Fanfare Band - Grade 5 SKU: BT.DHP-1115065-020 Composed by Stijn Roels. C...(+)
Fanfare Band - Grade 5
SKU:
BT.DHP-1115065-020
Composed by Stijn Roels.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Set (Score & Parts).
Composed 2011. De Haske
Publications #DHP
1115065-020. Published by
De Haske Publications
(BT.DHP-1115065-020).
9x12 inches.
English-German-French-Dut
ch.
In this work
the composer portrays
what he sees as the
typical characteristics
of youth, his young
daughter being a source
of inspiration. The music
describes different
emotions between parents
and their child such as
parental love, proudness
andalso some
tension.
The final
movement starts with a
fugue based on the first
theme leading to the
work’s climax
where the chorale appears
in majestic
form.
In The
Essence of Youth
geeft de componist zijn
visie op de kindertijd en
de jeugd. Zijn eigen
dochter vormde hierbij
een belangrijke
inspiratiebron. De
opening staat met
opgewekte ritmes,
dynamische contrasten en
maatsoortwisselingenvoor
de spontaniteit van
kinderen. Het eerste en
tweede deel vertellen
over de liefde, zorg en
toewijding die horen bij
een ouder-kindrelatie.
Met dissonante
harmonieën, maar ook
met mooie melodieën
weet de componist
ditprachtig te
verbeelden. Een fuga
leidt ten slotte naar een
prachtig koraal: de
trotse ouders met hun
kind
verbeeldend.
In
The Essence of
Youth beschreibt der
Komponist sein Bild von
Kindheit und Jugend -
inspiriert von seiner
eigenen Tochter. Die
Eröffnung steht mit
aufgeweckten Rhythmen,
dynamischen Kontrasten,
Taktartwechseln für
die Unberechenbarkeit
vonKindern. Der erste und
zweite Satz erzählen
mit dissonanten
Harmonien, aber auch mit
schönen Melodien von
Spannungen, Liebe und
Sorge in der
Eltern-Kind-Beziehung.
Den Schluss bildet eine
Fuge, die zu einem
prachtvollen Choral
führt: ein Bild
stolzerEltern mit ihrem
Kind!
<
I>The Essence of
Youth è un brano
che riflette ciò che
il compositore, ispirato
da sua figlia, considera
come le caratteristiche
tipiche della
gioventù.
Un’ouverture
spettacolare nella quale
contrasti dinamici e dai
ritmi vivaci si
susseguonocome a
simboleggiare la
straordinaria energia dei
bambini. Il primo
movimento, sulla scia
dell’introduzione,
anticipa una parte di
solo che accompagna al
secondo movimento,
testimonianza
dell’amore
infinito dei genitori nei
confronti dei figli.
Unafuga basata sul tema
iniziale contraddistingue
il terzo movimento che
conduce
all’apoteosi
finale.
Fanfare Band - Grade 5 SKU: BT.DHP-1115065-120 Composed by Stijn Roels. C...(+)
Fanfare Band - Grade 5
SKU:
BT.DHP-1115065-120
Composed by Stijn Roels.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2011. 44 pages. De Haske
Publications #DHP
1115065-120. Published by
De Haske Publications
(BT.DHP-1115065-120).
9x12 inches.
English-German-French-Dut
ch.
In this work
the composer portrays
what he sees as the
typical characteristics
of youth, his young
daughter being a source
of inspiration. The music
describes different
emotions between parents
and their child such as
parental love, proudness
andalso some
tension.
The final
movement starts with a
fugue based on the first
theme leading to the
work’s climax
where the chorale appears
in majestic
form.
In The
Essence of Youth
geeft de componist zijn
visie op de kindertijd en
de jeugd. Zijn eigen
dochter vormde hierbij
een belangrijke
inspiratiebron. De
opening staat met
opgewekte ritmes,
dynamische contrasten en
maatsoortwisselingenvoor
de spontaniteit van
kinderen. Het eerste en
tweede deel vertellen
over de liefde, zorg en
toewijding die horen bij
een ouder-kindrelatie.
Met dissonante
harmonieën, maar ook
met mooie melodieën
weet de componist
ditprachtig te
verbeelden. Een fuga
leidt ten slotte naar een
prachtig koraal: de
trotse ouders met hun
kind
verbeeldend.
