| I'm Beginning To See The Light - Facile Handelsware
5 melody instruments, percussion - easy to intermediate SKU: M7.NOR-6610249-3...(+)
5 melody instruments,
percussion - easy to
intermediate SKU:
M7.NOR-6610249-34
Composed by Duke
Ellington. Arranged by
Inge Sunde. Sheet music.
Score and parts, Flex 5.
Duration 3'. Handelsware
#NOR 6610249-34.
Published by Handelsware
(M7.NOR-6610249-34).
I'm beginning
to see the light is one
of the classic jazz
standards, first
published in 1944. The
song became very famous
by singers like Ella
Fitzgerald, Peggy Lee and
Frank Sinatra. Here is an
effective and bouncing
arrangement playable for
groups of down to five
musicians.
Part 1
in C: Flute, Oboe
Part 1 in Eb: Eb
Clarinet, Eb Cornet
Part 1 in Bb: Bb
Clarinet, Soprano
Saxophone, Bb Trumpet, Bb
Cornet, Flugelhorn
Part 2 in Bb: Bb
Clarinet, Bb Trumpet, Bb
Cornet, Flugelhorn
Part 2 in Eb: Alto
Saxophone, Alto Clarinet,
Eb Alto Horn Part 3
in Eb: Alto Saxophone,
Alto Clarinet, Eb Alto
Horn Part 3 in F: F
Horn Part 3 in Bb:
Tenor Saxophone, Bb Tenor
Horn,
Baritone/Euphonium
Part 3 in C (B.C.):
Trombone,
Baritone/Euphonium
(B.C.) Part 4 in Bb:
Tenor Saxophone, Bass
Clarine,t Bb Tenor Horn,
Baritone/Euphonium
Part 4 in C (B.C.):
Bassoon, Trombone,
Baritone/Euphonium
(B.C.) Part 5 in Eb:
Baritone Saxophone, Eb
Tuba (T.C.) Part 5 in
Bb: Bb Tuba (T.C.)
Part 5 in C (B.C.):
Bassoon Tuba (B.C.)
(Part 5 w/chords):
Electric Bass, Accoustic
String Bass Keyboards
( Piano, Synthesizer etc.
) or Guitar
Additional parts
Drums, Drum Set (for one
player) or separated
(B.D., S.D., Cymbals,
add. percussion) - for
min. 3 players Bells,
Xylophone or other
melodic percussion can
use Part 1 in C. $63.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Concertino for Clarinet, Mvt. I [Conducteur] - Facile G and M Brand Music Publishers
Soloist(s) with Concert Band (Solo Bb Clarinet, 1st Flute, 2nd Flute/Oboe, 1st B...(+)
Soloist(s) with Concert
Band (Solo Bb Clarinet,
1st Flute, 2nd
Flute/Oboe, 1st Bb
Clarinet, 2nd Bb
Clarinet, Eb Alto
Saxophone*, Bb Tenor
Saxophone*, Eb Baritone
Saxophone*, 1st Trumpet,
2nd Trumpet, 1st F Horn,
2nd F Horn, Trombone,
Euphonium, (TC Baritone),
Tuba, Piano*, Parts
marke) - grade 2 SKU:
CN.S11297 Clarinet
Feature. Composed by
Wolfgang Amadeus Mozart.
Arranged by Stuart
Johnson. Score only.
Duration 5:00. Published
by G & M Brand Music
Publishers (CN.S11297).
Stuart Johnson
has arranged and adapted
the first movement of
this much loved Mozart
piano sonata (KV 282) to
create a delightful and
welcome addition to the
clarinet repertoire. The
accompaniment is lightly
scored for small wind
band. Primarily this is
to create a classical
feel which reflects the
style of the
music.
Stuart
Johnson has arranged and
adapted the first
movement of this much
loved Mozart piano sonata
(KV 282) to create a
delightful and welcome
addition to the clarinet
repertoire. The
accompaniment is lightly
scored for small wind
band. Primarily this is
to create a classical
feel which reflects the
style of the music.
However, larger bands may
wish to place the piece
strategically in the
program to give the heavy
brass a rest. To this
end, directors may also
prefer to use single
players on the brass and
saxophone parts which
would also help to give
and orchestral feel to
the performance. $20.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Concertino for Clarinet, Mvt. I [Conducteur et Parties séparées] - Facile G and M Brand Music Publishers
Soloist(s) with Concert Band (Solo Bb Clarinet, 1st Flute, 2nd Flute/Oboe, 1st B...(+)
Soloist(s) with Concert
Band (Solo Bb Clarinet,
1st Flute, 2nd
Flute/Oboe, 1st Bb
Clarinet, 2nd Bb
Clarinet, Eb Alto
Saxophone*, Bb Tenor
Saxophone*, Eb Baritone
Saxophone*, 1st Trumpet,
2nd Trumpet, 1st F Horn,
2nd F Horn, Trombone,
Euphonium, (TC Baritone),
Tuba, Piano*, Parts
marke) - grade 2 SKU:
CN.R10297 Clarinet
Feature. Composed by
Wolfgang Amadeus Mozart.
Arranged by Stuart
Johnson. Score and parts.
Duration 5:00. Published
by G & M Brand Music
Publishers (CN.R10297).
