “hiss†of
a not-so-friendly
serpent. The eighth-note
pattern at m. 9 is used
throughout as a
“creepyâ€
effect using dynamic
contrast so take care to
emphasize this when
present.I enjoy the gong
as a “colorâ€
instrument in the band. I
try to balance it with
the low brass. Take care
that at m. 42 the gong is
not “front-and
center†but more of
a support for the nice
accented chords in the
low brass. Also, the
trumpets can become
spaced too much here. The
accents are more for
emphasis and less
space.
The Snake Pit Orchestre d'harmonie [Conducteur] - Débutant Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Cabasa, China Cymbal, Clarinet 1, Clarin...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Cabasa,
China Cymbal, Clarinet 1,
Clarinet 2, Congas,
Cowbell, Euphonium,
Euphonium T.C., Flute,
Flute 2, Glockenspiel,
Gong, Horn, Mallet
Percussion, Maracas,
Oboe, Percussion 1,
Percussion 2, Snare Drum
and more. - Grade 1.5
SKU: CF.FPS151F
Composed by Tyler Arcari.
First Plus Band (FPS).
Full score. With Standard
notation. 12 pages. Carl
Fischer Music #FPS151F.
Published by Carl Fischer
Music (CF.FPS151F).
ISBN 9781491152799.
UPC:
680160910298.
Every
one remembers the first
time that they saw a
snake. Though fascinating
to some and terrifying to
others, few animals are
as universally
mesmerizing. Composer
Tyler Arcari has crafted
a very fun piece making
use of auxiliary
percussion instruments to
emulate a snake's hiss or
ominous rattle. With very
strong and interesting
melodic material, and
scored to make a
developing band sound
great, this piece is sure
to be a favorite among
students. Everyone
remembers the first time
that they saw a snake.
The majority of people
have a base fear of them,
while others have a
“heebie-jeebiesâ
experience. We all
know how the great
explorer Dr. Indiana
Jones felt about snakes,
especially when he
famously fell into a
snake pit during Raiders
of the Lost Ark. However
you feel about snakes, a
pit of them certainly
sounds like an
adventure.About the
work:Snake Pit uses a lot
of auxiliary percussion
instruments. Some of
these sounds are intended
to subtly mimic the
sounds that snakes make.
The maraca in m. 4, of
course, is a
rattler’s call!
The Chinese cymbal is
intended to sound like
the “hiss†of
a not-so-friendly
serpent. The eighth-note
pattern at m. 9 is used
throughout as a
“creepyâ€
effect using dynamic
contrast so take care to
emphasize this when
present.I enjoy the gong
as a “colorâ€
instrument in the band. I
try to balance it with
the low brass. Take care
that at m. 42 the gong is
not “front-and
center†but more of
a support for the nice
accented chords in the
low brass. Also, the
trumpets can become
spaced too much here. The
accents are more for
emphasis and less
space.
Featuring: The Army Goes Rolling Along / The Marine's Hymn / Anchors Aw...(+)
Featuring: The Army Goes
Rolling Along / The
Marine's
Hymn / Anchors Aweigh /
The
U.S. Air Force Song /
Semper
Paratus (Always Ready).
Composed by Various.
Arranged
by Douglas E. Wagner.
Concert
Band; Performance Music
Ensemble; Single Titles.
Pop
Concert Band. 4th of
July;
Patriotic; Summer. Score
and
Parts. 230 pages.
Duration
3:30. Alfred Music
#00-47418.
Published by Alfred Music