In
The Essence of
Youth beschreibt der
Komponist sein Bild von
Kindheit und Jugend -
inspiriert von seiner
eigenen Tochter. Die
Eröffnung steht mit
aufgeweckten Rhythmen,
dynamischen Kontrasten,
Taktartwechseln für
die Unberechenbarkeit
vonKindern. Der erste und
zweite Satz erzählen
mit dissonanten
Harmonien, aber auch mit
schönen Melodien von
Spannungen, Liebe und
Sorge in der
Eltern-Kind-Beziehung.
Den Schluss bildet eine
Fuge, die zu einem
prachtvollen Choral
führt: ein Bild
stolzerEltern mit ihrem
Kind!
<
I>The Essence of
Youth è un brano
che riflette ciò che
il compositore, ispirato
da sua figlia, considera
come le caratteristiche
tipiche della
gioventù.
Un’ouverture
spettacolare nella quale
contrasti dinamici e dai
ritmi vivaci si
susseguonocome a
simboleggiare la
straordinaria energia dei
bambini. Il primo
movimento, sulla scia
dell’introduzione,
anticipa una parte di
solo che accompagna al
secondo movimento,
testimonianza
dell’amore
infinito dei genitori nei
confronti dei figli.
Unafuga basata sul tema
iniziale contraddistingue
il terzo movimento che
conduce
all’apoteosi
finale.
Grand March Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0960731-140 Composed by Soich...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-0960731-140
Composed by Soichi
Konagaya. Brilliant
Marches. March. Score
Only. Composed 1996. 32
pages. De Haske
Publications #DHP
0960731-140. Published by
De Haske Publications
(BT.DHP-0960731-140).
9x12
inches.
‘Gran
d March’ was
composed in 1995 for the
All Shizuoka Youth Band
of Japan. The piece opens
with a majestic fanfare.
A superb-sounding march,
with a commanding
character, follows. The
talent of this Japanese
composer reveals itself
in the distinctly lyrical
character of the trio
section, which contrasts
wonderfully with the
first lyrical themes of
the score.
Grand
March werd in 1995
gecomponeerd voor de All
Shizuoka Youth Band uit
Japan. Het werk opent met
een majestueuze fanfare.
Wat volgt, is een subliem
klinkende mars met een
imponerend karakter. Het
talent van de Japanse
componist Kanagaye komt
verder tot uiting in de
contrasterende lyriek van
het triodeel. Een grootse
mars waarmee uw orkest
veel eer kan inleggen!
Der Grand
March wurde 1995
für die All Shizuoka
Youth Band of Japan
komponiert. Der Marsch
beginnt hoffnungsvoll mit
einer majestätischen
Fanfare. Darauf folgt ein
toll klingender,
energischer Marsch. Das
Talent dieses japanischen
Komponisten zeigt sich
besonders im lyrischen
Charakter des
Trio-Abschnitts, der
wunderbar im Kontrast zu
den ersten lyrischen
Themen steht.
Grand
March (La grande
marcia) fu composta
nel 1995 per la Banda
giovanile giapponese All
Shizuoka. La marcia si
apre con una maestosa
fanfara. Segue una marcia
dalla sonorit superba,
con un carattere
autorevole. Il talento
del compositore si rivela
nel carattere
spiccatamente lirico
della sezione del trio,
che contrasta
meravigliosamente con i
primi temi lirici della
marcia.
Grand March Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0960731-010 Composed by Soich...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-0960731-010
Composed by Soichi
Konagaya. Brilliant
Marches. March. Set
(Score and Parts).
Composed 1996. De Haske
Publications #DHP
0960731-010. Published by
De Haske Publications
(BT.DHP-0960731-010).
9x12
inches.
â??Grand
Marchâ?? was composed in
1995 for the All Shizuoka
Youth Band of Japan. The
piece opens with a
majestic fanfare. A
superb-sounding march,
with a commanding
character, follows. The
talent of this Japanese
composer reveals itself
in the distinctly lyrical
character of the trio
section, which contrasts
wonderfully with the
first lyrical themes of
the score.