Stuart Johnson
has arranged and adapted
the first movement of
this much loved Mozart
piano sonata (KV 282) to
create a delightful and
welcome addition to the
clarinet repertoire. The
accompaniment is lightly
scored for small wind
band. Primarily this is
to create a classical
feel which reflects the
style of the
music.
Stuart
Johnson has arranged and
adapted the first
movement of this much
loved Mozart piano sonata
(KV 282) to create a
delightful and welcome
addition to the clarinet
repertoire. The
accompaniment is lightly
scored for small wind
band. Primarily this is
to create a classical
feel which reflects the
style of the music.
However, larger bands may
wish to place the piece
strategically in the
program to give the heavy
brass a rest. To this
end, directors may also
prefer to use single
players on the brass and
saxophone parts which
would also help to give
and orchestral feel to
the performance. $50.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Holberg Suite Orchestre d'harmonie [Conducteur] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd...(+)
Concert band (1st Flute,
2nd Flute, Oboe*, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Bb Bass
Clarinet*, Bassoon*, 1st
Eb Alto Saxophone*, 2nd
Eb Alto Saxophone*, Bb
Tenor Saxophone*, Eb
Baritone Saxophone*, 1st
Bb Trumpet, 2nd Bb
Trumpet, 1st F Horn, 2nd
F Hor) - grade 3 SKU:
CN.S11251 Composed by
Geoffrey Brand. Arranged
by Geoffrey Brand. Band
Music. Score only.
Duration 5:25. Published
by G & M Brand Music
Publishers (CN.S11251).
Originally
written for piano, Grieg
later scored his Holberg
Suite for orchestra.
Geoffrey Brand has done a
masterful job of setting
two movements of the
suite - the Sarabande and
Gavotte - for wind band.
Give your students the
opportunity to perform
first-rate classical
music they wouldn't
otherwise have access
to.
Born in
Bergen, Norway, into a
family of Scottish
descent, Edvard Grieg
showed a talent for music
early and at the age of
10 had piano lessons from
his mother. In 1849 he
went to study at Leipzig
Conservatoire before
moving to Copenhagen
where he met Riokaard
Nordaak, a young
Norwegian composer who
was immersed in Norwegian
nationalism and greatly
influence Grieg who felt
his future was as a
musician dedicated to
romantic nationalism.
Holberg Suite, originally
for piano, was written in
1884 in response to a
commission to mark the
bicentenary of the birth
of Ludvig Holberg, a
Norwegian dramatist and
satirist. A year later,
Grieg arranged 5
movements for string
orchestra. Sarabande and
Gavotte are intended to
be played segue but can,
if desired, be performed
separately. The music
expresses Grieg and his
native Norway in a manner
which justifies his
declaration I am not an
exponent of Scandinavian
music but of
Norwegian.. $7.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Greek Folk Dances Orchestre d'harmonie [Conducteur] - Intermédiaire G and M Brand Music Publishers
Concert band (Flute 1, Flute 2, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet ...(+)
Concert band (Flute 1,
Flute 2, Oboe, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Bb Bass
Clarinet, Bassoon, Alto
Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Horn in F 1/2,
Bb Trumpet 1, Bb Trumpet
2, Bb Trumpet 3, Trombone
1/2, Euphonium, Baritone
T.C., Tuba,) - grade 3.5
SKU: CN.S11295
Composed by Bruce Fraser.
Score only. Duration
5:30. Published by G & M
Brand Music Publishers
(CN.S11295).
Greek Folk
Dances captures the
excitement of two dance
styles the composer
encountered while on
holiday in the Greek
Islands - the Hasapiko
and the Syrto. The first
is slow and dramatic
dance that plods along
showcasing the solo
clarinet, while the
second is a blazing fast
fire dance that
alternates between 4/4,
3/4 and 7/8.
The
inspiration for these
dances came from my first
proper cruise in 2007,
when we traveled around
Greek islands and spent a
week on the island of
Corfu. Traditional music
was all around us and we
had the chance to watch
and take part in some
dancing. I began to
formulate mu own ideas
into two of the dance
styles I had encountered
- the Hasapiko and the
Syrto. The Hasapiko is a
butcher dance where the
dancers put their arms
around each other's
shoulders and move in a
slow side to side motion,
dragging the insides of
their feet on the ground.
The music often speeds
up, but not necessarily.
The Syrto is much faster,
again with arms around
shoulders. Often a solo
dancer breaks away, doing
acrobatic dance tricks in
the middle of the circle.
I observed solo fire
dancing among flames
sprayed onto the ground
using some flammable
liquid. I have tried to
capture some of the
excitement of this. The
Syrto can be in 3/4 time
or 7/8 time, or a mixture
of the two. I have used
all three options in a
gradual speeding up
process charging towards
a hugely energetic
ending. $20.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Fantasy Triptych Orchestre d'harmonie [Conducteur et Parties séparées] G and M Brand Music Publishers
Concert band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, B...(+)
Concert band (Piccolo,
Flute 1, Flute 2, Oboe
1/2, Eb Clarinet, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Eb Alto
Clarinet, Bb Bass
Clarinet, Bassoon 1/2,
Alto Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Cornet 1,
Bb Cornet 2/3, Bb Trumpet
1/2, Horn in F ) - grade
5.5 SKU: CN.R10193
Composed by Derek
Bourgeois. Band Music.
Score and parts. Duration
17:40. Published by G & M
Brand Music Publishers
(CN.R10193).
