Marching Band - Grade 2.5 SKU: AP.42118S As recorded by Britney Spears...(+)
Marching Band - Grade 2.5
SKU: AP.42118S
As recorded by Britney
Spears. By Bonnie
McKee, Britney Spears,
Fransisca Hall, Henry
Walter, J Kash, Josh
Coleman, Lola Blanc, and
Lukasz Gottwald. By
Bonnie McKee, Fransisca
Hall, Henry Walter, J
Kash, Josh Coleman, Lola
Blanc [Britney Spears],
and Lukasz Gottwald.
Arranged by Ralph Ford.
Marching Band;
Performance Music
Ensemble; Single Titles.
Mega Sounds for Marching
Band. Movie; Pop. Score.
8 pages. Alfred Music
#00-42118S. Published by
Alfred Music (AP.42118S).
UPC: 038081475592.
English.
Here is
the catchy, Britney
Spears tune that was
recently featured in the
movie Smurfs 2. Ralph
Ford has arranged this
chart to be strong and
full. Works perfectly as
stands material or as an
exciting feature song for
a drill team or color
guard!
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545.
Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion.
Composed by Almicare Ponchielli. Anacrouse. Transcription pour piano 4 mai...(+)
Composed by Almicare
Ponchielli. Anacrouse.
Transcription pour piano
4
mains + Biographie +
Notes sur
l'oeuvre. Score.
Editions
Bourges #EBR-A088.
Published
by Editions Bourges
Organ (Organ) SKU: HL.48182450 Composed by Olivier Messiaen. Leduc. Class...(+)
Organ (Organ)
SKU:
HL.48182450
Composed
by Olivier Messiaen.
Leduc. Classical. CD. 72
pages. Alphonse Leduc
#AL23673. Published by
Alphonse Leduc
(HL.48182450).
UPC:
888680833015.
8.0x11.5x0.249
inches.
In this
edition written in
German, The Technique Of
My Musical Language by
Olivier Messiaen explains
the full theory behind
Messiaen?s compositions.
Enabling a better
understanding, this book
will help advanced
students and
professionals for the
interpretation of his
work, and is a must-have
for all composers. This
book includes the scales
of limited
transpositions,
well-known in Jazz, the
rhythmic permutations, as
well as other techniques.
Olivier Messiaen
(1908-1992) was a French
organist and composer
passionate about
Ornithology and one of
the most important
composer of his century.
Inspired by Japanese
music, he had a very
special way of composing
and his work can be
identified by its
complexity, its diatonic
aspect, its harmony with
limited transposition,
its colour and its
additive rhythms. He
composed many works
related to ornithology
and birdsong, including
the ''Bird Catalogue'' in
7 volumes and the
''Treatise on rhythm,
colour and ornithology''
in 7 volumes..
10 Essential Arias with Plot Notes, IPA, Recorded Diction Lessons and Recorded...(+)
10 Essential Arias with
Plot
Notes, IPA, Recorded
Diction
Lessons and Recorded
Accompaniments. Composed
by
Various. Vocal
Collection.
Softcover Audio Online.
88
pages. Published by G.
Schirmer
Orchestra; Score SKU: HL.49007881 Score. Composed by Hans Werner H...(+)
Orchestra; Score
SKU:
HL.49007881
Score. Composed by
Hans Werner Henze. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1992-1993. 138
pages. Duration 25'.
Schott Music #ED 8276.
Published by Schott Music
(HL.49007881).
ISBN
9790001084383. UPC:
073999761092.
8.25x11.75x0.355
inches.
By Carl Philipp Emanuel Bach. Edited by Balla, Gyorgy. For Viola. Nagels Musik-A...(+)
By Carl Philipp Emanuel
Bach. Edited by Balla,
Gyorgy. For Viola. Nagels
Musik-Archiv. Single
Part. Wq 31. Published by
Nagels Musik-Archiv
(German import). (NMA253
79)
Jazz-Style Arrangements with a "Variation". Arranged by Carl Strommen. George Ge...(+)
Jazz-Style Arrangements
with a "Variation".
Arranged by Carl
Strommen. George
Gershwin. For Piano Acc.
Instrumental Series.
Jazz. Book. 56 pages.
Published by Alfred
Publishing. Level:
Intermediate.
Guitar SKU: BT.ESZ-01685800 Prefazione e revisione di Luca BattioniTra...(+)
Guitar
SKU:
BT.ESZ-01685800
Prefazione e revisione
di Luca
BattioniTraduzione
inglese di Simon
Horn. Composed by
J.B. Adolphe Le Dhuy.
Book Only. Composed 2023.
Edizioni Suvini Zerboni
#ESZ 01685800. Published
by Edizioni Suvini
Zerboni
(BT.ESZ-01685800).
3 recorders (SSA), percussion and piano SKU: HL.49029591 Composed by Fred...(+)
3 recorders (SSA),
percussion and piano
SKU: HL.49029591
Composed by Freda Dinn.
Edited by Freda Dinn.
Sheet music. Edition
Schott. Individual part.
Schott Music #ED
10720-01. Published by
Schott Music
(HL.49029591).
Burn - Highway Star -
Smoke on the Water.
Arranged by Toshihiko
Sahashi. New Sounds for
Concert Band. Concert
Piece. Set (Score &
Parts). Composed 1996. De
Haske Publications #DHP
0960774-010. Published by
De Haske Publications
(BT.DHP-0960774-010).
9x12
inches.
Deep Purple
are one of the most
famous rock bands of all
time. This medley is an
essential piece of
Concert Band repertoire.
Keep on rocking with this
powerful arrangement
which includes
Burn, Highway
Star and Smoke on
the Water.
Een flitsende
medley van drie hits van
de rockband Deep Purple,
die eind jaren zestig
werd opgericht. De jaren
zeventig vormden de
hoogtijdagen voor de
groep. Er zijn in de loop
der tijd wat wisselingen
geweest in de bezetting,
maarDeep Purple bestaat
nog steeds. De in deze
medley verwerkte nummers
(Burn, Highway
Star en Smoke on
the Water) stammen
uit de succesperiode.