Grand
March werd in 1995
gecomponeerd voor de All
Shizuoka Youth Band uit
Japan. Het werk opent met
een majestueuze fanfare.
Wat volgt, is een subliem
klinkende mars met een
imponerend karakter. Het
talent van de Japanse
componist Kanagaye komt
verder tot uiting in de
contrasterende lyriek van
het triodeel. Een grootse
mars waarmee uw orkest
veel eer kan inleggen!
Der Grand
March wurde 1995
für die All Shizuoka
Youth Band of Japan
komponiert. Der Marsch
beginnt hoffnungsvoll mit
einer majestätischen
Fanfare. Darauf folgt ein
toll klingender,
energischer Marsch. Das
Talent dieses japanischen
Komponisten zeigt sich
besonders im lyrischen
Charakter des
Trio-Abschnitts, der
wunderbar im Kontrast zu
den ersten lyrischen
Themen steht.
Grand
March (La grande
marcia) fu composta
nel 1995 per la Banda
giovanile giapponese All
Shizuoka. La marcia si
apre con una maestosa
fanfara. Segue una marcia
dalla sonorit superba,
con un carattere
autorevole. Il talento
del compositore si rivela
nel carattere
spiccatamente lirico
della sezione del trio,
che contrasta
meravigliosamente con i
primi temi lirici della
marcia.
((Cirque du Soleil)). By Benoit Jutras, Keith Melton, and Sandra Botnen. Arrange...(+)
((Cirque du Soleil)). By
Benoit Jutras, Keith
Melton, and Sandra
Botnen. Arranged by
Richard L. Saucedo. Score
and Parts.
Performance/Easy Limited
Edition. Grade 4
Composed
by Soichi Konagaya. De
Haske Concert Band.
March. Score Only.
Composed 1996. Hal
Leonard #960731.
Published by Hal Leonard
(HL.44002606).
UPC:
073999491302.
8.25x11.75x0.795
inches.
Grand
March' was composed in
1995 for the All Shizuoka
Youth Band of Japan. The
piece opens with a
majestic fanfare. A
superb-sounding march,
with a commanding
character, follows. The
talent of this Japanese
composer reveals itself
in the distinctly lyrical
character of the trio
section, which contrasts
wonderfully with the
first lyrical themes of
the score.
Grand
March werd in 1995
gecomponeerd voor de All
Shizuoka Youth Band uit
Japan. Het werk opent met
een majestueuze fanfare.
Wat volgt, is een subliem
klinkende mars met een
imponerend karakter. Het
talent van de Japanse
componist Kanagaye komt
verder tot uiting in de
contrasterende lyriek van
het triodeel. Een grootse
mars waarmee uw orkest
veel eer kan inleggen!
Der Grand
March wurde 1995 fur
die All Shizuoka Youth
Band of Japan komponiert.
Der Marsch beginnt
hoffnungsvoll mit einer
majestatischen Fanfare.
Darauf folgt ein toll
klingender, energischer
Marsch. Das Talent dieses
japanischen Komponisten
zeigt sich besonders im
lyrischen Charakter des
Trio-Abschnitts, der
wunderbar im Kontrast zu
den ersten lyrischen
Themen steht.
Grand
March est une
composition datant de
1995 pour l'ensemble
japonais All Shizuoka
Youth Band. L'oeuvre
commence par une fanfare
majestueuse, tel que le
promet le titre, suivie
d'une marche superbe au
caractere imperieux. Le
talent de ce compositeur
japonais est revele dans
le style tres lyrique du
trio, qui fait un
magnifique contraste avec
les premiers themes
lyriques de la Grand
March.
Grand
March (La grande
marcia) fu composta
nel 1995 per la Banda
giovanile giapponese All
Shizuoka. La marcia si
apre con una maestosa
fanfara. Segue una marcia
dalla sonorita superba,
con un carattere
autorevole. Il talento
del compositore si rivela
nel carattere
spiccatamente lirico
della sezione del trio,
che contrasta
meravigliosamente con i
primi temi lirici della
marcia.