With
inspiration taken from
composers Maurice Ravel,
Arthur Benjamin and
Charles Ives, Bourgeois
take s a tongue-in-cheek
approach to this
challenging 3-movement
work. While the work is
infused with humor
throughout, it still
showcases his mastery of
the wind band
idiom.
In 1972, I
wrote a Sonata for Two
Pianos for two friends
who were piano teachers
at Wellington College.
When in 1995 I was asked
to write a work for wind
band, I returned to this
Sonata and have
re-arranged and in the
new version renamed it
Fantasy Triptych. There
are three movements: 1.
Le Tombeau d'Arthur
Benjamin Ravel wrote 'Le
Tombeau de Couperin,'
Arthur Benjamin wrote 'Le
Tombeau de Ravel' and so
the temptation to write
'Le Tombeau d'Arthur
Benjamin' was
overwhelming. At the end
of the movement there is
an oblique reference to
Benjamin's own 'Jamaican
Rumba' which accompanies
a quote from an old
Spanish folk song 'Loro,
enciende el hervidor de
agua.' 2. Mr. Bolt goes
for a ride in his motor
car, and Monsieur Ravel
turns in his grave. The
movement is dedicated to
an old friend, Geoffrey
Bolt, who adores the
music of Ravel. but at
the time of writing was
learning to drive. He
always described his
vehicle as a motor car.
To describe him as an
impatient motorist would
be a gross
understatement. The
refined suavity of
Ravel's music was in
complete contrast to
these early
manifestations of road
rage, hence the central
angry outburst. 3. The
War March of the
Ostriches The music of
Charles Ives was
fascinating me at the
time of writing this
movement and some of the
influence has rubbed off
in this rondo-like march.
At the end there is a
quote from the very
beginning of the first
movement. The title was
inspired by the amusing
antics of a group of
ostriches during a visit
to Bristol Zoo. $180.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Fantasy Triptych Orchestre d'harmonie [Conducteur] G and M Brand Music Publishers
Concert band (Piccolo, Flute 1, Flute 2, Oboe 1/2, Eb Clarinet, Bb Clarinet 1, B...(+)
Concert band (Piccolo,
Flute 1, Flute 2, Oboe
1/2, Eb Clarinet, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Eb Alto
Clarinet, Bb Bass
Clarinet, Bassoon 1/2,
Alto Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Cornet 1,
Bb Cornet 2/3, Bb Trumpet
1/2, Horn in F ) - grade
5.5 SKU: CN.S11193
Composed by Derek
Bourgeois. Band Music.
Score only. Duration
17:40. Published by G & M
Brand Music Publishers
(CN.S11193).
With
inspiration taken from
composers Maurice Ravel,
Arthur Benjamin and
Charles Ives, Bourgeois
take s a tongue-in-cheek
approach to this
challenging 3-movement
work. While the work is
infused with humor
throughout, it still
showcases his mastery of
the wind band
idiom.
In 1972, I
wrote a Sonata for Two
Pianos for two friends
who were piano teachers
at Wellington College.
When in 1995 I was asked
to write a work for wind
band, I returned to this
Sonata and have
re-arranged and in the
new version renamed it
Fantasy Triptych. There
are three movements: 1.
Le Tombeau d'Arthur
Benjamin Ravel wrote 'Le
Tombeau de Couperin,'
Arthur Benjamin wrote 'Le
Tombeau de Ravel' and so
the temptation to write
'Le Tombeau d'Arthur
Benjamin' was
overwhelming. At the end
of the movement there is
an oblique reference to
Benjamin's own 'Jamaican
Rumba' which accompanies
a quote from an old
Spanish folk song 'Loro,
enciende el hervidor de
agua.' 2. Mr. Bolt goes
for a ride in his motor
car, and Monsieur Ravel
turns in his grave. The
movement is dedicated to
an old friend, Geoffrey
Bolt, who adores the
music of Ravel. but at
the time of writing was
learning to drive. He
always described his
vehicle as a motor car.
To describe him as an
impatient motorist would
be a gross
understatement. The
refined suavity of
Ravel's music was in
complete contrast to
these early
manifestations of road
rage, hence the central
angry outburst. 3. The
War March of the
Ostriches The music of
Charles Ives was
fascinating me at the
time of writing this
movement and some of the
influence has rubbed off
in this rondo-like march.
At the end there is a
quote from the very
beginning of the first
movement. The title was
inspired by the amusing
antics of a group of
ostriches during a visit
to Bristol Zoo. $60.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| www.winds.com Orchestre d'harmonie [Conducteur et Parties séparées] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd...(+)
Concert band (1st Flute,
2nd Flute, Oboe*, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Eb Alto
Clarinet, Bb Bass
Clarinet*, Bassoon*, 1st
Eb Alto Saxophone*, 2nd
Eb Alto Saxophone*, Bb
Tenor Saxophone*, Eb
Baritone Saxophone*, 1st
Bb Trumpet, 2nd Bb
Trumpet, 3rd) - grade 3
SKU: CN.R10224
Composed by Bruce Fraser.
Band Music. Score and
parts. Duration 4:30.
Published by G & M Brand
Music Publishers
(CN.R10224).
Recall the days
of waiting on the modem?
The opening of this work
imitates the tones and
burbling noises of a
modem or fax. A lovely
ballad follows before
quickly returning to the
previous
material.