Fanfare Band - Grade 3 SKU: BT.DHP-1135394-120 Bad Orb Impressions...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1135394-120
Bad Orb
Impressions. Composed
by Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2013. De Haske
Publications #DHP
1135394-120. Published by
De Haske Publications
(BT.DHP-1135394-120).
9x12 inches.
English-German-French-Dut
ch.
The inspiration
for this three-part work
goes back to the
International European
Youth Wind Music
Festival, of which the
patron has been Jacob de
Haan several times. It
begins in a festive march
tempo, then sacred music,
instrumental groups
playing off_x001E_stage
and a little march for
brass and _x001D_flutes.
The third movement is a
parade in which the
various sections of the
ensemble head towards the
stage from different
directions. Even without
the effective
choreography of the
musicians, Call of the
Valley is an
impressive concert band
composition.
Jacob
de Haan haalde zijn
inspiratie voor dit
driedelige werk bij het
Hessische kuuroord Bad
Orb en het tweejaarlijkse
Blaasmuziekfestival van
de Europese Jeugd,
waarvan hij meerdere
keren beschermheer was.
In het werk verwerkte de
componist verschillende
e_x001D_ecten die
betrekking hebben op het
festival. Zo hoort men in
de vallei verschillende
orkesten door elkaar
spelen, een indrukwekkend
e_x001D_ect dat ook in de
compositie werd verwerkt.
Ook kan men ervoor kiezen
om tijdens het werk het
orkest op te splitsen en
het podium te laten
verlaten en marcherend
weer richting podium te
stappen. Een spectaculair
en vernieuwend
werk!
Die
Inspiration für
dieses dreiteilige Werk
geht auf das
Internationale
Blasmusikfest der Jugend
Europas zurück,
dessen Schirmherr schon
mehrfach Jacob de Haan
war. Es beginnt in
festlich marschierendem
Tempo, gefolgt von
sakraler Musik, abseits
der Bühne
spielenden
Instrumentengruppen und
einem kleinen Marsch
für Blechbläser
und Flöten. Der dritte
Satz ist eine Parade, bei
der sich das geteilte
Orchester aus
verschiedenen Richtungen
auf die Bühne zu
bewegt. Auch ohne die
effektvolle
Positionierung der
Musiker ist Call of
the Valley ein
eindrucksvolles
Blasorchesterwerk.
Un
festival di musica per
_x001E_ati per banda
giovanile che si tiene a
Hesse in Germania, e al
quale Jacob de Haan ha
più volte partecipato
in veste di giurato, è
servito da ispirazione
per comporre questo
brano. L’inizio
vede un tempo festivo che
simboleggia
l’arrivo delle
bande. Sonorit maestose
disegnano un concerto di
musica sacra, seguite da
suoni che evocano le
interpretazioni di varie
orchestre. Un gruppo di
sax interpreta un piccolo
valzer, un altro gruppo
che unisce ottoni,
_x001D_auti e ottavino
suona una piccola marcia.
Nel _x001E_finale
dell’opera,
l’orchestra
riprende i temi dei due
gruppi.
Fanfare Band - Grade 3 SKU: BT.DHP-1135394-020 Bad Orb Impressions...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1135394-020
Bad Orb
Impressions. Composed
by Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece. Set
(Score & Parts). Composed
2013. De Haske
Publications #DHP
1135394-020. Published by
De Haske Publications
(BT.DHP-1135394-020).
9x12 inches.
English-German-French-Dut
ch.
The inspiration
for this three-part work
goes back to the
International European
Youth Wind Music
Festival, of which the
patron has been Jacob de
Haan several times. It
begins in a festive march
tempo, then sacred music,
instrumental groups
playing off_x001E_stage
and a little march for
brass and _x001D_flutes.
The third movement is a
parade in which the
various sections of the
ensemble head towards the
stage from different
directions. Even without
the effective
choreography of the
musicians, Call of the
Valley is an
impressive concert band
composition.
Jacob
de Haan haalde zijn
inspiratie voor dit
driedelige werk bij het
Hessische kuuroord Bad
Orb en het tweejaarlijkse
Blaasmuziekfestival van
de Europese Jeugd,
waarvan hij meerdere
keren beschermheer was.
In het werk verwerkte de
componist verschillende
e_x001D_ecten die
betrekking hebben op het
festival. Zo hoort men in
de vallei verschillende
orkesten door elkaar
spelen, een indrukwekkend
e_x001D_ect dat ook in de
compositie werd verwerkt.
Ook kan men ervoor kiezen
om tijdens het werk het
orkest op te splitsen en
het podium te laten
verlaten en marcherend
weer richting podium te
stappen. Een spectaculair
en vernieuwend
werk!
Die
Inspiration für
dieses dreiteilige Werk
geht auf das
Internationale
Blasmusikfest der Jugend
Europas zurück,
dessen Schirmherr schon
mehrfach Jacob de Haan
war. Es beginnt in
festlich marschierendem
Tempo, gefolgt von
sakraler Musik, abseits
der Bühne
spielenden
Instrumentengruppen und
einem kleinen Marsch
für Blechbläser
und Flöten. Der dritte
Satz ist eine Parade, bei
der sich das geteilte
Orchester aus
verschiedenen Richtungen
auf die Bühne zu
bewegt. Auch ohne die
effektvolle
Positionierung der
Musiker ist Call of
the Valley ein
eindrucksvolles
Blasorchesterwerk.
Un
festival di musica per
_x001E_ati per banda
giovanile che si tiene a
Hesse in Germania, e al
quale Jacob de Haan ha
più volte partecipato
in veste di giurato, è
servito da ispirazione
per comporre questo
brano. L’inizio
vede un tempo festivo che
simboleggia
l’arrivo delle
bande. Sonorit maestose
disegnano un concerto di
musica sacra, seguite da
suoni che evocano le
interpretazioni di varie
orchestre. Un gruppo di
sax interpreta un piccolo
valzer, un altro gruppo
che unisce ottoni,
_x001D_auti e ottavino
suona una piccola marcia.
Nel _x001E_finale
dell’opera,
l’orchestra
riprende i temi dei due
gruppi.
Composed by Benjamin Yeo.
Folio. Cps. Set of Score
and Parts.
8+2+8+8+2+4+4+4+4+2+4+4+4
+4+6+6+4+4+8+2+2+1+4+1+2+
24 pages. Duration 2
minutes, 42 seconds. Carl
Fischer Music #CPS245.
Published by Carl Fischer
Music (CF.CPS245).
ISBN 9781491158128.
UPC: 680160916726. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
Composed by Benjamin Yeo.
Sws. Cps. Full score. 24
pages. Carl Fischer Music
#CPS245F. Published by
Carl Fischer Music
(CF.CPS245F).
ISBN
9781491158135. UPC:
680160916733. 9 x 12
inches.
ABOUT THE
MUSIC Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this anew ideaa needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE MUSIC
Future of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang. Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this work.
EDUCATIONAL NOTES Key: Eb
Major SECTION BARS EVENT
/ SCORING / SUGGESTIONS
Introduction 1-4 Opens in
Eb major with dotted
rhythm motif. 1st Strain
5-20 Take note of melodic
phrasing above the
(light) oom-pah ostinato;
melody repeats at m. 13
with the addition of
countermelody in the
inner lines; although
written at mf dynamic,
this 'new idea' needs to
be heard clearly for
contrast with the
previous statement. 2nd
Strain 21-36 C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29. Trio 37-56 Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.
Break Strain 57-62
Excerpt from Rasa Sayang
with some play in
tonality and instrumental
dialogue; quasi
grandioso-style before
the final strain. Final
Strain 63-82 Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79. NOTE TO THE
CONDUCTOR This march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece. This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets. I wish you the best
in the performance of
this work. - Benjamin
Yeo. ABOUT THE
MUSICFuture of Tomorrow
(Concert March) was
commissioned by the Arts
Education Branch,
Ministry of Education as
the set piece for the
Singapore Youth Festival
2016 Arts Presentation
for Concert and Brass
Bands (Primary Level).