The idea
for this work came from
listening to my modem
while logging on to the
Internet. I realize that
some modems log on
silently, but the opening
of this work imitates the
tones and burbling noises
of a modem or fax. There
were two musical features
I picked our - the
pitches of the dialing
tones are subsequently
used to create the
melodies, and the
syncopated falling octave
figure is used in
accompaniment figures.
The opening Allegro will
work at a faster tempo if
desired, but make sure
that clarity is
maintained. The middle
section should be
carefully balanced and
allowed to flow. $55.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| www.winds.com Orchestre d'harmonie [Conducteur] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd...(+)
Concert band (1st Flute,
2nd Flute, Oboe*, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Eb Alto
Clarinet, Bb Bass
Clarinet*, Bassoon*, 1st
Eb Alto Saxophone*, 2nd
Eb Alto Saxophone*, Bb
Tenor Saxophone*, Eb
Baritone Saxophone*, 1st
Bb Trumpet, 2nd Bb
Trumpet, 3rd) - grade 3
SKU: CN.S11224
Composed by Bruce Fraser.
Band Music. Score only.
Duration 4:30. Published
by G & M Brand Music
Publishers (CN.S11224).
Recall the days
of waiting on the modem?
The opening of this work
imitates the tones and
burbling noises of a
modem or fax. A lovely
ballad follows before
quickly returning to the
previous
material.
The idea
for this work came from
listening to my modem
while logging on to the
Internet. I realize that
some modems log on
silently, but the opening
of this work imitates the
tones and burbling noises
of a modem or fax. There
were two musical features
I picked our - the
pitches of the dialing
tones are subsequently
used to create the
melodies, and the
syncopated falling octave
figure is used in
accompaniment figures.
The opening Allegro will
work at a faster tempo if
desired, but make sure
that clarity is
maintained. The middle
section should be
carefully balanced and
allowed to flow. $10.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hymn for Africa Orchestre d'harmonie [Conducteur] - Facile G and M Brand Music Publishers
Concert band (Flute 1, Flute 2/Piccolo, Oboe, Bb Clarinet 1, Bb Clarinet 2, Bb C...(+)
Concert band (Flute 1,
Flute 2/Piccolo, Oboe, Bb
Clarinet 1, Bb Clarinet
2, Bb Clarinet 3, Bb Bass
Clarinet, Bassoon, Alto
Saxophone 1/2, Tenor
Saxophone, Baritone
Saxophone, Bb Trumpet 1,
Bb Trumpet 2, Bb Trumpet
3, Horn in F 1/2, Horn in
F 3/4, Trombone 1/2,
Trombone) - grade 3
SKU: CN.S11293
Composed by Peter
Meechan. Score only.
Duration 4:15. Published
by G & M Brand Music
Publishers (CN.S11293).
Inspired by the
release of Nelson Mandela
in the early 1990s, Hymn
for Africa pays tribute
to the sense of dignity
and peace that he brought
not only to South Africa,
but around the entire
globe. As the beautifully
lush chorale unfolds,
quietly undulating drums
murmur in the distance
and gradually build into
a rousing
climax.
Hymn for
Africa was written as
part of a project known
as Brass Band Aid. When I
was asked to compose a
piece with relevance to
Africa for the project, I
began to think of all the
things that I associate
with Africa. I have vivid
memories from my
childhood of the
hard-hitting news reports
from the famines of the
early/mid 1980's (and the
concerts that followed).
I also associate Africa
with amazing animal life
- the many species from
snakes to birds to lions,
with their many colours.
But more than these
associations, there is
one memory that stands
out amongst all others.
The release of Nelson
Mandela in the early
1990's had a profound
effect not only in South
Africa, but all over the
continent of Africa, as
well as the World as a
whole. The fact that one
man can achieve this with
peace and great dignity
will always be an
inspiration, not only to
me, but many, many
millions of humans around
the globe. Hymn for
Africa is inspired by
this sense of dignity and
peace. A simple eight bar
melody is the basis of
the composition. A drone
is then added, before a
chorale, and finally a
rousing climax when the
percussion and full band
enter. The piece
dedicated to Bob and
Briony Thompson in
admiration. $14.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Match Day Orchestre d'harmonie [Conducteur] - Intermédiaire G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, Oboe 1/2, 1st Bb Clarinet, 2nd Bb C...(+)
Concert band (Piccolo,
1st Flute, 2nd Flute,
Oboe 1/2, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Eb Alto
Clarinet, Bb Bass
Clarinet, Bassoon, Eb
Alto Saxophone 1/2, Bb
Tenor Saxophone, Eb
Baritone Saxophone, Bb
Trumpet 1, Bb Trumpet
2/3, F Horn 1/2, F Horn
3/4) - grade 4 SKU:
CN.S11279 Composed by
Peter Meechan. Band
Music. Score only.
Duration 5:00. Published
by G & M Brand Music
Publishers (CN.S11279).
It's game time!
Match Day is an aural
representation of the
chants, songs, and
general excitement heard
at a football (soccer)
games in Britain.
Match Day takes
its inspiration from a
night in May 2005, when
the football team I have
supported from my
childhood, Liverpool FC,
won the European Cup in
what was considered by
many to be one of the
greatest football matches
of all time. The piece is
not only inspired by a
football match, but also
takes its musical
material from chants and
songs that you will hear
at 3pm on a Saturday
afternoon at any football
ground in Britain. Match
Day was written as a
result of a commission
from the National Youth
Brass Band of Great
Britain (with funds from
Youth Music), and their
Musical Director,
Bramwell Tovey, to whom
the piece is dedicated
and who conducted the
first performance in
April 2006. $20.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Match Day Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire G and M Brand Music Publishers
Concert band (Piccolo, 1st Flute, 2nd Flute, Oboe 1/2, 1st Bb Clarinet, 2nd Bb C...(+)
Concert band (Piccolo,
1st Flute, 2nd Flute,
Oboe 1/2, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Eb Alto
Clarinet, Bb Bass
Clarinet, Bassoon, Eb
Alto Saxophone 1/2, Bb
Tenor Saxophone, Eb
Baritone Saxophone, Bb
Trumpet 1, Bb Trumpet
2/3, F Horn 1/2, F Horn
3/4) - grade 4 SKU:
CN.R10279 Composed by
Peter Meechan. Band
Music. Score and parts.
Duration 5:00. Published
by G & M Brand Music
Publishers (CN.R10279).
It's game time!
Match Day is an aural
representation of the
chants, songs, and
general excitement heard
at a football (soccer)
games in Britain.
Match Day takes
its inspiration from a
night in May 2005, when
the football team I have
supported from my
childhood, Liverpool FC,
won the European Cup in
what was considered by
many to be one of the
greatest football matches
of all time. The piece is
not only inspired by a
football match, but also
takes its musical
material from chants and
songs that you will hear
at 3pm on a Saturday
afternoon at any football
ground in Britain. Match
Day was written as a
result of a commission
from the National Youth
Brass Band of Great
Britain (with funds from
Youth Music), and their
Musical Director,
Bramwell Tovey, to whom
the piece is dedicated
and who conducted the
first performance in
April 2006. $85.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| New York Parade Orchestre d'harmonie [Conducteur et Parties séparées] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd...(+)
Concert band (1st Flute,
2nd Flute, Oboe*, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Bb Bass
Clarinet*, Bassoon*, 1st
Eb Alto Saxophone*, 2nd
Eb Alto Saxophone*, Bb
Tenor Saxophone*, Eb
Baritone Saxophone*, 1st
Bb Trumpet, 2nd Bb
Trumpet, 1st F Horn, 2nd
F Hor) - grade 3 SKU:
CN.R10192 Composed by
Michael Brand. Band
Music. Score and parts.
Duration 5:30. Published
by G & M Brand Music
Publishers (CN.R10192).
Hear the sounds
of marching bands,
choirs, and the music of
Broadway in this exciting
concert march. Inspired
by an actual parade in
New York, Michael Brand
brings us this
spectacular original
march. Perfect in any
setting throughout the
year.
In June 1997
I was in New York and had
a free weekend. On Sunday
morning I was awoken
early by a great deal of
banging and saw that
barriers and roadblocks
had been erected
throughout Central Park.
Why? I soon heard the
answer: a great parade.
When the Americans put
together a parade they
really mean it! This one
lasted 3 hours and
brought the center of New
York to a standstill.
Bands, dancers and choirs
marched past in
celebration of the Jewish
faith. New York Parade is
completely original but
its starting point in my
imagination was a
marching band, a choir
and Broadway. The
marching band starts in
the distance, passes by
and as it moves away we
hear the next block of
performers singing,
almost chanting, a hymn
(called Jewish Song). The
groups suddenly turn into
Broadway, as a song from
an imaginary show
intervenes but then the
band and choir return in
counterpoint and all
three themes come
together. $55.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| New York Parade Orchestre d'harmonie [Conducteur] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd...(+)
Concert band (1st Flute,
2nd Flute, Oboe*, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Bb Bass
Clarinet*, Bassoon*, 1st
Eb Alto Saxophone*, 2nd
Eb Alto Saxophone*, Bb
Tenor Saxophone*, Eb
Baritone Saxophone*, 1st
Bb Trumpet, 2nd Bb
Trumpet, 1st F Horn, 2nd
F Hor) - grade 3 SKU:
CN.S11192 Composed by
Michael Brand. Band
Music. Platinum Band
Series. Score only.
Duration 5:30. Published
by G & M Brand Music
Publishers (CN.S11192).
Hear the sounds
of marching bands,
choirs, and the music of
Broadway in this exciting
concert march. Inspired
by an actual parade in
New York, Michael Brand
brings us this
spectacular original
march. Perfect in any
setting throughout the
year.
In June 1997
I was in New York and had
a free weekend. On Sunday
morning I was awoken
early by a great deal of
banging and saw that
barriers and roadblocks
had been erected
throughout Central Park.
Why? I soon heard the
answer: a great parade.
When the Americans put
together a parade they
really mean it! This one
lasted 3 hours and
brought the center of New
York to a standstill.