This march uses brief
excerpts from the
well-known Malay folk
songs Katak Lompat and
Rasa Sayang.Our youths
are indeed our future of
tomorrow. This
joyful-themed march aims
to bring out the best in
each of your young
players. I hope that
students, band directors
and audiences will enjoy
preparing, performing and
listening to this
work.EDUCATIONAL
NOTESKey: Eb
MajorSECTIONBARSEVENT /
SCORING /
SUGGESTIONSIntroduction1-
4Opens in Eb major with
dotted rhythm motif.1st
Strain5-20Take note of
melodic phrasing above
the (light) oom-pah
ostinato;melody repeats
at m. 13 with the
addition of countermelody
in the inner lines;
although written at mf
dynamic, this ‘new
idea’ needs to be
heard clearly for
contrast with the
previous statement.2nd
Strain21-36C minor
(relative minor); excerpt
from Katak Lompat; melody
in the lower brass/wind
from m. 21 with a
contrasting
attitude/style from 1st
strain; back to a more
lyrical treatment from m.
29.Trio37-56Stays
unmodulated in the same
key; opens with a
percussion solo feature
before the start of the
softer Trio theme; keep
this section controlled
and be sensitive to the
balance; the metallic
timbre of the muted
trumpet/cornet needs to
be heard clearly (might
suggest to bring the
dynamic level up to mf
when muted); if
cued-notes are played,
make sure they are played
throughout the melodic
phrase as written to
avoid awkward leaps.Break
Strain57-62Excerpt from
Rasa Sayang with some
play in tonality and
instrumental dialogue;
quasi grandioso-style
before the final
strain.Final
Strain63-82Back to Eb
major with the reprise of
the Trio theme;
festive-like style with
fuller orchestration and
new countermelodies;
dotted rhythm motif from
the introduction
concludes the march in a
codetta-like section from
m. 79.NOTE TO THE
CONDUCTORThis march has
been carefully written
with reasonable
technicalities and range
in mind for younger
players. Generally,
optional cued notes in
parenthesis are given for
less experienced players
who have yet to develop
their range on the
instrument. However, they
should never be taken as
an easy alternative for
all players in the
section; otherwise, this
may result in a less than
ideal flow of the musical
lines. Marches are good
tools to train tempo
consistency, articulation
and rhythmic precision as
well as musical phrasing.
I hope that there will be
great learning
opportunities for your
students as they learn
this piece.This march is
separately orchestrated
for both wind and brass
bands to maximize the
instrumental colors
within each ensemble. The
parts are therefore not
exchangeable between the
wind band and brass band
sets.I wish you the best
in the performance of
this work.- Benjamin
Yeo.
Piccolo (Db) SKU: CL.073-6004-03 Composed by King. Vintage Band Collectio...(+)
Piccolo (Db)
SKU:
CL.073-6004-03
Composed by King. Vintage
Band Collections & March
Books. Db Piccolo book.
Composed 1931. C.L.
Barnhouse #073-6004-03.
Published by C.L.
Barnhouse
(CL.073-6004-03).
CONTENTS: *
Broadway One Step Or Two
Step * Royal Scotch
Highlanders March *
Abdallah Oriental Fox
Trot * Valiant Youth
March * The Cardiff Giant
March * The Kentucky
Derby March * Atta-Boy
March * The Whippet Race
Galop * Monahan Post
March * Royal Hippodrome
Galop * Franklin Post
March * 147th Field
Artillery March * The
Kansas Bandman March *
The Missouri Bandman
March * Youth and
Progress March * Mystic
Night Waltz *.
Concert Band Wind Band SKU: AP.12-0571564887 Composed by Derek Bremel. 5 ...(+)
Concert Band Wind Band
SKU:
AP.12-0571564887
Composed by Derek Bremel.
5 or More; Performance
Music Ensemble; Solo
Small Ensembles; Wind
Band. Faber Edition:
Faber Wind Band Series.
20th Century; Masterwork.
Score and Part(s). Faber
Music #12-0571564887.
Published by Faber Music
(AP.12-0571564887).
ISBN 9780571564880.
English.
Ides March
was commissioned by
William Brine in 1990,
Bermel's first
commission. Brine
requested that the work
be a march suitable for
performance at both a
wedding and a funeral.
Although originally
titled Brine's March,
when the composer learned
that the march was to
receive its premiere on
15 March, he changed the
title to Ides March in a
humorous nod to the
Shakespearean admonition
Beware the Ides of March;
in his youthful view a
sentiment appropriate for
either a wedding or a
funeral. However, a line
from Cole Porter was the
inspiration behind the
major key to minor key
interplay of the work:
'What could be any finer?