Bands, dancers and choirs
marched past in
celebration of the Jewish
faith. New York Parade is
completely original but
its starting point in my
imagination was a
marching band, a choir
and Broadway. The
marching band starts in
the distance, passes by
and as it moves away we
hear the next block of
performers singing,
almost chanting, a hymn
(called Jewish Song). The
groups suddenly turn into
Broadway, as a song from
an imaginary show
intervenes but then the
band and choir return in
counterpoint and all
three themes come
together. $10.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| War, Women and Witchcraft Orchestre d'harmonie [Conducteur et Parties séparées] - Facile G and M Brand Music Publishers
Concert band (Flute 1, Flute 2, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bb ...(+)
Concert band (Flute 1,
Flute 2, Bb Clarinet 1,
Bb Clarinet 2, Bb
Clarinet 3, Bb Bass
Clarinet*, Bassoon*, Alto
Saxophone 1*, Alto
Saxophone 2*, Tenor
Saxophone*, Baritone
Saxophone*, Horn in F 1,
Horn in F 2, Bb Trumpet
1, Bb Trumpet 2, Trombone
1, Trombone 2*, Euphoni)
- grade 3 SKU:
CN.R10183 Composed by
Bruce Fraser. Arranged by
Geoffrey Brand. Band
Music. Score and parts.
Duration 4:30. Published
by G & M Brand Music
Publishers (CN.R10183).
The music of
War, Women and Witchcraft
is a web with strands of
magic, a romantic
impression of the
Scottish landscape and
the sounds of battle
using fanfare-like
figures and drum effects,
and a lovely melody near
the end when everyone
lives happily ever
after.
The titles
comes from a book by the
Scottish poet, author and
composer James Hogg,
known as The Ettrick
Shepherd. It is the
subtitle to his wonderful
book The Three Perils of
Man. I was commissioned
to write a wind band work
of this title for the
Borders Festival in 1991.
The book weaves fact and
fantasy togethers around
the Scottish Borders in
the thirteenth century. I
have used a note row
based on some of Hogg's
melodies and also created
my own mixture
representing Master
Michael Scott, the Black
Magician, and his wild
adventures, the battle
for the castle at
Roxburgh and the prize of
the Princess' hand to the
winner of the battle. The
music is a web with
strands of magic, a
romantic impression of
the Scottish landscape
and the sounds of battle
using fanfare-like
figures and drum effects,
and a direct quote of a
Hogg Strathspey melody
near the end when
everyone lives happily
ever after. -BF. $55.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Girl With the Flaxen Hair Orchestre d'harmonie [Conducteur] - Intermédiaire G and M Brand Music Publishers
By Claude Debussy (1862-1918). Arranged by Michael Brand. For Concert Band (Flut...(+)
By Claude Debussy
(1862-1918). Arranged by
Michael Brand. For
Concert Band (Flute
1/Piccolo, Flute 2, Oboe
1/2, Bb Clarinet 1, Bb
Clarinet 2, Bb Clarinet
3, Eb Alto Clarinet, Bb
Bas Clarinet, Bassoon
1/2, Alto Saxophone 1/2,
Tenor Saxophone, Baritone
Saxophone, Bb
Trumpet/Cornet 1, Bb
Trumpet/Cornet 2, Bb
Trumpet/Cornet 3, Horn
i). Band Music. Grade
3.5. Score. Duration
2:30. Published by G and
M Brand Music Publishers
$7.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Highland Fantasy Orchestre d'harmonie [Conducteur et Parties séparées] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd...(+)
Concert band (1st Flute,
2nd Flute, Oboe*, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Eb Alto
Clarinet, Bb Bass
Clarinet*, Bassoon*, 1st
Eb Alto Saxophone*, 2nd
Eb Alto Saxophone*, Bb
Tenor Saxophone*, Eb
Baritone Saxophone*, 1st
Bb Trumpet, 2nd Bb
Trumpet, 3rd) - grade 2.5
SKU: CN.R10250
Composed by Bruce Fraser.
Band Music. Score and
parts. Duration 5:15.
Published by G & M Brand
Music Publishers
(CN.R10250).
Based on
traditional Scottish
melodies, Highland
Fantasy begins with the
jolly romp The Wee Cooper
o' Fife and moves into
the yearning ballad
Highland Laddie. Fraser
cleverly merges the two
themes as the work comes
to a joyously majestic
close.
This work
is mainly based on
traditional Scottish
melodies. After a brief
introduction we hear The
Wee Cooper o' Fife played
firstly by a solo trumpet
followed by a tutti
version. Highland Laddie
appears, initially
featuring saxophones and
then passed around the
band. The slow middle
section is an original
which I felt complemented
the other melodies in the
piece. A recapulation
leads to a final section
with an augmented version
of Highland Laddie from
the middle of the band
with a version of The Wee
Cooper in the upper
winds. The work ends with
a final majestic
statement. $70.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Highland Fantasy Orchestre d'harmonie [Conducteur] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute, Oboe*, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd...(+)
Concert band (1st Flute,
2nd Flute, Oboe*, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Eb Alto
Clarinet, Bb Bass
Clarinet*, Bassoon*, 1st
Eb Alto Saxophone*, 2nd
Eb Alto Saxophone*, Bb
Tenor Saxophone*, Eb
Baritone Saxophone*, 1st
Bb Trumpet, 2nd Bb
Trumpet, 3rd) - grade 2.5
SKU: CN.S11250
Composed by Bruce Fraser.
Band Music. Score only.
Duration 5:15. Published
by G & M Brand Music
Publishers (CN.S11250).
Based on
traditional Scottish
melodies, Highland
Fantasy begins with the
jolly romp The Wee Cooper
o' Fife and moves into
the yearning ballad
Highland Laddie. Fraser
cleverly merges the two
themes as the work comes
to a joyously majestic
close.
This work
is mainly based on
traditional Scottish
melodies. After a brief
introduction we hear The
Wee Cooper o' Fife played
firstly by a solo trumpet
followed by a tutti
version. Highland Laddie
appears, initially
featuring saxophones and
then passed around the
band. The slow middle
section is an original
which I felt complemented
the other melodies in the
piece. A recapulation
leads to a final section
with an augmented version
of Highland Laddie from
the middle of the band
with a version of The Wee
Cooper in the upper
winds. The work ends with
a final majestic
statement. $12.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Girl With the Flaxen Hair Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire G and M Brand Music Publishers
By Claude Debussy (1862-1918). Arranged by Michael Brand. For Concert Band (Flut...(+)
By Claude Debussy
(1862-1918). Arranged by
Michael Brand. For
Concert Band (Flute
1/Piccolo, Flute 2, Oboe
1/2, Bb Clarinet 1, Bb
Clarinet 2, Bb Clarinet
3, Eb Alto Clarinet, Bb
Bas Clarinet, Bassoon
1/2, Alto Saxophone 1/2,
Tenor Saxophone, Baritone
Saxophone, Bb
Trumpet/Cornet 1, Bb
Trumpet/Cornet 2, Bb
Trumpet/Cornet 3, Horn
i). Band Music. Grade
3.5. Score and set of
parts. Duration 2:30.
Published by G & M Brand
Music Publishers
$60.00 $57 (- 5%) Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lift Off! Orchestre d'harmonie [Conducteur et Parties séparées] - Facile G and M Brand Music Publishers
Concert band (1st Flute, 2nd Flute/Oboe, 1st Bb Clarinet, 2nd Bb Clarinet, 3rd B...(+)
Concert band (1st Flute,
2nd Flute/Oboe, 1st Bb
Clarinet, 2nd Bb
Clarinet, 3rd Bb
Clarinet, Bb Bass
Clarinet*, Eb Alto
Saxophone*, Bb Tenor
Saxophone*, Eb Baritone
Saxophone*, 1st Trumpet,
2nd Trumpet, 1st F Horn,
2nd F Horn, Trombone,
Euphonium, TC Baritone,
Tuba, Per) - grade 2
SKU: CN.R10274
Composed by Pete Meechan.
Band Music. Score and
parts. Duration 4:35.
Published by G & M Brand
Music Publishers
(CN.R10274).
Hop on the
plane, it's time to fly!
This short suite of
descriptive pieces takes
the ensemble on a brief
ride through the sky.
Hear the sounds of the
engine starting, the take
off, the beauty and
solace of the clouds from
above, the nervousness of
the descent, and the
excitement and joy of
arriving at our
destination.
Lift
Off! is a short suite of
descriptive pieces, all
inspired by a short
flight from Manchester,
England to Brussels. In
the first movement we
hear the engine start,
and after the plane has
moved into position, it
takes off. The second
movement depicts the
beautiful view of the
clouds from above. It all
seems timeless and you
don't even feel as if you
are moving. The last
movement starts nervously
(I'm not a great flier!),
as the plane begins its
descent from the sky.
However, as we land
safely back on earth, the
piece ends in a flurry of
excitement and triumph,
returning to a theme
heard in the first
movement. $55.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Spring in Dresden [Conducteur] Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963S Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S). UPC:
680160684472. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963L Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L). UPC:
680160684489. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cartoon Parade Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [Conducteur et Parties séparées] - Facile De Haske Publications
Brass Quintet - early intermediate SKU: BT.DHP-1185993-070 The Muppet ...(+)
Brass Quintet - early
intermediate SKU:
BT.DHP-1185993-070
The Muppet Show Theme
- I'm Popeye the Sailor
Man - Mickey Mouse
March. Arranged by
Eric J. Hovi. De Haske
Brass Series.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2018. De Haske
Publications #DHP
1185993-070. Published by
De Haske Publications
(BT.DHP-1185993-070).
ISBN 9789043156578.
International. In
this five-part medley for
brass quintet, we meet
some of the greatest
cartoon characters ever
created: The Muppets,
Popeye and of course
Mickey Mouse. This is a
great arrangement to
feature in your concerts
for kids (and adults!).
In deze medley
voor koperkwintet komen
we een aantal van de
leukste poppen en
stripfiguren tegen die
ooit het wereldpodium
hebben betreden: The
Muppets, Popeye en
natuurlijk Mickey Mouse.
Een weergaloos stuk waar
zowel kinderen als
volwassenen van genieten!
In diesem Medley
für
Blechbläserquintett
treffen wir einige der
großartigsten
Zeichentrickfiguren, die
jemals erfunden wurden:
Die Muppets, Popeye und
natürlich Micky Mouse.
Ein wunderbarer
Konzertbeitrag für
Kinder und Erwachsene!
Dans ce medley
pour quintette de
cuivres, nous rencontrons
quelques-uns des plus
grands personnages
animés jamais
inventés : Les
Muppets, Popeye et bien s
r Mickey Mouse. Les
enfants l'apprécieront
autant que les adultes !
Nel medley
'Cartoon Parade' per
quintetto di ottoni,
incontriamo alcuni dei
più grandi personaggi
dei cartoni animati mai
inventati: i Muppets,
Braccio di ferro e,
naturalmente, Topolino.
Un grande momento per
bambini e adulti nei
vostri concerti! $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| God, Whose Giving Knows No Ending (Choral Score) Chorale SATB - Facile MorningStar Music Publishers
SATB choir and organ, with optional congregation and brass quartet - Early Inter...(+)
SATB choir and organ,
with optional
congregation and brass
quartet - Early
Intermediate SKU:
MN.60-6350 Composed
by David M. Cherwien.