But how strange the
change from major to
minor, every time we say
goodbye', a line that
captured the composer's
attempt to write a march
that did justice to both
the melancholy and
triumphant.
1. Non piu andrai 2. Perche finora 3. Voi che sapete 4. Wedding March. By Mozart...(+)
1. Non piu andrai 2.
Perche finora 3. Voi che
sapete 4. Wedding March.
By Mozart, Wolfgang
Amadeus (1756-1791) - .
Arranged by Ryden,
William (b. 1939). For
orchestra: 2, 2, 2, 2 -
4, 2, 3, 0, timpani,
strings. This edition:
set of parts (Set C).
Concertmasters. Opera,
Opera/Suites, Marches,
Youth/Comm Orch,
Classical. Composed
1786/1996. Duration 12
minutes. Published by
Edwin F. Kalmus.
1. Non piu andrai 2. Perche finora 3. Voi che sapete 4. Wedding March. By Mozart...(+)
1. Non piu andrai 2.
Perche finora 3. Voi che
sapete 4. Wedding March.
By Mozart, Wolfgang
Amadeus (1756-1791) - .
Arranged by Ryden,
William (b. 1939). For
orchestra: 2, 2, 2, 2 -
4, 2, 3, 0, timpani,
strings. This edition:
full score.
Concertmasters. Opera,
Opera/Suites, Marches,
Youth/Comm Orch,
Classical. Composed
1786/1996. Duration 12
minutes. Published by
Edwin F. Kalmus
Fighting Falcon March Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Todd Stalter. By Todd Stalter. For Concert Band. Concert Band. Alfred Debut S...(+)
By Todd Stalter. By Todd
Stalter. For Concert
Band. Concert Band.
Alfred Debut Series.
Patriotism. Level: 1
(Very Easy) (grade 1).
Conductor Score and
Parts. Duration 1:30:00.
Published by Alfred
Publishing.
March of the Toys Orchestre d'harmonie - Intermédiaire Molenaar Edition
Concert Band - Grade 3 SKU: ML.013499060-S From Babes in Toyland. ...(+)
Concert Band - Grade 3
SKU:
ML.013499060-S
From Babes in
Toyland. Composed by
Victor Herbert. Arranged
by Wil van der Beek.
Score only. Duration 3
minutes, 40 seconds.
Molenaar Edition
#013499060-S. Published
by Molenaar Edition
(ML.013499060-S).
This march is
part of the operetta
Babes in Toyland,
composed by Victor
Herbert in 1903. Toyland
is a magical land where
two children experience
all sorts of adventures.
This quick march in a
pseudo military style
depicts a scene in the
operetta where toy
soldiers rescue the two
children. Victor Hugo
(1859-1924) was born in
Ireland, but spent his
youth in Germany where he
studied composition and
cello. He found fame in
America as an (operetta)
composer and
conductor.
Grade 3 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
March. Set (Score &
Parts). Composed 2010. 24
pages. Duration 155
seconds. Anglo Music
Press #AMP312010.
Published by Anglo Music
Press (HL.44011175).
UPC: 884088693800.
8.75x12.0x0.118
inches.
Marching
Winds was commissioned by
the Co-curricular
Activities Branch of the
Ministry of Education as
one of the test pieces
for the Singapore Youth
Festival 2010 Central
Judging. The work is in
march form and an opening
fanfare leads to the main
theme, which is modal in
character. A contrasting
second theme, legato in
style, leads to a climax
before the main theme
returns. Dur: 2:35 (Grade
3).
Double
Bass Part. Composed
by Sir Peter Maxwell
Davies. Edited by Sir
Peter Maxwell Davies.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Individual
part. 4 pages. Schott
Music #ED 10994-27.
Published by Schott Music
(HL.49029692).
ISBN
9790220128721.
Thes
e 5 short voluntaries are
arrangements of Jeremiah
Clarke, William Croft,
Pierre Attaignant and
Louis Couperin. They make
lively and interesting
pieces suitable for youth
orchestras or school
orchestras of high
standard.