21st Century,
Praise/Thanksgiving,
Stewardship. Choral
score. MorningStar Music
Publishers #60-6350.
Published by MorningStar
Music Publishers
(MN.60-6350). UPC:
688670663505.
English. Unexpected
progressions and various
textures provide
ever-present interest in
this anthem of praise.
The descant allows the
tenors to ascend along
with the sopranos. The
optional brass and
congregation parts give
the work added density
and loftiness.
Reproducible part for
optional Congregation
included. Reproducible
instrumental parts
include: Two Trumpets in
Bb or C, Two Trombones,
Horn in F [substitute for
Trombone I]. $2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Scenes from an English Landscape Orchestre d'harmonie [Conducteur] - Intermédiaire G and M Brand Music Publishers
Concert band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Soprano Clarinet 1-3...(+)
Concert band (Piccolo,
Flute 1/2, Oboe 1/2,
Bassoon 1/2, Bb Soprano
Clarinet 1-3, Eb Alto
Clarinet, Bb Bass
Clarinet, Alto Saxophone
1/2, Tenor Saxophone,
Baritone Saxophone,
Cornet (in Bb) 1-3,
Trumpet (in Bb) 1/2,
French Horn 1-4 ,
Trombone 1-3, Euphonium,
Tuba, Stri) - grade 4
SKU: CN.S11242
Composed by Adam Gorb.
Arranged by Michael
Brand. Band Music. Score
only. Duration 4:20.
Published by G & M Brand
Music Publishers
(CN.S11242).
Scenes from an
English Landscape is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end of
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax.
This is a
brief nostalgic tone poem
taking its inspiration
from visions of rural
England as depicted in
the paintings of John
Constable, the novels of
Thomas Hard, and the
music of Gustav Holst and
Ralph Vaughan Williams. I
imagined a community of
villagers coming out of
church and filling a
village square with their
vibrant presence. A
chorale-like theme is
stated in the brass and
then taken up at three
times the tempo in the
woodwinds. At the end o
the work, both versions
of the theme are stated
together to bring the
piece to a triumphant
climax. Adam Gorb was
born in Cardiff and
started composing at the
age of ten. His first
work broadcast on
national radio was
written when he was
fifteen. He studied at
Cambridge University
(1977-1980) and the Royal
Academy of Music
(1991-1993) where he
graduated with the
highest honours including
the Principal's Prize. He
has been on the staff at
the London College of
Music and Media, the
junior Academy of the
Royal Academy of Music
and, since 2000 he has
been the Head of School
of Composition at the
Royal Northern College of
Music in Manchester .
International recognition
came in 1994 with the US
Walter Beeler Prize for
his work Metropolis .
With it began what has
developed into probably
the most important wind
ensemble catalogue by a
contemporary composer,
ranging from extremely
challenging to the most
accessible, at all
technical levels, seized
on by players
internationally, widely
recorded and now
absolutely central to the
world's wind repertoire.
Equally important though
are his works for dance,
and concert pieces like
the chamber orchestral
Weimar , the Violin
Sonata , a Clarinet
Concerto for the Royal
Liverpool Philharmonic
Orchestra and Diaspora
for strings (for the
Goldberg Ensemble).
Deceptively mainstream at
first glance, they
display the same
inventive brilliance,
pulsating sound world,
striking use of rhythm
and an undogmatic absence
of stylistic hang-ups to
embrace jazz and
serialism in works where
power, poetry, irony and
pathos, often underlaid
by a theatrical and
deeply subversive
element, coalesce in an
integrated, highly
individual musical voice.
Gorb is also not afraid
to draw on the vivid
musical heritage of his
Jewish roots, sometimes
directly, often in a more
subsumed or radically
creative way. The crucial
and consistent feature of
Gorb's work though is
that it communicates
strongly without
patronizing players or
audiences. He firmly
believes that if
contemporary music - any
music - does not impact
on listeners then its
message is irrelevant; it
is lost. $7.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Blue Horizons - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
English Horn, Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Piccolo, Trumpet
1, Trumpet 2, Trumpet 3,
alto Saxophone 1 and
more. - Grade 5 SKU:
CF.SPS85 Composed by
Jeremy Martin. Folio.
Sps. Set of Score and
Parts.
4+28+28+14+14+4+14+14+7+2
4+28+28+8+4+8+8+14+8+9+12
+12+8+8+8+8+12+12+9+12+8+
16+4+3+2+6+6+6+7+44
pages. Duration 7
minutes, 8 seconds. Carl
Fischer Music #SPS85.
Published by Carl Fischer
Music (CF.SPS85). ISBN
9781491156421. UPC:
680160914968. 9 x 12
inches. Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blue Horizons [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Crash Cymbals,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Glockenspiel,
Harp, Horn 1, Horn 2,
Horn 3 and more. - Grade
5 SKU: CF.SPS85F
Composed by Jeremy
Martin. Sws. Sps. Full
score. 44 pages. Duration
7 minutes, 8 seconds.
Carl Fischer Music
#SPS85F. Published by
Carl Fischer Music
(CF.SPS85F). ISBN
9781491156438. UPC:
680160914975. 9 x 12
inches. Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy. $18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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